Why Do Minors Have The Right - 1737 Words

According to the National Cancer Institute, â€Å"In 2014, it is estimated that 15,780 children and adolescents ages 0 to 19 years will be diagnosed with cancer and 1,960 will die of the disease in the United States† (National Cancer Institute). This statistic may seem rather small when compared to the thousands of people in the United States but the number of 1,960 is not just a statistic, each digit represents the loss of a child, some of theses deaths are avoidable though. The ongoing battle between minors and their constitutional rights has risen again, the present battlefield; hospitals. Do minors have the right to refuse a life saving treatment such as chemotherapy, or is this a matter for parents and doctors? Minors are not†¦show more content†¦Under proper treatment, doctors estimate it has a survivability rate as high as 80% for children.† (Hopper, P3). After her prognosis she started her first round of chemotherapy. After eleven weeks of treatment, she decided she no longer wanted to go through with this course of treatment, and begged her parents to end it. Makayla wanted to pursue treatment through alternative medicine. She did not want to suffer through some of the common chemotherapy side-effects, such as; hair loss, atrophy of the body, weakness, and nausea. Her decision to quit the treatment was easily supported by her parents, however when she was withdrawn from the hospitals treatment program they hit a snag. The hospital was not comfortable letting a child stop chemotherapy and reported the families decision to Canada’s Children’s Aid Society. The Society investigated and decided to not intervene and allowed the family to continue. â€Å" Makayla Sault, a member of the First Nations tribe in Canada, died after suffering a stroke on Sunday† graced the headline of ABC news on January 22 of 2015 (Mahoney). After months of alternative medicine treatment Makayla died, and her parents blamed the eleven weeks of chemotherapy the young girl underwent. â€Å"â€Å"Makayla was on her way to wellness, bravely fighting toward holistic well-being after the harsh side effects that 12Show MoreRelatedContracts And Pledges : Binding Legal Relationships With Minors891 Words   |  4 PagesLegal Relationships with Minors One of elements of a valid contract is the contractual capacity which is the legal ability to enter into contracts. Minors who may have capacity enter into a valid contract, can also avoid liability arising out of it by virtue of being a minor for in law, they are not legally bound by contracts. In all the States of the U.S., all persons who are less than 18 years old are minors. However, this right to void a contract entered into by a minor can be terminated underRead MoreJuvenile Crimes And Crime Rates1478 Words   |  6 Pagesidentities to start a new life where no one knows what they previously have committed. They continue to live their new lives in peace and contentment all while their victims and the families are left to suffer. -This is why minors the age of 10 to 17 year olds who commit serious crimes like murder, kidnapping, rape, aggravated assault and armed robbery should be charged as adults. Today I am here to convince you that this is (the right notion and the most effective to decrease crime rates?) They shouldRead MoreEssay about The Juvenile Court System567 Words   |  3 PagesThe Juvenile Court System The Juvenile Court system was a system set up to deal with minors who find themselves in trouble. In trouble with their parents, or the law. This system has its benefits and its flaws. The first juvenile court in the United States was established in 1899, in Illinois. This set a trend that would grow across the entire United States { Forer, 198 }. In 1974 The Juvenile Justice and Delinquency Prevention Act was put into effect. It had many regulationsRead MoreThe Dangers Of Being Homeless903 Words   |  4 Pagesincrease in the amount of homeless minors that roam the streets. Many of these minors are homeless due to the tragic event of losing their families or being rejected and abandoned by their loved ones. The problem with having minors on the streets is not only the reputation of this state, but mostly the future of these minors. Being homeless denies these minors sufficient amounts of resources for them to get further in life; without enough resources it causes the teens to do deviant acts such a committingRead MoreAbortion for Underage Children Should Require Parental Consent1121 Words   |  5 PagesUnderage people are prohibiting smoking, drinking, or going in field trips without their parents’ permission. Therefore, how can a teenage girl have an abortion without the approval of her parents? Abortion itself is a controversial subject, and underage abortion is even more controversial. Minors shoul d not have an abortion without the consent of their parents or their legal guardians for a variety of reasons. First, most adolescents are not mature enough to make decisions that will changeRead MoreEssay on The Effect of the U.S. Government on Students844 Words   |  4 PagesMany students wonder why they should take Government class. They think that they are not affected by the actions of our government, or that learning about it will not help them at all in their life. Or worse, they think that they have no power to influence the government because of their age. Fortunately, none of these things are true. The United States Government is a big part of the lives of all American citizens, and that includes those who are under eighteen years old. Our government hasRead MoreOutline for Persuasive Speech Should minors be charged and sentenced as Adults? Jessica Rusk April1700 Words   |  7 PagesSpeech Should minors be charged and sentenced as Adults? Jessica Rusk April 28, 2014 I.Introduction A. Out of 50 states, 14 do not have an age set that says whether or not you can be tried as an adult, according to an article from the Equal Justice Initiative. In some states the age is 10, 11, 12, or 13. There are about 10,000 kids under the age of 18 in an adult prison today. About 3,000 of those were sentenced to life without parole. B. Should kids be tried and convicted as adults? Right now, kidsRead MoreWhy Children Commit Crimes Have Been Going On For Over Decades?1162 Words   |  5 PagesStudies on why children commit crimes have been going on for over decades. Many researchers have yet to find the reason as to why under aged individuals act the way they do. Although, there isn’t a correct answer as to why children do commit crimes, there have been various studies that show what could cause the minor to act in such a way. Transfer laws would be beneficial because it would help under aged individuals stay on the right track. If minors break the law and commit crimes they should beRead MoreGay Marriage Should Be Legal930 Words   |  4 Pagesallowed to marry has been a hot topic of debate over the past few years. Although support for the right of same sex marriage has gained massive amounts of attention from the media in resent months, not all are in favor of the almost undeniable and unavoidable chan ges to the laws restricting these types of marriages. Every person has the right to love whomever they wish, and every couple deserves the right to substantiate that love through marriage, whether it be a heterosexual or homosexual relationshipRead MoreArgumentative Essay On Abortion1364 Words   |  6 Pagesabortion and pro-choice is for abortion. There have been many court cases on the topic of abortion, such as Roe v. Wade, Doe v. Bolton, Baird v. Bellotti, and Harris v. McRae to name a few. The federal government’s decisions on the cases are very unbiased and their behavior towards abortion is neutral but sometimes they do change. These court cases have made major impacts to the nation in terms of abortion laws which shows that abortion is a topic that people have mixed feelings on. Roe v. Wade took place

Analyzing the Elements of Poetry Essay - 849 Words

In my preparation for this essay I thought that there was going to be very little that I would learn about the elements of poetry. This is not because I am an expert and have nothing new to learn, but rather the opposite. I have never really spent the time to break down and appreciate poetry. One of the reasons I think that I haven’t spent the time on poetry is due to my reading habits. I usually read to gather information and poetry is on the other end of the spectrum. Fredrick Gruber sums this up, â€Å"Poetry tends to give general truths while history gives particular facts.† (Gruber) Having said all of this though, I did see a couple of things that I could apply to my own writing. I will first start off with some elements of poetry that I†¦show more content†¦Robert Frost uses assonance in â€Å"Stopping by Woods on a Snowy Evening. He uses the soft i sound repetitively here: â€Å"His house is in the village though† (Frost). Similarly to rhyming al literations and assonances help create a flow and feel for the poem. They also draw the reader in and help them anticipate lines. I have used alliterations before in my writing, but I use them sparingly because I use them very overtly. I do not have the nuance that Robert Frost has so I will continue to use them sparingly. Poems also have rhythm. Rhythm is built from the accent and meter of a poem. Depending on how and when accents hit in words it creates an audible cadence. The pattern that is setup from this creates the meter. This is analogous to music. There are many parallels that can be drawn from music and songs to poetry. I this is why you can consider many songs to be poems that are set to music accompaniment. In fact going all the way back to the Odyssey we discover that many poems were actually meant to be sung instead of read. There are many ways to break down the rhythm and I haven’t spent the time learning what they are nor have I spent the time dissecting poems to discover their rhythm. I only know of rhythm from what I feel when I read a poem with rhythm. Because of my lack of understanding and comprehension I do not purposefully use rhythm in my writing and I do not plan to start either. Poets use words to their full advantage. â€Å"Poets, who must also think ofShow MoreRelatedRule Analysis : Poetry By Poetry1353 Words   |  6 PagesRule Analysis: Poetry Introduction Poetry is a genre that expresses feeling through rhythm and tone, while creating a realistic vision of what the poet is imagining. Poems can either be short or could be lengthy, but they all have a meaning to them. A poem is often read for its message that it carries. The message is usually hidden in the context of the poem. Poetry is difficult because its language that is used is often indirect with the reader. There is no limit of subjects that can be used inRead MoreFigure Of Speech InBallad Of Birmingham, By Dudley Randall1059 Words   |  5 Pagesliterary elements of the poem to get an idea of the time and place the poem was written. Then, analyze the figure of speech of the poem to understand the meaning of the poem. At last, you have to analyze the elements of poetry that assemble the poem to understand its purpose. The poem â€Å"Ballad of Birmingham† by Dudley Randall is a great example for analyzing the elements of literature and poetry and figure of speech that as semble an exceptional poem. The most fundamental part of analyzing a poem suchRead MoreDefining Literature Essay928 Words   |  4 Pageswhether or not they feel that is actually literature or not. Literature is any type of creative writing such as fiction or poetry, for example. Literature is also any form of body of written works of language, which could be from the English era or even as far back as the Shakespearean or Elizabethan era. It is also work from a specific period or culture defining key elements or somehow relating to and/or expressing how it is exactly from that time. The literature can mention popular events or activitiesRead MoreEssay on Rita Dove Literary Analysis1053 Words   |  5 Pagesnbsp;nbsp;nbsp;nbsp;nbsp; Rita Dove has written many different kinds of poetry. She also wrote books, short stories plays and all types of literature. This essay will focus on specifics of her writing by analyzing three pieces of poetry that Rita Dove has written. The works we will be looking at are In the Old Neighborhood, My Mother Enters the Work Force, and The Bistro Styx. Through these three works you will see examples of Rita Doveamp;#8217;s use of home in her poetry, her use of figurative devices such as similesRead MoreDifference Between Poetry And Prose900 Words   |  4 Pages The difference between poetry and prose is often chalked up to the presence or lack of rhyme and rhythm in writing. Though this might work with some classical poetry, some classical poets experimented with and broke the rules of rhythm and rhyme in favor of artistic meaning. Though many modern poets choose to use rhyme and rhythm in obvious ways, there are many who choose to throw the rules out the window. It is now necess ary for students of poetry to not only understand how to differentiateRead MoreBilly Collins Introduction To Poetry Analysis715 Words   |  3 PagesWhile reading the poem â€Å"Introduction to Poetry,† Billy Collins sends a message to the readers that they should be patient and impartial when it comes to analyzing a poem in order to see the true meaning behind the without being over analytical. There is a revieting situation that takes place because Billy Collins is delivering his message to all readers about the way that one should be able to read a poem. This poems educates the reader on how to be able to read and plunge into a poem, through usingRead MorePsychoanalytic Criticism on Emily Dickinson Essay1086 Words   |  5 Pageswell as understanding whom the author was and how their mind created such works. When considering the work of Emily Dickinson, psychoanalytic criticism comes into play with the role of explaining the many meanings behind her poetry, as to make t he reader relate to such poetry on a deeper level or not to who she was as a human being. Many critics believe that using a psychological criticism approach to understand an author’s literary work leaves common sense behind. For them, such analysis disregardsRead MoreEssay on Maya Angelou1185 Words   |  5 Pagesquestions that come consecutively in my mind: how does Angelous Artful Pose demonstrates the attitude toward writing of her poetry? How In a Time does reveal Angelous ambivalence to love? Angelou describes her feelings in everything she writes, and one thematic element Angelou uses, is the theme of antithesis. For example, in the poem, Artful Pose this thematic element is obvious. In the lines, in their delights some poets sing their melodies tendering my nights [...] (3-5) words such as,Read More Dead Poets Society Essay738 Words   |  3 Pagesthe words of the textbook are considered undisputed fact. All chemistry textbooks will list the elements with the same symbols and all Latin textbooks will list approximately the same translations. The poetry textbook, written by a Dr. Pritchett, attempts to lump words that are meant to touch the heart into the same factual categories of math and the sciences. Can Dr. Pritchett’s method of analyzing poetry by graphing its importance and perfection be used to measure what one feels? More importantlyRead MoreNature and the Free Flow of Emotion1230 Words   |  5 Pagesnature and the free flow of emotion which he called the â€Å"real language of men† (Fralin, Poetry Analysis). In â€Å"The World Is Too Much With Us,† Wordsworth appears to be speaking out against almost everybody during the Industrial Revolution. In an analysis of the poem, Szczepanski states that, â€Å"Wordsworth laments t hat people have come to view nature as a source of material wealth rather than as a good in itself† (Poetry Analysis). He criticizes them for focus more on â€Å"getting and spending† (2) and not on

How My Brother Leon Brought Hime a Wife Essay Example For Students

How My Brother Leon Brought Hime a Wife Essay Literary Devices Plot Devices A Literary Device is a technique that shapes narrative to produce an effect on the reader A plot device is an object, a character or a concept introduced into the story by the author to advance its plot. A Plot Twist is any unexpected turn of the story that gives a new view on its entire topic. A plot twist at the end of the story is called a twist ending. A Flashing Arrow is a technique used to focus the readers, but not the characters, attention on an object or a location that will be important later in the story. A Red Herring is a plot device that distracts the readers attention from the plot twists that are important for the story. It is used to maintain tension and uncertainty. A Deathtrap is a plot device that the villain uses to try to kill the protagonist and satisfy his own sadistic desires. A Comic Book Death is a technique makes a major character die or disappears for forever, but character re-appears later in the story. A Dark and Stormy Night is a cliche-like opening that usually includes darkness, violent lightning and a general mood of solitude. s a cliche-like opening that usually includes darkness, violent lightning and a general mood of solitude. Reverse Chronology is technique where begins at the end and works back toward the beginning. In medias res is a literary technique where the narrative starts in the middle of the story instead of from its beginning. The characters, setting, and conflict are often introduced through a series of flashbacks. Items Devices Some items and objects in the story may have a special significance for the plot. These can be divided into several categories: Chekhovs Gun is an item that is introduced early in the story and plays a crucial role later on. MacGuffin is an item whose nature is never quite explained to the reader but is a prime motivation for the characters. A Plot Coupon is an object that is crucial for resolving the conflict and completing the story. Commonly, it is a supernatural artefact divided into several parts and scattered all over the world. A Plot Voucher is an object similar to both plot coupon and Chekhovs gun: it is usually presented to the protagonist at the beginning f the story and plays an important role in the resolving of the conflict. Visions Characters share with the reader visions of the past or the future in order to explain a characters motives or certain plot twists. A Dream Sequence is a series of dreams which allow a character to see events that occur or have occurred in another time. Analepsis (flashback) presents events previous to the current time fr ame. Flashbacks are usually presented as characters memories and are used to explain their backgrounds and the back-story. Racconto is very much like a flashback but is usually somewhat longer and more gradual. Prolepsis (flash-forward) presents events that will occur in the future. Prophecy is often used science fiction to underline their futuristic structure. Foreshadowing is a premonition, much like a flash-forward, but only hints at the future. Had-I-Known is a form of foreshadowing that describes the consequences of a mistake a character is about to make. Finales There are several patterns for story endings: A Cliff-hanger is an abrupt ending that leaves the plot incomplete , without denouement. It often leaves characters in a precarious or difficult situation which hint at the possibility of a sequel. A Twist Ending is an unexpected finale that gives an entirely new vision on the entire plot. It is a powerful technique but it can leave the reader dissatisfied and frustrated. A Happy Ending is a finale when everything ends in the best way for the hero. Poetic Justice is a type of a happy ending where the virtue is rewarded and the vice is punished. Deus ex machina a plot device dating back to ancient Greek theatre, where the conflict is resolved through a means (by god, deus) that seem unrelated to the story. This allows the author to end the story as desired without following the logic and continuity of the story. Literary Devices Character Devices NARRATIVE What is Narrative ? Development of Narrative Certain character devices refer to the identity of the author related to characters in a story. Self-insertion is a literary technique used to intentionally introduce the author into the story as a character. An Author Surrogate is a character who expresses the ideas, questions, personality and morality of the author and acts as the authors spokesman. Mary Sue or Gary Stu is a character who can be seen as an idealized self-insertion by the author. The introduction of a Mary Sue or Gary Stu is generally unintentional. An Audience surrogate is a character who expresses the questions and confusion of the reader. This technique is frequently used in detective fiction and science fiction. Other character devices refer to special traits of a character. Christ figure is an extended metaphor where a character is strongly associated with the religious figure of Jesus Christ. Often, the Christ figure is represented as conspicuously moral, and may sacrifice himself. Sometimes, such a character is then resurrected. Setting NARRATIVE What is Narrative ? Development of Narrative Setting refers to the set of locations where the story takes place as well as the history, geography and the laws of nature of the world in which the story takes place. A Ficton is an imaginary world that serves as the setting or backdrop for a story. A ficton can be identical to our world or different as the author can imagine. A Fictional Universe is an imaginary world that serves as the setting or backdrop for science fiction and fantasy. Other terms related to Fictional Universe are Canon, Expanded Universe, Fanon, Multiverse and Linking Room. A Back-story is the history of the characters and the world where the story takes place. The back-story provides extra depth to the story by anchoring it to external events, real or imagined. Incluing is a literary technique that is used to make the uncovering of the back-story less straightforward and more intriguing. Instead of explaining directly the narrator (or the characters) constantly refers to various events, assuming that everyone knows what they are talking about. Retcon is an acronym for retroactive continuity, describes alteration of the back-story that contradicts the previously accepted vision. It is used to fix continuity errors is particularly in episodic media. A Fictional Crossover is a technique where otherwise separated fictional characters, stories, settings or universes meet and interact with each other. Shared Universe is a technique in which several different authors share settings and characters which appear in their respective works of fiction, often referring to events taking place in the other writers stories. Continuity NARRATIVE What is Narrative ? Development of Narrative Continuity binds a story together through consistency of the plot, the characteristics of characters, objects, places and events. It maintains the laws of nature and rational order of the facts, history, and the universe where the story takes place. Sometimes errors and inconsistencies in the continuity appear in a story. Breaks in continuity that are deliberate are plot devices. A Plot Hole is a gap in the storyline when the plot contradicts itself or simply leaves unanswered questions. A Plot Dump is a technique used when a lot of information necessary for understanding the story is given at once, typically in a dialogue between characters. Sunnydale Syndrome is a common challenge to the suspension of disbelief when the minor characters fail to notice unusual and even paranormal things going right in front of them. Stormtrooper Effect is a reference to the apparent incapability of minor characters (see also Redshirts) to seriously injure major ones even when having all advantages on their side. Chuck Cunningham Syndrome is a term that refers to plot twist (usually, in episodic media) when a major character is removed without satisfactory explanation or no explanation at all. Rhetoric NARRATIVE What is Narrative ? Development of Narrative Authors also manipulate the language of their works to create a desired response from the reader. Rhetorical devices draw the readers attention to the text and to make the characters conversations more realistic. Some rhetorical devices are: An Anacoluthon is an abrupt change of syntax in sentence structure. For example: a sentence sets up a subject and verb, but then the sentence changes its structure so that no direct object is given. An Analogy is a comparison based on similarity; a form of logical inference. Assonance is the repetition of vowel sounds within a short passage . A Chiastic Structure is a figure of speech based on inverted parallelism; a rhetorical figure in which two clauses are related to each another through a reversal of terms in order to make a larger meaning. Conceit is an extended metaphor, associated with metaphysical poetry. Images and ideas are juxtaposed in surprising ways to provoke the reader into a more sophisticated understanding of an object of comparison. Constrained Writing is a form of writing in which artificial constraints are imposed, such as a story told in one syllable words. Diction refers the precise choice of words based on their connotation and meaning. Epithet is a descriptive word or phrase often metaphoric that are frequently attached to names. Juxtaposition is the placing together two elements for comparison or contrast. A Metaphor is a direct comparison between two or more seemingly unrelated subjects. An Oxymoron combines two normally contradictory terms; for example falsely true A Parade of Horribles is a rhetorical device used by the speaker who argues something by listing a number of extremely undesirable consequences. Parallelism is a balance of two or more similar words, phrases, or clauses; to give two or more parts of the sentences a similar form so as to give the whole a definite pattern. Parody is ridicule by imitation, usually humorous. Personification is a figure of speech which involves directly speaking of an inanimate object, or an abstract concept, as if were a living entity. A Rhetorical Question is a figure of speech in the form of a question posed for rhetorical effect rather than for the purpose of getting an answer. A Simile is a figure of speech in which the object is compared to another object using the words like or as. Symbolism is the creative use of arbitrary symbols as abstract representations of concepts or objects or of attribution of symbolic meanings or significance to objects, events, or relationships. Writers voice describes the individual writing style of an author, writers use of syntax, diction, punctuation, character development, dialogue, etc. Word Play is a literary technique in which the nature of the words used themselves become part of the work. Puns, phonetic mix-ups, rhetorical excursions, oddly formed sentences are common examples of word play Nursery Rhyme Charades I use this activity with my really little onesPre-Kindergartenwhen they are learning about nursery rhymes and Mother Goose. It is very simple, and a lot of fun for my students. We begin by discussing nursery rhymes in general, and by naming as many of them as we can. Then we play the game. Each student in turn goes to the center of the circle and pantomimes an element from a nursery rhyme. For instance, he might pantomime someone sleeping for Little Boy Blue. ) The rest of the class tries to guess what nursery rhyme is meant. When dealing with very young studentsalthough I suppose this activity would work with older kids as wellit is very important for the teacher to carefully guide the acting and guessing, and to make positive comments about the perform ances (Wow! thats a really interesting way to act out Bo Peep! ) and about the guesses (Well, no, that isnt what hes doing, but I can see what you mean. He does sort of look like hes jumping over a candlestick, doesnt he! ) so that everyone feels a part of the learning. My Pre-Kindergarten class is my most difficult, and this activity works extremely well with them. Newspaper Puppets This is a great project for older elementary through adult. In addition to exploring characterization and puppet manipulation skills, it builds teamwork and can bring a cast to a closer collaboration. You Will Need: †¢ A whole lot of old newspapers. Figure a stack 6-12 inches tall for each group of three or four students. †¢ Tons of masking tape. Figure four or five rolls per group. (Masking tape is fortunately really cheap. Making the Puppets †¢ Divide the class or cast into groups of three or four, and give each some newspapers and some tape. †¢ Each group must build a giant figure it can be a person or an animal, real or fantasticout of rolled up, folded   or wadded newspaper and masking tape. Generally limbs are made by rolling paper into long, stiff tubes held together by tape, while solid masses, such as torsos are made by loosely wadding paper and wrapping it thoroughly with tape. There is no such thing as using too much tape! I usually allow no scissors, but paper may be torn to shape. In general the figures should be about the size of the students themselves (altough they are of course much lighter) and the more flexible joints and movable limbs the better. (I once made a marvelous spider. ) †¢ Even as they are building the figure, the group should be thinking about how it will move. This is not the kind of puppet one puts hands inside, but rather the kind one manipulates from the outside. All team members should have a role in manipulating the finished puppet. (For instance, one might operate the feet, one the hands, one the head, etc. ) Manipulating the Puppets When the puppets are finished, including whatever changes have to be made to accomodate movement, the groups rehearse manipulation. They must focus on working together so that their creature moves as a unified whole rather than a collection of independent parts. They may experiment with the sound their creation might make. They rehearse until they can smoothy operate the puppet. †¢ Finally, in a controlled way, bring two or more puppets into interaction. Do they fight? Fall in love with one another? Fear one another? Cooperate on some task? Coach the students to explore all the possibilities. When the project is over, I usually end up just tossing the puppets in the trash. Thats the beauty of a rough-and-ready puppet project like this. (Naturally if someone really wants to take a puppet home I allow them to do so. ) †¢ With older students I compare the process of manipulating our Newspaper Puppets to other puppet techniques they may have seen, such as the huge, multi-puppeteer creations in The Lion King, Spanish Muerte puppets, Bunraku, etc. We also discuss the level of concentration and cooperation necessary to make the puppets work. My students always love this project. Narrative Structure Plot Structure pic]NARRATIVE What is Narrative ? Development of Narrative Plot is the basic structure of any story but narrative can have a variety of internal structures related to style, temporal elements and codification of the message. Plot describes a series of events that happens to the characters in a described setting. Ideally, all events should follow logically in order to maintain the continuity of the story. Larger texts often have subplots that run simultaneously with the main one. A-Plot is the term used for the main plot that binds all the subplots. The A-plot is not necessarily the most important one. The Fifth Business EssayTogether, these five codes function like a weaving of voices. Barthes assigns to the hermeneutic the Voice of Truth; to the proairetic code the voice of Empirics ; to the semic the Voice of the Person; to the cultural the Voice of Science; and to the symbolic the Voice of Symbol. According to Barthes, they allowing the reader to see a work not just as a single narrative line but as a braiding of meanings that give a story its complexity and richness. 2. Temporal Environment A story can be presented in several parts. Although this is often done for marketing purposes, it is also a literary device used to create specific narrative structures. Some common forms are: Serial or Episodic Stories Serial stories are divided into a number of smaller episodes that form a single plot. This structure is rather uncommon in literature but is often used in television and subscription publications. Duology, Trilogy, Tetralogy, etc. Several individual stories may be connected through common characters, geography and history and can be perceived as a single work composed of a set of stories. Frame Stories Segmented stories can be knit together by a frame story, a main story that serves as a framework for a set of shorter stories. Extradiegetic Narrative An extradiegetic narrative is a story that frames the primary story. Frame Narrative A frame narrative is a story within a story. In stories such as Chaucers Canterbury Tails different individuals narrate the events of a story in each frame. Unlike an omniscient narrative, the teller of the story is an actual character with particular traits, prejudices, and motives. This structure can also resemble the psychoanalytic process of uncovering the unconscious behind various obfuscating narratives put in place by the conscious mind. The following terms are commonly used to identify different types of split stories: Sequel: a story set in the same fictional universe but later in time. It usually continues the original storyline. Prequel: a story that happens in the same universe as some previous story. It is provided to explain the original story context. Interquel: a story chronologically set during the interval between two previous stories. Midquel: a story set in the same time and universe as a previous story. In episodic media such TV series and serialized publications stories are composed of episodes, short segments of a main story connected to a story arc, a frame narrative or a side story. Filler: an episode that has no connection to the ongoing storylines. Fillers are used to give background information about the characters or present the back-story. Temporal Order Fabula refers to the chronological sequence of events in a narrative. Simple narratives follow the chronology of history but this is not always the most effective manner to present events when the narrator wishes to provoke high emotional response through suspense. For example, anticipation can be created by presenting certain events in an inverted order. A couple of ways for changing the fabula of a story are: Analepsis (flashback) presents events previous to the current time frame. Prolepsis (flash-forward) presents events that will occur in the future. A classic example of prolepsis is prophecy. In medias res refers to a story that begins in the middle of things rather than at the chronological origin of the story. This reordering of events engages the reader immediately in the action of the story. 3. Literary Style Syntagmatic Structure Syntagmatic structure refers the mode of time-awareness in which listeners are placed by the surface structure (syntax) of the narrative discourse. Simple Narrative A simple narrative is a story that is historically and culturally grounded and shaped by human personality. It organizes a particular stretch of time into a conscious experience. Epic Narrative Epic narratives are prolonged stories of the life of heroic or mythological persons. They create a cyclical state of recurrence. See Monomyth. Lyrical Narrative Lyrical narratives are stories conveyed in verses that are to be accompanied by music. The discourse uses elements of metre and symmetry and a relatively short time period. Literary Genres The development of written narrative has produced a number of distinct fashions or literary styles of narrative discourse. Some common styles are: An Autobiographical Novel is the fictionalized story of an authors life as seen by the author. An Epistolary Novel is a story presented as an exchange of letters between characters. A Historical Novel is a story set within the context of historical events. Protagonists may be fictional or historical personages, or a combination. Hysterical Realism is a literary genre characterized by chronic length, manic characters, madding action, and frequent digressions on topics secondary to the story. Magic Realism is a form of story that realistically describes events set in a magical haze of strange local customs and beliefs. Gabriel Garcia Marquez is a master of this style. A Pastiche is a literary form that openly imitates previous works of another artist, often with satirical intent. A Picaresque Novel is an episodic narrative of the adventures of a rogue on the road. Tom Jones is a classic example. Roman a clef is a story that describes real-life events behind a facade of fiction. Satire is literary style in which human weakness is attacked through irony, derision, or wit. Stream of Consciousness is a narrative discourse that proposes to reveal a characters inner thought processes. The Narrator Corporal Form Physical Position Narrators Bias Grammatical Position 1. Corporal Form Three entities are necessary for storytelling of any kind, an author, a narrator and a reader. The author creates the characters, and events within the story. The narrator presents the story in a way the reader can comprehend. The readers function is to understand and interpret the story. The author and narrator can one if they share the same entity relative to the story. The narrator has definite attributes and limitations that are crucial for the way the story is perceived by the reader. The most important aspect of the narrator is the point-of-view from which the story is told. Point-of-view consists of corporal form, physical position, bias and grammatical stance. There are two basic forms of narrative according to the corporal form of the narrator: Diegesis: a personified narrator describes events in the narrative, addressing the audience directly describing what is in the characters mind and emotions. To enter the world of the story, the reader must suspend disbelief and accept the storys diegesis. Mimesis: the story is told by an omniscient incorporeal entity; what is going on in a characters inner thoughts and emotions are shown through external actions rather than through description of the characters state of mind and emotions. 2. Physical Position The physical position of the narrator determines what the narrator can see and therefore what the reader can see. This has particular relevance when a narrative is presented as a film. The position of the camera lens, the focalization, is critical for the viewers interpretation of a scene. Focalization Focalization is the presentation of a scene through the subjective perception of a character. The term can refer to the focalizer, the person doing the seeing or to the object that is being perceived. In literature focalization is established through narration in the grammatical first-person. In film, camera positions such as point-of-view shots, subjective shots and over-the-shoulder shots are combined with presentation of shots in specific sequences. Point-of-view Shot A point-of-view shot is a scene in a film that shows what a character is looking at. It is usually established by positioning the point-of-view shot between a shot of a character looking at something, and a shot showing the characters reaction (a reverse shot). Subjective Treatment In film, subjective treatment shots show events as if we see through the minds eye of the character. Such as shot may be used to portray a vision, a memory, or a hallucination. Objective Treatment An objective treatment of a scene presents what is before the camera in the diegesis of the narrative. Objective treatment corresponds to third-person narration in literature. Over-the-shoulder An over-the-shoulder shot includes part of that characters shoulder or the side of the characters head while showing the scene from the characters point-of-view. 3. Narrators Bias In order to be credible, a narrator, like any person, must have a cultural background . This cultural baggage filters and influences the characters perception and therefore the characters narrative discourse. Gaze Gaze is a term that usually refers to the predominantly male gaze of Hollywood cinema in which camera angles and film editing tend to depict women as objects perceived by voyeuristic men. Gaze can refer to any biased, filtered, point-of-view such as racist, anarchist, humanist, etc. Scopophilia Scopophilia which means the love of looking refers to a voyeuristic gaze. This is a narrative point-of-view that is often used to portray intimate first-person discourse. Unreliable Narrator A narrator tells the story from his or her personal point-of-view. It is important for the reader to determine the motivation and psychology of the character assumed by the narrator in order to decide what is the veracity of the narrative. Why is this narrator telling the story in this way? Can we trust his narrative? Certain narrators withhold or distort a story according to their personal interests. The character flaws and incongruencies can reduce credibility. Unreliable narrators display traits that render themselves untrustworthy and their rendition of events must be taken with a grain of salt. Unreliable narrators usually speak in the first-person, since this form of narration tends to underline the motives for telling a story. Consequently, the narrators of memoirs and autobiographies should probably be considered unreliable. 4. Grammatical Position There are five grammatical stances or voices that a narrator can adopt: first-person, second-person, third-person limited, third-person omniscient and third-person objective. First-person and third-person points-of-view are most common. The second-person points-of-view is very rarely used. First-person Narrative A first-person narrator tells a story in the grammatical first-person referring to himself as I or We. He must witness and experience events with his senses, or be told about events. This voice brings greater focus on the feelings, opinions, and perceptions of a particular character in a story, and on how that character views the world and other characters. This technique constitutes diegesis. First-person As if spoken There are several variations of first-person narrative. The first is expressed as listen while I tell you . This stance is favoured for short stories. Although the narrator can be a character who is a mere observer, usually a main character tells the story. Interest can be sustained for a long period by a narrators colourful and colloquial language as in Huckleberry Finn. In film this form of narration can be achieved through use of voice-over narration and judicious use of point-of-view and over-the-shoulder shots. First-person As if written The second form of first-person narrative is presented as written personal memoir or report such as in Robinson Crusoe. The narrator can interject reflections and comments on the action and characters with an appreciation matured by time. This form also allows the author to move smoothly from place to place and period to period with little confusion. An epistolary narrative is presented as a series of lettres. It can reveal a great deal about the characters, the correspondents, but the action may be somewhat distant and it may take some time for audience to connect with a story. Yet another form of as if written narrative is a diary that records, over a long period, the variegation of events in the diarists life. A diary may also introduce fiction of a personal nature as the individual speculates on the denouement of events. Stream of Consciousness An even more intimate first-person narrative is a stream of consciousness or an interior monologue. This form of narration presents a story through thoughts, impressions and sensations that flow through the mind of the narrator-character. The audience is made to feel that their thoughts are flowing directly through the characters brain, that the characters senses are those of the audience. First-person Multiple Narration First-person multiple narration uses several first-person narrators, alternating among them with each new phase of the story. This allows the diversity of presentation of an omniscient narrator with the advantage of varied voices. Different characters can present the same story elements from their particular bias providing a rich explanation of the events. Second-person Narration Second-person narration is a stance in which the narrator is telling the story to another character through that characters point-of -view. The listener is referred as You. This technique also constitutes diegesis. Second-person narrative is common in interactive fiction and role-playing computer games. The reader can associate with the listener and imagine being within the action of the story. Third-person Narration Third-person narration is a story told in the grammatical third-person; the voice of the narrator describes what He or They did. The voice of the narrator appears as that of the author. This is perhaps the most common sort of narration. Third-person Limited Narration In third-person limited narration, the narrator is disembodied. The narrator does nothing, expresses no opinions and has no physical form in or out of the story. There is no implied fictional intermediary between the reader and the story. Events are observed from the outside through the senses and thoughts of a single character. The narrative is limited to the thoughts, feelings, and memories of the single character, but of no other characters. Third-person Omniscient Narration An omniscient (all-knowing) narrator is also disembodied and takes no actions, casts no judgments, expresses no opinions and has no physical form in or out of the story. The narrator dissolves and ceases to exist as a detectable entity (mimesis). The omniscient narrator speaks with the voice of the author who is a witness to all events. Any element, secret, hidden, past or present as well as any thoughts of all characters can be told by the omniscient narrator. The chronological of the story can be re-ordered in any manner and important elements of a story can be withheld until the moment of greatest effect. The third-person omniscient narrator is usually considered to be the most reliable narrator. Third-person Objective Narration In a third-person objective narration, the author records what can be seen and heard. There is not presentation of the thoughts, feelings, memories or reflections of characters. This type of narration is like the view of a fly on the wall. Literary Devices Plot Character Setting Continuity Rhetoric Characters Characterization Stock Characters

The Women of Sparta free essay sample

Sparta was cut off from the rest of Greece by high mountains and wild country sides, there for Spartans developed their own ideas of society and government. A domineering society that focused upon its military strength, Sparta did not allow its citizens the lenient lifestyle of Athenians. The ideology of Sparta was oriented around the state. The individual lived (and died) for the state. Their lives were designed to serve the state from their beginning to the age of sixty. Womens lives were similar in many parts of ancient Greece, but the Greeks themselves singled out the city state of Sparta as being greatly different. The women of Sparta were granted an equal stake in the success or failure of their state. With their fathers and husbands constantly away training or at war, the women of Sparta were responsible for all else in Spartan society. We will write a custom essay sample on The Women of Sparta or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Individual families headed by a husband were insignificant in Spartan society. Instead, the state laid down rules for everyone. Boys were sent away from home at around the age of seven to be trained as soldiers where they lived in army barracks until they were around 30 years old, even then, the men might have been absent for months, fighting in battles. This resulted in the Spartan women having to be very self dependent, they had to manage households all alone. Unlike other Greek women, Spartan women could own land and property and make all decisions on how it was to be run. â€Å"‘When a woman from Attica asked ‘Why is it that you Spartans are the only women who can rule men? Gorgo replied, ‘Because we are the only ones who give birth to men. ’† (Plutarch, Sayings of Spartan Women, 240. 5 translated in Pomeroy, 2002, 60) â€Å"‘The licence of the Lacedaemonian women defeats the intention of the Spartan constitution, and is adverse to good order of the State. For a husband and a wife, being each a part of every family, the state may be considered as about equally divide d into men and women; and, therefore, in those states in which the condition of the woman is bad, half the city may be regarded as having no laws. And this is what has actually happened at Sparta; the legislator wanted to make the whole state hardy and temperate, and he has carried out his intention in the case of the men, but he has neglected the women, who live in every sort of intemperance and luxury. The consequence is that in such a state wealth is too highly valued, especially if the citizens fall under the dominion of their wives†¦the influence of the Lacedaemonian women has been most mischievous†¦when Lycurgus, as tradition says, wanted to bring the women under his laws, they resisted, and he gave up the attempt. They, and not he, are to blame for what then happened, and this defect in the constitution is clearly to be attributed to them. We are not, however, considering what is or is not to be excused, but what is right or wrong, and the disorder of the women†¦not only of itself gives an air of indecorum to the state, but tends in a measure to foster avarice. ’† (Aristotle, Politics, 1269b12 translated in Lefkowitz and Fant, 1982, 39-40) â€Å"‘The mention of avarice naturally suggests a criticism of the inequality of property. While some of the Spartan citizens have quite small properties, others have very large ones; hence the land has passed into the hands of a few. And here is another fault in their laws; for, although the legislator rightly holds up to shame the sale or purchase of an inheritance, he allows anybody who likes to give and bequeath it. Yet both practices lead to the same result. And nearly two-fifths of the whole country are held by women; this is owing to the number of heiresses and to the large dowries which are customary. It would surely have been better to have given no dowries at all, or, if any, but small or moderate ones†¦Hence, although the country is able to maintain 1,500 cavalry and 30,000 hoplites, the whole number of Spartans citizens fell below1,000†¦Ã¢â‚¬â„¢Ã¢â‚¬  (Aristotle, Politics, 1270a15 translated in Lefkowitz and Fant, 1982, 40) When Spartan girl turned six or seven, they were sent to school where they were taught how to wrestle, as well as perform gymnastics. They were also schooled on the ins and outs of combat, developing skills that could be quite useful if the time came. Boys and girls had their separate physical training, and could be seen naked at their exercises and games. †- Victor Ehrenberg Solon to Socrates, 1967 When historians take a closer look at the schooling during this ancient period of time, many theories were established where the belief that the boys and girls schooling were not that different developed. Some believe that the girls were traine d just as hard as the boys. The reason why the Spartan women did not pass the time learning how to sew and cook a full-course meal was because , the Spartan women were expected to be strong. It was thought that a strong woman would be able to produce strong, healthy offspring. â€Å"‘†¦Lycurgus, rather, showed all possible concern for them too. First he toughened the girls physically by making them run and wrestle and throw the discus and javelin. Thereby their children in embryo would make a strong start in strong bodies and would develop better, while the women themselves would also bear their pregnancies with vigor and would meet the challenge of childbirth in a successful, relaxed way. He did away with prudery, sheltered upbringing, and effeminacy of any kind. He made young girls no less than young men grow used to walking nude in processions, as well as to dancing and signing at certain festivals with the young men present and looking on. On some occasions the girls would make fund of each of the young men, helpfully criticizing their mistakes. On other occasions they would rehearse in song the praises which they had composed about those meriting them, so that they filled the youngsters with great sense of ambition and rivalry†¦There was nothing disreputable about the girls’ nudity. It was altogether modest, and there was not hint of immorality. Instead it encouraged simple habits and an enthusiasm for physical fitness, as well as giving the female sex a taste of masculine gallantry, since it too was granted equal participation in both excellence and ambition. As a result the women came to talk as well as to think†¦Ã¢â‚¬â„¢Ã¢â‚¬  (Plutarch, 2nd century A. D. , Life of Lycurgus 14. 1-4 translation in Fantham, 1994, 62) Marriages were generally arranged between families; however, the bride and groom often knew each other. The average age for Spartan women to marry was age eighteen and was in keeping with the Spartan philosophy that maturity was essential to producing healthy and robust offspring. In preparation of the marriage, the bride was dressed like a young male with hair cropped short possibly to denote the transition in the female’s role in Spartan society. The marriage was consummated during a symbolic abduction of the bride. After marriage, the bride continued to live in her own home usually until her first pregnancy and the groom lived in the men’s communal barracks until he attained age thirty. Before the husband could live openly with his wife, the couple arranged secret meetings for the purpose of having sexual intercourse. In Spartan society, marriage was primarily for the purpose of producing healthy offspring for the state. Xenophon and Plutarch reported that Spartan husbands often shared their wives with another man in order to produce more children. It was considered acceptable for an older man with a young wife to grant permission for a younger man to have sexual intercourse with her as a means of begetting more physically fit children. In addition, a Spartan man, who wanted children but did not want to enter into a marriage arrangement, could request permission of a woman’s husband to share her sexually. There is no indication that the Spartan women objected to such arrangements; and, since many Spartan women owned land as well as managed the household, they may have seen it as an opportunity to supervise a second household; and, after all, a married woman’s duty in Spartan society was to beget and rear strong children for the state. Regardless of the motivations, it does appears that some ancient historians like Plutarch saw these Spartan customs being the reason adultery, illegitimacy and prostitution did not exist in Sparta. â€Å"the men of Sparta always did what their wives told them, and let women take part in public affairs†¦Ã¢â‚¬  Plutarch Motherhood was of primary importance for Spartan women. For much of its five hundred year history, Sparta was at war, therefore, in this â€Å"militaristic† society, it was a woman’s duty to bear and rear healthy children in particular strong and brave sons to serve in the Spartan army. The woman’s role in Spartan society was viewed by the state as equal in importance to that of a man’s. So important was the role of motherhood that mothers with numerous sons were afforded special status and those dieing in childbirth were the only women for whom markers were placed on their graves. As a result of the men in Spartan society generally being absent from the home in the early years of marriage and because of their military occupation, the care of children was for the most part left in the hands of the mother. Since girls remained at home until their marriages, they may have had more opportunity for contact with their fathers especially if their fathers were older. As boys resided at home only until age seven, contact with their fathers would have been rare. Therefore any emotional bonds that children may have formed during their early years would have mainly been with theirs mothers. Mothers encouraged bravery in their sons and did not tolerate cowardice in battle, neither did they mourn the loss of their sons in war. They took pride in the fact that their sons died defending Sparta and were known to kill their sons who had displayed signs of fear during battle. â€Å"Because Damatria heard that her son was a coward and not worthy of her, she killed him when he arrived. This is the epigram about her: His mother killed Damatrius who broke, the laws, She a Spartan lady, he a Spartan Youth. † (Plutarch, Sayings of Spartan Women, 240. f2) â€Å"’As a woman was burying her son, a shabby old woman came up to her and said, ‘You poor woman, what a misfortune! ‘No, by the two goddesses, what a good fortune,’ she replied, ‘because I bore him so that he might die for Sparta, and that is what has happened for me. ’† (Plutarch, Sayings of Spartan Women, 241. 8) By contrast, Spartan women lived in a closed society that, although militaristic, was basically patriarchal. In ancient Sparta women may have dominated their households and owned much of the private p roperty as well as being wealthy in their own right; however, there is no indication that, other than being permitted to freely and publicly comment on political matters, they had any governmental authority. Although they were considered to have had significant influence and control over their men folk, this appears to have been more in the domestic and economic arena as a result of inheritance customs, the frequent but not total absence of their husbands, and an educational system that emphasized their role in Spartan society. Unlike the Amazons, the primary function of Spartan women was to produce strong children for the state in particular warrior sons – not warrior daughters – and their physical education and training was to enhance their ability to create strong children and to withstand childbirth not to create a female warrior society. The short skimpy tunics worn by Spartan women may have resembled those outfights depicted in ancient art as worn by Amazons; however, there is no mention of the physical mutilation of Spartan females. Spartan women honoured goddesses like Artemis and Hera in ritualistic religious and athletic performances as it related to their roles as fertility and marital deities. Outside Sparta, Spartan women were looked upon as being rather immoral as a result of the wife-sharing custom, to bold and outspoken and, in general, criticized for not being the traditionally subservient female.