The Addiction Should Be Defined - 1407 Words

First, addiction should be defined. According to the Oxford English Dictionary, addiction is defined as, â€Å"The state or condition of being dedicated or devoted to a thing, esp. an activity or occupation; adherence or attachment, esp. of an immoderate or compulsive kind.† Now with this definition, it seems like people can be addicted to just about anything. That being said, there are two main types of addictions; behavioral and substance. Behavioral addiction is defined by the American Addiction Centers as â€Å"The compulsion to continually engage in an activity or behavior despite the negative impact on the person’s ability to remain mentally and/or physically healthy and functional in the home and community.† Simply put, people with behavioral†¦show more content†¦As defined by the English Oxford Dictionary, a disease is â€Å"a disorder of structure or function...that produces specific symptoms.† When an individual develops an addiction, pe ople often face changes both in their brain structure and function. In order to determine whether or not addiction is a brain disease, the brain of addicts must be looked at. Most addictions, both behavioral and substance, deal with the regions of the brain that are associated with dopamine release. Dopamine works in a small area of the brain known as the nucleus accumbens. The nucleus accumbens is also central for attention and habit formation. When functioning normally, the brain rewards us for normal activities such as eating. Dopamine levels when eating are measured and released slowly. However, certain activities and drugs cause the dopamine to be released at a far more rapid rate. This causes what is known as the state of being high. As an addict continues to abuse the drug or activity, the brain reduces the number of dopamine receptors. This causes the person to experience what is known as a crash when the effects begin to die down. This crash can lead to the addict feeling lethargic and depressed. In order to avoid this crash, addicts will continue to use the drug to stay high. However, the longer the person is using the drug or activity, the harder it will become to achieve the level of high they are looking for. 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Theory of Knowledge Full Essay- Language and Vocabulary Free Essays

Q: The vocabulary we have does more than communicate our knowledge; it shapes what we can know. Evaluate this claim with reference to different areas of knowledge. According to the Sapir-Whorf Theory, language is not merely a reproducing instrument for voicing ideas but rather is the shaper of ideas. We will write a custom essay sample on Theory of Knowledge Full Essay- Language and Vocabulary or any similar topic only for you Order Now The Sapir-Whorf Thesis states that language controls what we think and determines and limits our thoughts. Many language experts identify with the Sapir-Whorf Theory and among these is Wittgenstein, who once said, â€Å"the limits of my language are the limits of my world†. Thus, many believe that the vocabulary we have does more than communicate our knowledge and rather, it shapes what we can know. However, to what extent can this statement be said to be true? Is vocabulary really the only way to communicate our knowledge? What else can vocabulary do besides communicate knowledge? Do you need to be able to communicate your knowledge to show your knowledge? Is our knowledge only gained through language and vocabulary? Lastly, if vocabulary â€Å"shapes† what we can know, can we say that knowing more languages will gain us access to more knowledge? First of all, vocabulary refers to the body of words that are used in a particular language, such as the very words I am using to write this essay. Without vocabulary, there are no words and as a result, language is also non-existent. Imagine a life without words; we cannot describe or speak out the ideas in our mind, we cannot ask questions, or communicate with one another. In fact, even when we think in our mind, it involves the use of words. Does that mean that without words we would not have thoughts? Without vocabulary and language, we would not know most of the current knowledge that we do today. Think about the knowledge that we currently possess; many of us would agree that most of the knowledge that we currently have and understand is learnt through school, books and education— but how could we have possibly grasped all the physics theories, math formulas and others that we’ve learnt without the use of vocabulary or words? How would the teachers teach in a world where language is non-existent? Books would just be a fictitious myth if language does not exist. How could we expand our knowledge capabilities through reading if books do not exist? Thus, in a way vocabulary shapes what we can know because without vocabulary, we cannot communicate with one another and thus, knowledge cannot be passed down or shared. As a result, the knowledge we know will be limited to only what we experience or discover by ourselves. However, we would not have the ability to have knowledge about other people’s experiences or way of life and culture. For example, the Aloe Vera plant originated from Northern India and is now regarded highly for its healing and rejuvenating properties. Its antiquity was first discovered in 1862 in an Egyptian papyrus dated 1550 BC. Thus, the healing power of Aloe Vera was first discovered by ancient Egyptians, who decided to note this down on a piece of papyrus. If language had not existed and the ancient Egyptians during that time had decided not to write down the healing properties of Aloe Vera, that sliver of knowledge would not be passed down and shared among us and we would not know what we know today. We would not be able to benefit from the natural therapeutic quality of Aloe Vera. Therefore, in this example, language and vocabulary has shown to be a powerful tool for communicating knowledge. In a way, vocabulary does shape what we can know but to what extent is this true? Can vocabulary be said to be the crux of knowledge? Is vocabulary really the only method to communicate and share knowledge? Although vocabulary can be said to make up a large part of our understanding and our knowledge, it is not the only way that we can learn and gain knowledge. Another way would be through our own life experiences. For example, when we touch a hot cup of coffee and scald our skin, we learn from our own experience to be careful of touching hot surfaces as it can harm us. In this manner, we have learnt or acquired new knowledge without the use of vocabulary or communication but rather through our own experience. Our nervous system has sent a signal to our brain. Vocabulary is also not the only way for us to communicate our knowledge. Another method would be through the use of body language, facial expressions or hand signals. For example, traffic officers mainly rely on hand signals to direct the traffic at a particular junction or intersection. Through the use of body language, the traffic officer is able to communicate their knowledge to the drivers bout whether they should stop or go. In this example, knowledge is being passed on without the use of language. Similarly, by looking at a person’s facial expression or body language, we can know how they are feeling (e. g. sad, happy, angry). Furthermore, thinking does not have to always involve words. We can think in other ways such as through images. It is important to understand that to be abl e to communicate our knowledge through the use of vocabulary and language, we first have to be able to put that certain piece of knowledge into words. At age 6, my mom used to test me on my vocabulary and would ask me the definition of words. Oftentimes, I would reply her saying â€Å"I know what the word means but I just can’t explain it! † My mom would then answer, â€Å"If you can’t explain it then that means you don’t really understand it! † I would protest and tell her that I do understand but that it was just difficult to put into words. Thus, this led me to ask myself a question; do we need to be able to explain something with words to understand the concept of it? 6 year old me would beg to differ. However, I believe that even if we can’t explain things in words, it doesn’t mean that we don’t understand it. Has your friend ever tried telling you a personal problem but he says that he can’t really put how he feels into words and you replied saying â€Å"I know exactly what you mean and how you feel†? Most of the time, this happens when we have gone through the same experience and thus, we can relate to them and recall how they feel. Art is another way to communicate knowledge without the use of vocabulary. For example, using graphics or art. As Napolean Bonaparte once said, â€Å"a picture tells a thousand words†. Similarly, an artwork can communicate knowledge to us. For example, the artist Chris Jordan, turns statistics into art. One of his pieces features a picture of 2 million plastic cups stacked up above each other, which is the number of cups we use every 5 minutes. It is much more impactful to visually see the numbers than to hear the numbers. A simple picture with no words was able to relay knowledge to us and raise our awareness. Thus, even though language does restrict the knowledge that we can know, there are still other ways to interpret knowledge. Another area of knowledge we can look at is mathematics. In mathematics, language is not used to communicate knowledge, but rather, the use of numbers. Numbers are a universal language that the world can understand. 2+2 will always equal to 4, regardless of your nationality or what language you speak. Therefore, we can say that in math, language and vocabulary is not very significant. According to the statement in the question, vocabulary is said to do more than just â€Å"communicate knowledge, it shapes what we can know†. If this is true, does that mean that knowing more languages will gain us more access to knowledge? As Federccopellini once said, â€Å"a different language is a different vision of life†. Federccopellini believed that language is a way of life and the more languages you know and understand, then, the more access to knowledge that you possess. To a certain extent, this statement can be said to be true. For example, there is a word in Bahasa Indonesia known as lidah buaya. The direct translation of lidah is tongue while buaya means crocodile in English. Together it means crocodile tongue. However, people who speak Bahasa Indonesia know that lidah buaya doesn’t literally mean crocodile tongue. In fact, it is actually the name given to the Aloe Vera plant in Bahasa Indonesia! Hence, to a certain extent, it can be said to be true that knowing more languages will allow us to possess more knowledge, as we would be exposed to different cultures, which would help us to understand their way of life. However, it is also important to note that the meaning of words otherwise known as semantics, have a propensity to change and evolve over time. For example, in the past, the definition of the word â€Å"gay† meant â€Å"carefree† and â€Å"cheerful†. However, in modern times, the word â€Å"gay† is used to describe someone that is homosexual. In this example, we can see how words can change its meaning over time. Thus, if the meanings of words vary over time, how true can it be said that language is a reliable method to communicate knowledge? Furthermore, oftentimes, words are made up to explain or describe a complex set of behaviours that in truth, nobody has really observed or seen. This is known as occult quantity. For example, in the sciences such as physics, the term â€Å"electronic field† is used to define a region around a charged particle or object within which a force would be exerted on other charged particles or objects. However, we can never really prove whether electronic fields exist because we cannot actually see the field with our own eyes. The existence of electronic fields is only â€Å"proven† when physicians make assumptions based on the observations and results of an experiment. However, how do we know that the experiment results aren’t just an effect of some other unknown cause that we have yet to discover? Occult quantity leads to doubts about the knowledge surrounding a term or a word. Thus, this shows how words can be misleading or tell us false information that we will believe due to the â€Å"research† thought to have been carried out. Can these made-up terms or words be included in our vocabulary when they are not proven? How can these made-up terms or words communicate true knowledge? In conclusion, I believe that vocabulary is a crucial part of acquiring and communicating knowledge and to a certain extent it does â€Å"shape† what we can know. However, vocabulary is not the only way to acquire or communicate knowledge as shown from the examples above. (1794 words) ——————————————– [ 1 ]. http://www. ted. com/talks/chris_jordan_pictures_some_shocking_stats. html [ 2 ]. http://www. ted. com/speakers/chris_jordan. html [ 3 ]. (http://east. merriam-webster. com/dictionary/electric%20field) How to cite Theory of Knowledge Full Essay- Language and Vocabulary, Essay examples

The Lottery and The Ambitious Guest

One of the prominent themes, commonly explored in the works of literature, is a blindness of one’s fate. Apparently, it is being quite impossible for the people to proceed with indulging in a variety of cognitive activities without noticing that it is namely the factor of uncertainty, which defines the actual outcome of their even seemingly well-planned undertakings.Advertising We will write a custom essay sample on The Lottery and The Ambitious Guest specifically for you for only $16.05 $11/page Learn More In its turn, the exposure of fate’s blindness is best achieved by the mean of authors utilizing the rhetorical element of irony. The reason for this is simple – by emphasizing ironic undertones of how characters go about addressing life’s challenges, authors increase the emotional appeal of their stories. After all, just as it is being the case with many literary characters trying to adjust the surrounding reality to correl ate with their deep-seated idealistic/irrational anxieties, the members of reading audiences are being naturally inclined to seek purposefulness to their existence. However, given the fact that such their inclination stands in striking opposition to the actual essence of nature’s workings, it does not come as a particular surprise that eventually, most of them end up experiencing certain disillusionment, as the result of having realized the sheer erroneousness of their idealistic attitudes towards life. Therefore, upon being exposed to a literary irony, concerned with accentuating fate’s blindness, readers are able to confirm the validity of their own experiences, in this respect. In its turn, this causes them to them to think of the stories/novels that feature the prominent elements of irony, as such that represent a particularly high literary value. In this paper, I will aim to explore the legitimacy of an earlier suggestion in regards to how the deployment of a lite rary irony had helped Shirley Jackson and Nathaniel Hawthorne to emphasize the philosophic significance of their short stories The Lottery and The Ambitious Guest. As people go through life, they tend to assess the qualitative essence of their experiences, concerned with addressing life’s challenges, in terms of ‘fairness vs. unfairness’.Advertising Looking for essay on american literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More Such their tendency, however, appears highly irrational, because it is often being the case that what people tend to consider the emanations of ‘fairness’, in regards to the lives of others, seem highly ‘unfair’, when assessed through the lenses of their own existential experiences. The validity of this idea can be well illustrated in relation to Jackson’s short story. After all, even though that is it appears from this story’s context, the character of Mrs. Hutchinson used to participate in playing the lottery on numerous occasions, it never occurred to her that there was any unfairness to the stoning of lottery’s previous ‘winners’. In fact, she even had a hard time while trying to conceal her excitement, in respect of having been provided with an opportunity to observe the spectacle of a next lottery’s ‘winner’ being put to death: â€Å"I looked out the window and the kids was gone, and then I remembered it was the twenty-seventh and came a-running† (Jackson). Nevertheless, after having realized it is was her husband Bill who pulled out the ‘lucky’ chip this time, Mrs. Hutchinson started to exhibit the sings of uneasiness with what was about to follow. Yet, while being unable to prevent the stoning of her husband by the mean of appealing to participants’ sense of rationale, Mrs. Hutchinson could not think of anything better to do but to accuse Mr. Summers of the fact that he did not allow Bill to take his time, while deciding on which wooden chip he should have picked. To substantiate the legitimacy of her claim, Mrs. Hutchinson invoked the notion of fairness: â€Å"Tessie Hutchinson shouted to Mr. Summers. ‘You didn’t give him time enough to take any paper he wanted. I saw you. It wasn’t fair!’† (Jackson). Given the fact that, as it was the case with Mrs. Hutchinson, village residents were just as concerned with ensuring ‘fairness’, as their lives’ foremost prerogative, they did allow lottery’s redraw. As a result, Mrs. Hutchinson ended up pulling out the ‘lucky’ chip herself.Advertising We will write a custom essay sample on The Lottery and The Ambitious Guest specifically for you for only $16.05 $11/page Learn More Nevertheless, despite the fact that this time she did not have any formal excuses to complain about the ‘unfairn ess’, Mrs. Hutchinson proceeded with referring to her ‘luck’ with picking out the designated chip as being utterly unfair: â€Å"’It isn’t fair,’ she said†¦ ‘It isn’t fair, it isn’t right,’ Mrs. Hutchinson screamed† (Jackson). It is needles to mention, of course, that there is a prominently defined irony to Jackson story’s conclusion. After all, nobody forced Mr. Hutchinson to start making public appeals to ‘fairness’. Therefore, it is utterly ironic that, while referring to her rather acute sense of ‘fairness’, as the driving motivation behind her demand for lottery’s redraw, Mrs. Hutchinson had in fact brought about her own demise. In its turn, this point out to the full validity of a highly ironic saying – ‘be careful about what you are wishing for’. Apparently, the actual tragedy of one’s existence is not being concerned with the fact that, as time goes on, he or she is having a hard time, while trying to assure ‘fate’s smiling’, but with the fact that very often such ‘fate’s smiling’ appears to have strongly defined negative connotations to it. Essentially the same argument can be utilized within the context of discussing the significance of a literary irony in Hawthorne’s story. As it appears from this particular story, the character of young traveler never ceased experiencing an acute sensation that he was destined for something great. Moreover, traveler’s greatness-related anxieties were not as much concerned with his intention to become a socially prominent individual in physical life, as much as they were concerned with his desire to attain post-mortem fame: â€Å"The secret of the young man’s character was a high and abstracted ambition. He could have borne to live an undistinguished life, but not to be forgotten in the grave† (Hawthorne) . Apparently, the traveler was endowed with a so-called ‘Faustian’ psyche, the workings of which are being concerned with an affiliated individual’s subconscious and highly idealistic desire to live for something greater than simply the satisfaction its animalistic instincts, as it is being usually the case with people endowed with a so-called ‘Apollonian’ mentality.Advertising Looking for essay on american literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More Nevertheless, ‘Faustians’ are being just as subjected to the objective laws of nature as ‘Apollonians’ are. Given the fact that the principle of uncertainty (Heisenberg’s principle) defines the very essence of how natural laws affect the surrounding reality, it does not come as a particular surprise that idealistically minded people’s strive to ensure the ‘purposefulness’ of their lives often falls short of its objectives. After all, it is specifically their exposure/non-exposure to purely accidental events, which define these people’s actual chances to attain social prominence – whatever the emotionally uncomfortable such a suggestion may sound. Therefore, the novel’s scene in which traveler dies during the course of an avalanche (which presupposes that his grave will forever remain anonymous), cannot be referred to as anything but highly ironic. It is not only that the cottage where traveler had stopped for the night was left untouched by the avalanche: â€Å"Down came the whole side of the mountain, in a cataract of ruin. Just before it reached the house, the stream broke into two branches – shivered not a window there, but overwhelmed the whole vicinity† (Hawthorne), which means that the traveler would have survived, had he stayed inside, but that contrary to traveler’s expectation, his death proved essentially futile. Thus, just as it is being the case with highly ironic sounding of Jackson novel’s conclusion, the highly ironic conclusion of Hawthorne’s novel was meant to emphasize fate’s blindness. I believe that the provided earlier line of argumentation, in regards to what should be considered the significance of both stories’ clearly ironic sounding, is being fully consistent with paper’s initial thesis. By utilizing the rhetorical element of irony, Jackson and Hawthorne were able to increase the emotional appeal of their s tories. Even though that the settings of both stories imply the apparent incompatibility between earlier discussed characters’ existential modes, these stories’ reading does advance the idea that, regardless of what happened to be the particulars of people’s cultural or social affiliation, they are being equally subjected to the strikes of a blind fate. Therefore, even though that formally speaking, both stories can be best described as being rather depressing, they nevertheless emanate a strong humanist spirit. After all, these stories do encourage readers to consider the possibility that there is no ‘fairness’ to be found in life – hence, increasing their chances to adopt a proper attitude, when it comes to tackling life’s inconsistencies. Bibliography Hawthorne, Nathaniel. The Ambitious Guest. Classic Reader, 2010. Web. http://www.classicreader.com/book/187/1/ Jackson, Shirley. The Lottery. American Literature, 2003. Web. https://am ericanliterature.com/author/shirley-jackson/short-story/the-lottery This essay on The Lottery and The Ambitious Guest was written and submitted by user Fletcher K. to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Loyalty in Classic Literature Essays

Loyalty in Classic Literature Essays Loyalty in Classic Literature Essay Loyalty in Classic Literature Essay â€Å"Hero, a person, typically a man, who is admired or idealized for courage, outstanding achievements, or noble qualities.† (Unknown) Many aren’t known as heroes, but when you dig down deep in their life, and realize how they treat others, their strengths, their braveness, quickly you realize a hero. Beowulf, Hector, and Hercules all have many characteristics as to how they are a hero, but with loyalty, braveness, and their unnatural strengths, they are automatically all considered a hero. Beowulf, the Iliad, and Hercules all show characteristics of loyalty, especially when it comes to their community. Beowulf is very loyal to his men, by telling them to back off, he will fight the monster alone. Loyalty comes in with him doing this for Hrothgar and the protection of his men, â€Å"so Hrothgar’s men lived happy in his hall† (Raffel 15). In the Iliad, Hector is very loyal to his city, Troy, as he even goes up to fight for the city and ends up getting killed while in the battle against Achilles. â€Å"After an inner struggle in which he considers simply bargaining with Achilles peacefully, Hector decides to fight to the death.† (Fagles, intro). Hercules also shows loyalty by staying faithful to Gwen, his lady friend. Even when she passes away, he travels all the way to Haities to save her. Also in his city, Hercules was also very dedicated to his people. In a city, being a hero means being very brave and taking risks for everyone. After defeating Grendel, Beowulf came back twice in order to kill Grendel’s mother and a fire-breathing dragon. Although during his battle with the dragon, Beowulf was fatally injured. â€Å"Beowulf arose, with his men around him, ordering a few to remain without their weapons† (Raffel 134-136). In the Iliad, Hector is brave for going up to fight against Achilles, the mightiest of warriors. Hector screaming and panting states, â€Å"No more running from you in fear, Achilles!† With no fear, Hercules stays

Parts of a Story The 11 Essential Story Elements You Need to Get Right

Parts of a Story The 11 Essential Story Elements You Need to Get Right Parts of a Story: The 11 Essential Story Elements You Need to Get Right Knowing the parts of a story are essential for getting your book right.Without constructing your book with these in mind, you could be taking the book idea you really love and need to get out into the world and just throwing it away.And if you really want readers to not only experience your story but to enjoy it, keeping these parts of a story top of mind is crucial.Here are the 10 essential parts of a story:CharactersSettingPlotConflictResolutionThemesMoralsSymbolismPoint of viewPerspectivePulling it all togetherNOTE: If youre ready to craft a strong story (with the help of an established fiction author as your coach), check out our VIP Fiction Self-Publishing Program. Learn more about it hereWhat are the parts of a story?There are infinite ways to write a book and tell a story.You can use endlessly different story structures and styles, but each story or novel is going to boil down to three fundamental elements: character, setting, and plot.These are your story’s main course , but what’s a meal without side dishes?We’re also going to cover conflict, resolution, themes, morals, symbolism, point of view, and perspective: what they are, how to use them, and how all of these literary elements work together to make a complete and filling dinnerI mean storyI’m hungry.Parts of a Story Plot: Characters, Setting, Plot, Other Story ElementsOnce youve got a solid story idea, the real work begins.Here are the 10 essential parts of a story every writer needs to get it right. Without these, your story (whether youre writing a short story or a full novel) will fall flat.#1 Characters Your audience should feel different levels of closeness to your different characters, depending on if they’re main, secondary, or background character.But one key thing to keep in mind about including characters is, if your character is important enough to have a name, they’re important enough to have a goal. What do your characters want? Their desire can be simple or complex, tangible or conceptmaybe they want a job, a house, approval, a child, contentment. If your character doesn’t want something, they won’t be compelled to act.Download this character sheet to dive deep into understanding your characters motives better: Download your FREE character development worksheet!If your character isn’t acting, they’re passive or they’re just a plot device. You want to avoid both, and this is usually accomplished through strong character development.#2 SettingThe setting is when and where your story takes place.Aside from the physical location and position in time, your setting can include:weatherpolitical climatesocial normscultural influencesTake the time to consider these aspects to build a complex world for your characters to interact with.Particularly in fantasy and sci-fi worlds, a lot of planning goes into establishing a convincing and engaging story setting that can either add to your plot or take away from it.#3 PlotYour plot is the actual storywhat happens, when, how, why, and what’s the result?There are a lot of different ways to structure your plot, but in general, a plot arc has five main points:Set-up/exposition The beginning part of your story where you establish the world, the characters, the tone, and your writing styleRising action The rising action is usually prompted by your inciting incident. Here, you escalate tension and problems, explore your characters. This is the biggest chunk of your book.Climax This is the sort of â€Å"moment of truth.† The culmination of everythingthe highest point of tension. The point the plot has been leading up to.Falling action What goes up, must come down. This is where you resolve any subplots and side stories.Resolution Wrap up.Heres a quick visual representation with explanations below:Guy Rolls Down Hill In Tire Towards CarDONT try this at home That was close! 😠¨Ã°Å¸Ëœ ¬Posted by UNILAD on Monday, August 13, 2018Heres what happened in the plot of this video:Set-up: Supporting cast prepping to roll our main character down a hill in a tire. We can tell from the vibe and energy that this is just some classic lad antics.Rising action: The tension builds as our MC gains momentum, and we can’t tell what’s going to happen.Climax: Our MC is speeding down the hill at this point, when he nearly collides with a moving vehicle! Then he disappears into the water! Is he okay? Tension is at its highest.Falling action: Our hero is safe! The vehicle and driver are fine.Resolution: His stoned pals cheer him on. All is well.Along with our three fundamental story elements, we can dive a little deeper and discuss conflict and resolution.#4 ConflictYour conflict should rise throughout (peaking at the climax).During the editing process, a good practice is to look at each scene and ask if there is conflict within it. Here are some questions you can ask yourself (or your beta readers):Does the scene add to the overall plot?Does the scene advance internal or inter-character relationships?Does the scene add to a subplot?Does the scene answer or bring about any plot-crucial questions?The conflict could lend to the overall plot, a subplot, conflict between characters, or ev en a smaller conflict that is resolved within that scene. For a story to be interesting, there needs to be conflict.Scenes that don’t add to that are fluff.#5 ResolutionI want to talk a little more about resolution, since it’s so important. How you end your story is what will sit with readers the longest.What’s the culmination of all we went through during the story? What did the characters learn that led them to the decisions they ultimately made? By the end of your story, all of your conflicts should have a resolution.In some cases, conflicts are intentionally left a bit open-ended without a solid resolution, but this should be done intentionally and there should be some sort of resolution, even if it’s an unsatisfying ending with a little remaining mystery.Further boiling a story down will reveal elements like themes, morals, and symbolism.#6 ThemesA theme is your story’s main takeaway. Your story can have one theme, or several.Some examples o f themes include:Coming of agewhat struggles come with it, what’s good about itForgivenesstrying to achieve it, avoiding it, accepting itDeathovercoming it, processing it, fearing itLoveovercoming it, processing it, fearing it (lol)EmpowermentDisplacementMotherhoodInjusticeGood versus badThe list is literally endless.The theme of your story helps to focus the narrative and answers the question: What’s the point? What have your characters learned? How are they changed, and what will they affect now that they are different?#7 MoralsThe moral of your story is related to themewhat message do you want your story to convey?If the theme is what the character learned, you can think of the moral as what the reader learned. Let’s take a coming of age narrativewhat are possible morals in that type of story?Don’t grow up too fastFollow your dreamsListen to the wisdom of othersAccept yourself as you areAppreciate where you are and what’s happening nowConsider what morals you want to convey, but avoid directly stating them when writing your book. This is part of the experience of reading your storyand thats for the readers.#8 SymbolismSymbolism is a literary device used to convey subtle meanings.A symbol can be anything from an object, a character archetype, an animal, an occurrence in nature. A window, an estranged father, a lion, a storm, a desk, a fire. Symbols have meaning connected to them.Here are some examples of symbolism in stories:A window might signify freedom, longing, hope.A lion might be bravery.A storm might be impending doom or threat.A desk could indicate creativity, work, neglect.It all depends on the context of the story and the connotations you assign to your symbols.Themes, morals, and symbolism are fun writing tools and parts of a story to work with, but be cautious of relying on them. They’re icing and sprinklesnot the cupcake.#9 Point of viewThe point of view of your story is simply who is telling the stor y. The most common in fiction are first-person, third-person limited, and third-person omniscient.First-person POV:First-person is the main character telling the story. It uses the pronouns I, me, myself.A strength of using first-person is that your reader will connect with your character very easilythe reader essentially becomes the character. If done well, this is a very intimate reading experience.A weakness of first-person is that your storytelling is limited to that perspective. It’s difficult to tell an entire story with a single, first-person narrator. It can be done, but it takes more effort than it might with a different point of view.Heres a first-person point of view example from my collection of short stories, Little Birds.Third-person limited POV :Third-person is an outside narrator telling the story. It uses the pronouns he, she, they.Even though it’s an outsider narrator, third limited keeps us in the point of view of our character(s)the reader only know s what the character knows.A strength of third-person point of view is the versatility. It’s much easier to have multiple point of view characters with third-person, as opposed to first. You can also flow between third limited and third omniscient in a novel.The weakness is you don’t get the closeness to the character you have in first-person, though this can still be created through strong character development and using the rule of show, dont tell.This is an example of a third-person point of view in Jenna Morecis The Saviors Champion.Third-person omniscient POV:Third omniscient is when an outside, all-knowing narrator tells the story. Third omniscient can jump into any character’s thoughts and knows things about the story the characters might not know.The omniscient narrator knows everything happening in the universe.The obvious strength of third omniscient is ease of storytellingyou’re not limited to any one character’s knowledge.The weakness i s you’re even further from your character and it’s that much harder to forge a connection between your characters and your readers.Author Erin Morgenstern does a great job with this point of view in her novel The Night Circus, seen below.# 10 PerspectiveEven though â€Å"point of view† and â€Å"perspective† are often used in the writing community interchangeably, perspective is actually different.Perspective refers to the character’s interpretation of the world and their attitude toward it. A character’s perspective can be determined by their personal storytheir upbringing, their opinions, their socioeconomic status, their education level, etc.Considering your character’s worldview when deciding their morals and actions will make your characters and story feel more authentic.While you outline your book and storys plot, characters, and setting, don’t forget to consider everything else we’ve covered. These elements work together to tell a complete and engaging story.#11 Put it all togetherYour story is more than all of these separate parts. You need to have a way to put them together that makes sense.You need a systemWhich is exactly what Self-Publishing School provides.

The Great Debaters Movie Review Example | Topics and Well Written Essays - 500 words

The Great Debaters - Movie Review Example One possible reason for the story not being well known is the basic character and foundational principles of Wiley College itself. From the historical description of the college the school’s basic character is unpretentious with a quiet demeanor preferring to be sublime and not one to seek the spotlight (cite). From its inception in 1873 emphasis and the primary focus of the school’s mission has been on offering a quality education in a environment in which developing the potential in the students has been the priority (Wiley College). 2. Farmer also says â€Å"We do what we have to do, so that we can do what we want to do.† What do you think that means? What things did the debate team â€Å"have to do"? What things did they gain the right to do? James Farmer, Sr. as a black man living in America during the 1930s had experienced the injustices of racism in his lifetime living in the south. Guessing his age in the movie between 35 and 40 he had lived and seen the plight and fight of black people who had only been removed roughly 70 years from slavery. Because of the short time blacks had freedom to make choices Farmer had come to the realization that in order to improve one’s self and others required continually enduring the ill treatment of society.

Construction and culture- Old Trafford Stadium (Manchester United Research Paper

Construction and culture- Old Trafford Stadium (Manchester United Stadium) - Research Paper Example Old Trafford was the premiere stadium to have a ring of seats and stands that completely surrounded the pitch. Opened in 1910, Old Trafford was originally intended to hold eighty thousand spectators, making it the second-largest sports ground in the country following Wembley Stadium. The clubs rich history from its founding in 1878 to date is all preserved in the Manchester United Museum whilst the Hall of Fame reveres numerous soccer athletes who have assisted the team, Manchester United, rule the English football league throughout the years. The Trophy Room displays sufficient silver and brass that can try to outshine the Crown Jewels. Introduction The Industrial Revolution began in the late 18th century in England. It has been extensively well-known that from the conclusion of the 18th century, essential economic and social transformation occurred in England and afterward, in other places, including a remarkable increase in countrywide population sizes, brought about by a more rap id growth of existing towns and cities, changing birth and mortality rates, predominantly in capital cities as well as the manifestation of new social classes associated to people’s place as workers within the industry or as the owners of industries in the manufacturing process. In addition to the aforementioned reasons for the economic and social developments, progress in transportation and networks of communication also propelled the movement. The Industrial Revolution, as noted by historians, was marked by important changes in society. These changes incorporated advancements in agriculture, such as the implementation of new systems of farming and the creation of new equipment which permitted for an amplified availability of food as well as the expansion of new machinery in industrial manufacture from increases in information that were more often than not the product of informed empiricism and practical experiences. This revolution and its civilization at the time, saw to t he spread of the football culture in Britain and consequently to the construction of soccer stadiums. Old Trafford In its early days the Manchester United (Newton Heath) club used to play on different pitches before moving to North Road Monsall in the year 1880 (Manutd.com- The Official Website, 2011). This pitch was among the worst pitches in the entire league. It was always covered with the smoke from the nearby industry. It is also to mention that poor condition of the pitch was due to the uneven cover of gravel to marsh. The pitch was originally opened in 1909, after the club shifted its base from their old ground at Bank Lane, Clayton. An interesting observation is that the pitch only had one covered stand, with standing room only, for several years but it offered untold luxuries - tea-rooms, tip-up seats and attendants to politely point the way. Following serious financial debt and expenses, Sir John Henry Davies rescued the team from grave bankruptcy and renaming by giving aw ay a grand total of sixty thousand pounds in 1909 for the purchase and development of a site at Trafford Park. The novel ground next to the Bridgewater Canal, which was near the Northern end of the Warwick Road in Old Trafford, was complete and ready