Reserch Into Memory Recall Essay Example for Free

Reserch Into Memory Recall Essay The main three systems of operation of memory are known as the Multi-Store Model (Atkinson amp; Schiffrin 1968), the Working Model of Memory (Baddeley amp; Hitch 1974), and Levels of Processing Model of Memory (Craig amp; Lockhart 1972). Multi Store Model Figure [ 1 ] http://www. smartpsych. co. uk/wp-content/uploads/2010/04/msmmodel2. png Key features of MSM: * Three types of memory stores – sensory, short term and long term (any stimulus must pass through one or more of these in sequence). Each store retains a different amount of information based on how much the store can retain. * Each of the stores retains a different amount of information in a different way and for a varying length of time. The sensory memory is responsible for taking the information from one of the sensory organs and holding it in that format, prior to transferring the data to the short term memory, and then dependent on the form of rehearsal (either by maintenance or elaborative rehearsal), is stored in either the STM or LTM. The information from any one of the sensory organs is encoded into the STM as one of the following: * Iconic (visual) stored as an image. * Echoic (acoustic) Auditory input from the ears and stored as a sound. * Taste * Haptic (touch) * Smell An example of Iconic sensory storage was demonstrated by Sperling (1960), whereby he tested participants by using a tachistoscope which flashed pictures onto a blank screen for a very brief amount of time. He then tested them on their ability to recall as many of them as possible from a grid of twelve that he would display for one twentieth of a second. His findings showed that whilst they could only recall approximately four images, the overall suggestion was that they had seen a lot more, but not enough time to record them. The presentation of the images was followed by three tone levels of high, medium or low which instructed the participants which rows they should focus their iconic memory on. Recall rate recorded was on verage three out of the four symbols from any one row, which suggests that the iconic store has a retention capacity of approximately 76%. Sperling reported that if a delay occurred between both the presentation of the grid and the sounding of the tone then an increasing amount of information would be lost gradually (50% after 0. 3 seconds and 67% after 1 second delay) (Baddley, 2002). The short term memory has a retention duration of 0-18 seconds, and a capacity of 7(+/-2), as demonstrated by Miller’s (1956) experiment of chunking. He discovered that our capacity to retain information can be increased by chunking large amounts of information together, otherwise referred to as trigrams (3 letter combinations). The length of time information can be retained is only a few seconds in the STM if not rehearsed, whereas rehearsal can increase that from anywhere from a few seconds too years. Peterson and Peterson (1959) found that the STM fades in under half a minute if not rehearsed, within 3 seconds this is reduced by 80% and only 10% of information remains after 18 seconds. The LTM (long term memory) has an unlimited duration and capacity, although these memories can decay over time and become displaced (shunted out of the way in place of new ones). Long term encoding can be semantically associated in which by we link things together, such as school, tie, and teacher. Although there is the possibility of incorrectly making additional connections dependent on the individual LTM and what is personally associated with the key word.

Application Of Sound In Movies And Games Film Studies Essay

Application Of Sound In Movies And Games Film Studies Essay Approaches to Game Audio. Modern computer games are undeniably becoming more realistic and cinematic. As graphics become better quality and game consoles become more powerful, the distinctive line between films and computer games that was set in the 1970s now hardly exists. Graphics have a big part to play in films and modern computer games, but an even bigger part of films in my opinion is the music and the sound in the film general. The music helps create the tension, emphasise dramatic moments in the plot and giving films another dimension to what is shown on screen. These techniques in music and sound/sound effects in film have been taken and used into the production of the modern computer game. Although the music and sound in film and modern computer game may have the same cinematic practice, the way it is implemented in computer games is very different. This is because of the interactive nature of the gaming environment in the computer game. Throughout this assignment Im going to be looking at what kind of strategys game audio developers have created and adopted from film to produce effective audio in the music, dialogue and effects in computer games. We will firstly be looking into the techniques on how film music and sound is made, and the different strategies have been used to produce them. Then at the strategies and techniques on music for modern games, then discussing and evaluating the different and similar techniques and strategys that computer games have adopted. Sound in film Music and sound have always been a big part of film. Even before technology was advanced enough to play dialogue or music, silent films would normally accompanied by a pianist or even a whole orchestra. But why is sound so important to film? Composer Aaron Copland describes five purposes of film music which we will be going into detail about: Creating a convincing atmosphere of time and place; Underlining psychological refinements the unspoken thoughts of the character; Serving as a kind of neutral background filler; Building a sense of continuity; Underpinning the theatrical build-up of a scene, and rounding it off with a sense of finality. (Copland 1975: 154-5) Creating a convincing atmosphere of time and place Composers can achieve creating a time and place by capturing the musical colour, creating the feeling that the music would be created in that location or time. They can achieve this by using instrument of that era or location- Bagpipes would suggest the scene was in Scotland, while a String quartet could symbolise a Scene from the 1800. Although this is an effective way of locating the film musically in some respects, sometimes the composer or director of the film may not want to use authentic Chinese  music but just want to achieve a Chinese flavour or colour by using a pentatonic scale with Western instruments (Source 1) This can create a better effect overall, hinting towards where the scene is musically without using unwanted interments. Underlining psychological refinements the unspoken thoughts of the character In some instances, music can portray a psychological element much better than dialogue can. This type of film music seems more effective if the composer reads over the script at the creation stage, making suggestions on where he would like the music to be. Far too often, however, this possibility is passed over and music is not allowed to speak (B source 1). Music can also give the viewer a better understanding on what is going on within the head of a character, not specific detail, but an overview. Leonard Rosenman  thinks that The musical contribution to the film should be ideally to create a  supra-reality, a condition wherein the elements of literary naturalism are perceptually altered. In this way the audience can have the insight into different aspects of behaviour and motivation not possible under the aegis of naturalism. This show that music can give a film another dimension, bringing out emotions and insights into characters where film without sound cant. Serving as a kind of neutral background filler Through research many composers feel this is one of the hardest things to do within composing a piece of music. Roy A. Prendergast point out that creating background music for a composer calls for him to be at his most subordinated. At times one of the functions of film music is to do nothing more than be there This shows that sometimes music is just needed to blend in the background as though it would exist as sound rather than as constructed music. Building a sense of continuity What is meant by continuity in film is that music can hold a film together Music can tie together a visual medium that is, by its very nature, continually in danger of falling apart (B source 1).The editor of the film will probably be the most aware of this particular attribute of music in films. Music can also bring a film together as a whole using a unifying musical idea. Underpinning the theatrical build-up of a scene, and rounding it off with a sense of finality When used correctly, music can add a huge amount of intensity and intimacy to a scene, it can evoke a gut reaction unobtainable in any other way (B Source 1) But music isnt a miracle worker, a lot of good composers have been asked to create music for a weak scene, hoping that it will the scene stronger. But if the scene is weak it is near impossible to make it stronger, and sadly it is normally the composer who critics blame. Three forms of music The sound in Cinema takes on three different forms: Speech, Music or Noise. Speech The dialogue in films are spoken by the actors or narration heard as a voice over (Source 2). A major component in speech for films is an automated dialogue replacement. When recording on set there is normally back ground noise of traffic or planes flying overhead, this drowns the actors lines out. Because of this, the dialogue is recorded within a studio. Recording dialogue in this way makes it possible for actors to make their lines more dramatic then recording on location. An example of this is the screaming by the actor in Jurassic Park actually was recorded in the sound studios in New York and Los Angeles (source 2). In the studio an ADR expert would match the new recording with the film, making sure that they were properly in sync so that the audience isnt aware of it being recorded in a studio. Music Music is a very powerful component to a film, in many different ways. For example in musicals such as The Sound of Music (1965) the music trys to captivate the audience creating an emotional response when music and words are linked in a scene (B source 2). Music also helps explain and move the plot instrumentally. Themes are very commonly used for individual characters, for example Star wars when Darth Vader appears on screen his theme music is played. There are two different types of film music. Firstly there is Source music, which is the realistic part of the scene; Street Musicians, Rock band playing in the background etc. The second film type is Underscoring; Music motivated by dramatically consideration (B source 3). The composers are normally not needed until a rough cut of the film is made, or even later. Within films that have to be shot in time with music that does not exist yet a temporary music track may be played on set (B source 3). Many films without music feel very empty; this is why films are normally pretracked. The editor would cut scenes to stock or classical music so that the tempo and phrasing lend structure to the footage. Composers then have the task too music that is similar but different. In scoring, one of the first steps is deciding which scene will have music; this is called spotting. The composer will have to cue the start and end of the scene with a stop watch. The music editor will then create a time sheet or breakdown which will change the feet of the film into seconds, or even smaller time scale. He will then detail the action in a cue, making it easier for the composer to write any way he wants, The closes synchronisation of music to action is called Mickey-mousing' (B Source 3) There are two main types of cues in films. Long Cues which are length normally classical pieces of composition, an example of this is a scene from Gold finger where planes are dropping sleeping gas on to a military base, throughout this scene that lasts over two minutes, the same composition is played throughout. Short cues are normally just a few bars of music; this normally acts as punctuation. For example, in many horror films when someone is going to be stabbed with a knife, this is normal accompanied with a strings playing a high sustained chord, giving a sense of anticipation and making the audience uncomfortable. At the recording stage of the music, the conductor of the piece is alerted by a streamer, a three-foot scratch in the film at the end of which a punched hole producing a light on the screen that acts as the starting cue. For the additional short cue scenes, there are similar streamers that will alert the conductor. Throughout the recording, the conductor will normally have a set of headphones where he can listen to the dialogue or a click track. Noise This can be any other sound that can be heard within the movie for example footsteps or birds. Usually the quality recorded on set is poor, which means that special sound effect (SFX) have to be produced in a studio. To produce these sound effects, sound technicians called Foley artists will record different sound effect with items in a studio. For example to create a horse walking, the Foley artist can use two half of a coconut and tap them on the table or floor, or using a metal sheet to create the sound of thunder. Many of these sound effects can be bought digitally from companies that have noise libraries for a cheaper cost then to get Foley artists. But many producers for major motion pictures will employ people and spend more money on Foley artists to create custom sounds for the movie. Timing There are two different timings within films: Viewing Time and Story Time. Viewing time means the physical length of the film. This normally differs from Story time, which is the time that passes within the film itself. Films can normally cover a few years in the characters lives, but most films that we see only take around a couple hours to watch. Viewing time becomes an instrument of the plots manipulation of story time. (B Source 3) Matching a sound or dialogue within the films images is called synchronization. When dialogue or sound is synchronized properly, the audience will not normally be able to tell if everything has been over overdubbed, or sound effects have been added. Sound in games The process of producing game audio resembles in many ways the production of film audio. Game audio follows the same five purposes of film rules made by Aaron Copland, has similar recording techniques for live sound and Foley, and use many of the same software and recording equipment. A lot of game play, i.e. the battles or the big set pieces, essentially has to be scored in some form or fashion. So thats all similar to a film. (B source 4) Although these traits are very similar between game audio and film audio, there are very distinctive differences in the processes. Most of film audio is normally done on the post-production stage, which takes place after the film has been edited and the visuals have been locked (the final version set) (B source 4). A large amount of time is spent mixing and balancing the sounds at this stage, which is one of the most significant differences between film and games sound. Post- production within film doesnt generally exist within game audio. This is because the timings are variable, the music needs to adapt to the game play. The reason for this is because some game players may vary greatly in the length of time needed to complete a level, and often they can complete tasks in different ways. The way they have come across this hurdle is by creating adaptive audio or interactive audio to others. To find out how game audio makes this adaptive or interactive audio, we are going to look through the three production stages. The three stem can be found in the same file or separate files depending on the individual or companys choice. Pre Production The first step on pre production for game audio is the creation of an audio design document. An audio design document contains the details of the design and implementation of the games audio. At this early stage, the audio team dont have much information; they may only have storyboards and characters sketches on which they have to develop an audio design document. But with this information the can start at an early stage of the production, making sure that the audio plays a significant role in the game. The first thing is to determine what type of game it is, finding out the genre and theme for the audio. One technique of finding out the right genre is by creating a temp track. A temp track means placing pre-existing music where the final composition should be. This helps the composer have an idea on where to work from. The second step is how the sound will interact with the gameplay. Rules will normally be placed out by the games designer describing what role the sound design will have within the game. The next stage is to find out which parts of the game should have ambient sound and music. This is known as spotting, it involves defining cue point entrances, exits, play-ins/play-outs, and game state changes, as well as deciding if the games variables (such as players health, surface properties, and so on) will be used to change sound parameters(B source 4). To help the music fit into context with the game, a music cue list can be created. This helps break down the storyboard or script into segments and chapters, creating an individual map for the game, as well as for each individual level. At theses first stages the audio team will need to look for spots for environments, action, pace, tension/release, objects, characters/personalitys and so on. Another important step is spotting the game in terms of emotion; Within a games there is normally movement or a certain rhythm in terms of emotional peaks and valleys (B source 4). To help the sound designer which sounds may interfere with one and another and which sounds need emphasis, an emotion map can be created showing tension and release points. At this stage level descriptions are broken down into different sound types, for example ambient noises, weapons sounds, Foley etc. These sound types will be created within an asset list which can be used at a later stage too track recording in order to reproduce sounds at a later stage, if necessary Production At this stage the production of game sound is normally taken place in several different locations. Like production of film sound: sound libraries are used and normally these effects are layered and manipulated to create the right effect. Bigger companies may have a dedicated Foley studio where Foley artists are hired and are told to create original sound effects for the game. The same techniques in film are used in game audio for sound. One of the most useful techniques that are being used in game audio is the processing of digital signal processing (DSP) in real time. Being able to do this saves a lot of recording time for the sound developers. Before processing DSP in real time effects on certain sounds had to be re-recorded individually, for example; to get the effect of footsteps to change when walking from, say, a stone path into a cave, the effects would have to be pre recorded onto the footsteps file (B Source 4) But now only one sound sample of footsteps needs to be recorded, this is because the DSP filters can be set for location, making the audio responded physics graphic engines which can create more realistic sounding effects in real time while playing the game. The final part of the audio production process is the integration of the music, sound effects, and dialogue. The integration of audio into game decides how the audio will be triggered within the game. This also controls what part of the audio might change the games state or the games parameters. For example Music or ambience tracks may be triggered by location, by game state, by time-ins or time-outs, by players, or by various game events. For the composers music to work with the game, it must be able to integrate into it. Cutting the music into chunks, splits or loops may help in creating a much more dynamic score for the game. An hour or so of music can be stretched out to many hours by cutting it up and looping it. To make it easier to cut, normally the songs have to be quite rhythmic. In game music compositions, the composer will normally make sure that the music is played within the same key throughout. This is because it is easy for sections to be cut and looped without the audience realising. The music composers for Red Dead Redemption composed the music by creating many riffs and small composition lasting less than a minute each, all within the same key. After mastering each one individually, they then put it into the music engine of the game where segments of the musical material are constantly chosen at random an put together to form a piece of music. (B source 5) Music can not only be cut, but also elements of it can be changed in real time in the game engine, for example DSP effects, tempo and instrumentation. Software such as Wwise and FMOD are being used much more these days to create editing such as this. This is because the software lowers cost and production time, and makes it easier to integrate a more dynamic score within the game. Segments of the musical material are constantly chosen at random and put together to create a piece of music. Post Production stage At this stage of production the main task is the mixing of the audio. The mixer has to find anything within the mix which is unnatural, too much repetition or anything having an unnatural imbalance. Within current games, the different stems of audio are competing with each other because they are all in the same aural space. This gives a great risk of sounds being in the same sound range and masking each other out. This is also problematic within film, but because of the unpredictability on where different sounds are going to be heard in a game, makes the mixing an even more difficult task. A strategy mixers have used to tackle this obstacle is by prioritizing sounds real-time in games. Using FX and ducking the music when dialogue happens, is an effective way of making sure needed information is passed on to the player. Another effective technique is making certain frequencies in the music quieter; this makes room for the dialogue to be heard and the music still has a presence. Strategies adopted by game audio developers To make it easier to see the similarities and differences in film and game audio, they have been made into two different sections Similarities Film and game audio have very similar, if not exact recording techniques. They both have to overdub dialogue and ambience. Game audio however, is more reliant on over dubbing, this is because there is no original sound because they have to create the ambience and dialogue from scratch. They both follow similar rules in what they want from the audio, and how they want their audience too feel. The music is very similar, both film and game audio often have scores arranged by professional composers, have a dedicated team that that deal with all the audios needs. Differences Evaluate Conclusion Overall thoughts Examples, including discussion and evaluation, of strategies adopted by game audio developers; Conclusion; References.

Impact of Maori Identity on Healthcare

Impact of Maori Identity on Healthcare 2. The principles of kawanatanga and tinorangatiratanga and its impact on the delivery of effective healthcare services. a.) tino rangatiratanga and Maori self-determination over health Since the signing of the Treaty of Waitangi in 1840, there have been problems within the Maori community. For instance, majority of the Maori chiefs were deprived of sustaining the power to rule community. With this big issue, it influences the delivery of effective healthcare services to the Maori people. There were Maori people who became a health practitioner during the early years. Some of them became a doctor. One of the Maori pioneers in the promotion of health is Maui Pomare. He became a successful doctor and a good example of a health leader. During his time, he vigilantly promote health by sharing his knowledge to his people. He gave suggestions and ideas to his native people so they can have a better way of healthy living. For example, he promoted proper hygiene and good sanitation. He also encouraged them to improve and maintain a good environment and safe water supply. Maori self-determination over health is an excellent way on how they really want to improve their way of living. It is basically a way of how to deal independently with tough situations so they can survive with the ever changing world. They promote a good and effective system that will suit to their needs of their native people (Maori). One good example is during 2010, a group of Maori health practitioner (nurses) who made an initiative in providing health care support to a community of native Maori and became successful due to the assistance that they received from the government. As mentioned above, the Treaty of Waitangi has a big impact on how the government deals with the Maori people. The Tino rangatiratanga, which means full authority of the Maori chieftains over their lands, villages and treasured things, has been a big issue until now. For the past years, the Maori people received less support from the government. Their cry for reforms were neglected. In terms of receiving effective healthcare services, the Maori people receive less. Aside from that, there are more Maori people who are poor, less educated, receive low salary, and a lower life expectancy than the non-Maori. In my opinion, the delivery of effective healthcare services will be attained if the government will allow the Maori people to participate in the decision making and planning of healthcare services for the Maori people. It will be good if they will be able to find a way to solve the issues relating to the Tino rangatiratanga of the Maori people. In addition, it will be helpful if the non-Maori will support activities and plan to help the Maori community receives a better healthcare services. b.) impact of Maori identity, beliefs, values and practices on healthcare practice The Maori identity changes as the years go by. Since their first interaction with the Europeans during 19th century until the present day, they continue to adapt to the system headed by the crown. During the early years, Maori people experienced prejudice. They were not treated fairly by the government. There are few educated Maori due to lack of support system from the government. During 1960s, there were Maori who were against the government. Many activist was formed in order to get the attention of the government. In the 1970s, they started to gain attention from the government, and there was a gradual progress of health care practice in Maori community. Despite the improvement in health care, until now the Maori has a poor healthcare practice. One of the contributing factors for this is their low educational attainment. A good evidence of this is that they have the highest death rate among other people living in New Zealand. In addition, for the Maori, a tattoo on a face is impor tant for them. It is a part of their identity. By understanding and respecting them, they can be given a better health care management. Maori belief has a huge impact on healthcare practice. Majority of the Maori people believe on many gods. They worship idols and other non-living things. Maori believes that if they were sick, the gods are punishing them. Instead of seeking help from a doctor they will go to their religious leaders. As a result, there is high death rate among Maori people than the non-Maori. Maori values and practices are associated with status (mana), restriction/protection (tapu), and revenge/ maintenance of balance (utu). This values and practices affect the healthcare practice by causing some conflicts and misunderstanding with the healthcare provider. As a result, Maori people tends to break the treatment plan created by the healthcare provider which leads to poor treatment outcome. It is vital to recognize the identity, beliefs, values and practices of the Maori in the aspect of healthcare practice. Recognition by the healthcare provider of Maori identity, beliefs, values and practices has a big impact on healthcare practice. Government actions on fulfilling the principles of the Treaty of Waitangi will help to initiate improvements on healthcare practice for Maori people. c.) impact of healthcare provider’s own culture, history, attitudes and life experiences on Maori consumers The healthcare provider’s own culture, history, attitudes and life experiences has a big impact on Maori consumers. This is evident on the studies conducted by various groups of the past years that focused on Maori health issues. According to the different health statistics, Maori has the highest rate of death among the different people living in New Zealand. The causes are related to misunderstanding, discrimination, mistrust, and non-recognition of identity of Maori. This is basically due to the differences between the groups of people that have lived together, the Maori and the non-Maori. Different programs have been implemented by the government to aid the Maori people to receive a good quality of health service from various healthcare providers. Some health sectors, like the Nursing Council of New Zealand, have made guidelines for nursing education for giving the nurses a view and knowledge on identifying barriers that must be eliminated in giving care for the Maori consumers. Non Maori (pakeha) healthcare provider’s culture, history, attitudes and life experiences are different from the Maori. The populace of New Zealand composed of people who come from different parts of the globe and they can have different beliefs and traditions. Because of their differences, it can be difficult to give proper healthcare needs of consumers. It is necessary for the healthcare provider (pakeha) to recognize that the Maori consumers are diverse. If not recognized, healthcare provider will give a poor healthcare service to the Maori consumers. An example is, if a Non Maori received a bad experience from a healthcare provider, the next time he wishes to seek help from a healthcare provider, he will still seek help to the same healthcare provider. On the other hand, many Maori consumers, if they received a news that one of them have a bad experience from a certain healthcare provider, they will be discouraged and instead of seeking help for their poor health condition , they will just go to their elders for help. Recognizing that the Maori consumers are diverse will also help promote understanding, trust, and respect that are necessary for building a good relationship. All in all, understanding the Maori people is necessary to become a good healthcare provider. Health support programs must continue to strive and work hand in hand with the Maori to achieve a successful outcome.

Characters Essay examples -- essays research papers

Significance of a Minor Character   Ã‚  Ã‚  Ã‚  Ã‚  Minor characters are the backbones of all literary pieces of work. They can have an overall affect that can change the development of a story. These minute characters can provide further insight into the mind of the leading character(s) through their actions. In the short story â€Å"The Outcasts of Poker Flat†, Uncle Billy is a diminutive character that alters the upcoming events faced by the other characters. His actions force the other characters to use an alternative way to solve their dilemma. Another minute character that makes a big difference is the old timer in the short story â€Å"To Build a Fire†. The old timer gives useful advice to the man but blatantly ignores it. These two minor characters in both of these pieces show that a small and negligible character can make a huge impact on the development of the story.   Ã‚  Ã‚  Ã‚  Ã‚  Uncle Billy in â€Å"The Outcasts of Poker Flat† alters the way the other characters can solve their problem. In the story, Uncle Billy steals the mules and heads back into Poker Flat leaving the other characters stranded in a snowstorm. â€Å"But turning to where Uncle Billy had been lying, he found him gone. A suspicion leaped to his brain and a curse to his lips. He ran to the spot where the mules had been tethered: they were no longer there† (Harte 585). With the few supplies obtained, the characters rely upon themselves to correct the problem. The minor character in the sto...

A Compare and Contrast of Thomas Moores Utopia and Machiavelli?s The Pr

Just vs. Viable   Ã‚  Ã‚  Ã‚  Ã‚  To be just is to be fair and honorable. Kids are taught that if you are kind and just you will excel and be successful. But life’s not fair and being just doesn’t necessary mean that a society will stand the test of time and be able to grow. The two different societies introduced in More’s Utopia and Machiavelli’s The Prince are very different and although More’s Utopian society would be considered more just then Machiavelli’s society. Machiavelli’s society is more realistic and more likely to be viable.   Ã‚  Ã‚  Ã‚  Ã‚  Leadership is a major issue when it comes to whether or not a society is going to be viable. It seems that if the leader is a good leader, a leader that puts his people first and wants the best for his country, then the land and the society should flourish. But if the leader is a bad leader, a power driven leader, a leader who puts himself first, and lets his people starve while he and his nobles live in excess, then the society and land will not flourish. This idea is not demonstrated to us in Utopia or The Prince; it seems like the exact opposite. Utopia has a more democratic government. Each set of households elects someone and then those elects elect others, and although there is a prince they still have the power to throw him out of office if he’s involved in any wrong doing. And although their prince doesn’t have as much power as a prince in Machiavelli’s writing the prince in Utopia serves a different purpose. The prince in Utopia is there to provide stability. With the syphogrants and tranibors changing annually the stability of a constant figure head is needed. More describes the government as follows   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"Once a year, every group of thirty households elects an official, Formerly called the syphogrant, but now called the phylarch. Over Every group of ten syphogrants with their households there is another official, once called the tranibor but now known as the head phylarch. All the syphogrants, two hundred in number, are brought together to elect the prince. They take an oath to choose the man they think best qualified; and then by secret ballot they elect they prince from among four men nominated by the people of the four sections of the city. The prince holds office for life, unless he is suspected of aiming at a t... ...s. But this society was in no way more just then the Utopian society, although this society was more viable. They had what it took to last, to grow and to flourish.   Ã‚  Ã‚  Ã‚  Ã‚  Both societies have there good points and both societies have their flaws. More imagined a new society, even though it still carried some remnants of the one he knew. And the Utopian society looked great on paper; they were very just and honorable people. But when examined in depth it falls apart. This society wouldn’t last people don’t think that way. Machiavelli criticized and critiqued history, he took things he knew and said how they could be made better for future societies. Except societies and societal ideas evolve, ideas that worked then don’t always work now. His society was based on backstabbing and deceitfulness, appearing virtuous but not actually being virtuous. So although his society would have lasted, it was far from just. But this is the opinion looking back at these texts. When these texts were written More and Machiavelli both thought these were the ideal societies. But if More and Machiavelli knew what people know now would their societal ideas still be what they were?

Characterization in John Updike’s A&P Essay

John Updike’s short story, A&P, is recounted from the point of view of its nineteen year old narrator, Sammy. Sammy’s character is particularly significant in the story. While the work has received several different interpretations, the focus of the story is clearly the lesson that the narrator learns in the course of events. The use of narration and description are especially revealing for Sammy’s personality. The story is told in the Present Tense and the style is appropriate for oral rather than written presentation. The descriptions, which focus on the appearance and gestures of the three girls in bathing suits who walk into the supermarket, are also significant as they monitor Sammy’s reactions. Thus, through the raw style used for narration and description, the story reveals Sammy’s subjective perception of the events, his youthful, romantic infatuation with the three girls and his desperate, chivalric but useless act. Sammy, who works on the cash register of a supermarket, is dazed by the appearance of three young girls, dressed in bathing suits. This is immediately apparent in the opening line of the story: â€Å"In walks these three girls in nothing but bathing suits† (Updike 187). The beginning of narration already reveals the impact that the image of the three girls has on the young boy. Significantly, Updike preserves the ungrammaticalities that Sammy makes in his speech. This technique has the effect of characterizing the narrator as a young, unsophisticated, middle-class boy. The whole of the story is dedicated to Sammy’s careful, detailed observation and description of the three girls and to his own, chivalric act, which concludes the story. The description of the three girls is in itself revealing for Sammy’s character. The focus is on the narrator’s eye, as he follows the girls from his place at the register, as they appear and disappear behind the aisles of the supermarket. He is both surprised and delighted at their appearance and their beauty. His eye is first caught by the chubby girl, wearing a green two-piece bathing suit and then by the brunette girl. Ultimately however, his focus remains with the third girl, that he calls Queenie. As the name he gives her shows, she is his favorite of the three and, in his view, the most beautiful one. Thus, the description is made exclusively from the narrator’s subjective point of view and registers faithfully his own reactions and impressions. What is significant moreover is the way in which Sammy perceives the girls on the whole. If the other characters in the story are either judgmental of the girls’ impropriety or else sexually attracted to them, Sammy is fascinated with the girls. According to his idealized perception, they are mythological or exotic creatures that belong to another world. He is so struck by their nude appearance and their natural beauty that he feels they are unlike everything else he has seen before. The setting of the story is particularly important in this respect. As Sammy himself emphasizes, the supermarket affords only dull views, unremarkable or ugly people. In Sammy’s view, there is a striking contrast between these unwonted customers wearing only bathing suits and the regular clients of the supermarket. Thus, when the girls approach with their single purchase, they hesitate between Sammy and one of his colleagues on another register. Sammy’s description of the old couple that goes up to Stokesie is very significant: â€Å"†¦Stokesie with his usual luck draws an old party in baggy gray pants who stumbles up with four giant cans of pineapple juice (what do these bums do with all that pineapple juice’ I’ve often asked myself)†¦Ã¢â‚¬  (Updike 193). The couple is dressed in â€Å"baggy, gray pants†, contrasting deeply with the girls’ colorful bathing suits and their young bodies. Also, Sammy is puzzled by the old couple’s purchases and obviously perceives them as ridiculous. On the other hand, he is not struck by the girls’ attire in an unpleasant way. When he notices one of his coworkers looking at the three girls in an improper way, Sammy feels that this is unjust and he even feels sorry for them: â€Å"All that was left for us to see was old McMahon patting his mouth and looking after them sizing up their joints. Poor kids, I began to feel sorry for them, they couldn’t help it† (Updike 195). There are other examples in the description that emphasize Sammy’s own perception of the girls. For instance, he is absolutely struck by the way in which Queenie wears her suit, with the straps down: â€Å"She had on a kind of dirty-pink – – beige maybe, I don’t know — bathing suit with a little nubble all over it and, what got me, the straps were down† (Updike 188). The fact that the girl wears the straps of her bathing suit down is delightful for Sammy. Moreover, the fact that he is sometimes clumsy in his description, not knowing, for example, what the exact color of Queenie’s suit is, also speaks of Sammy’s character as a young boy who is not extremely pertinent in fashion matters. Also, when the manager reprimands Queenie and her companions, Sammy sees the pickled herring jar reflected in the blue eyes of the girl. Again, the way in which Sammy observes and describes the situation shows him to be a romantic character, who regards the girls as representatives of an exotic, mythological world. Furthermore, Sammy’s romanticism is obvious in the way in which he contrasts the girls with the other shoppers. For him, the others are blind to the beauty of the three siren girls: â€Å"You could see them, when Queenie’s white shoulders dawned on them, kind of jerk, or hop, or hiccup, but their eyes snapped back to their own baskets and on they pushed. I bet you could set off dynamite in an A & P and the people would by and large keep reaching and checking oatmeal off their lists†¦Ã¢â‚¬  (Updike 192). The others do not perceive the girls as Sammy does and are not struck by their aesthetic quality. Queenie’s white shoulders, bare and indicative of purity, are the symbol of the natural, uncensored by social rules world of the beach, whereas the consumers are symbols of the automatic drives of production and consumption of the capitalist society. Sammy sees the other shoppers for what they are – not individuals, but the components of a system, a mere herd, their personalities limited to the very automatic gestures and directions imposed by the shopping list. In his descriptions, Sammy sets the girls well apart from the ordinary, mechanical and artificial world of the supermarket. As critics have emphasized, the story’s symbolism clearly points to Sammy as a romantic hero who becomes lured by the beauty of the sirens: â€Å"Updike pokes gentle fun at Sammy because he succumbs to the girls who are cast in the roles of the legendary Sirens–the mythological temptresses who lured unwary males to their destruction† (Blodgett 103). Sammy portrays the girls as being in sharp contrast with the common world, which is represented by the materialist preoccupations in the supermarket. As he stands dazed by the appearance of the girls, he significantly makes a mistake on the register, ringing the same box of crackers twice. The mistake further emphasizes Sammy’s abstraction into the fairytale, mythological world the three girls belong to. His final gesture of quitting his job in order to defend the girls is also significant: he refuses any connection to the pragmatic, insensitive world of the supermarket, which remains careless in front of the girls’ beauty. Their exoticism is further underlined by the fact that the city is far from the ocean that the girls’ image represents so well: â€Å"It’s not as if we’re on the Cape; we’re north of Boston and there’s people in this town haven’t seen the ocean for twenty years† (Updike 189). For Sammy, the girls are sirens who conquer him with their beauty and who also prove to have a fatal influence over his destiny in the end. Thus, Sammy’s narrative and descriptive style points to his personality and his views on the events he participates in. He embodies the young, inexperienced youth who becomes infatuated with a beautiful, exotic girl. As Wells points out, Sammy is not aware of his sexual attraction to the girls and idealizes it, transforming it into a gesture of honor and chivalry: â€Å"A&P is told after the fact by a young man now much the wiser, presumably, for his frustrating infatuation with a beautiful but inaccessible girl whose allure excites him into confusing his sexual impulses for those of honor and chivalry† (Wells 129). In the end however, Sammy learns a hard lesson. His romantic view, resembling that of Don Quixote, makes him quit his job and adopt the role of the unacknowledged hero: â€Å"The girls, and who’d blame them, are in a hurry to get out, so I say ‘I quit’ to Lengel quick enough for them to hear, hoping they’ll stop and watch me, their unsuspected hero†(Updike 194). However, like Don Quixote, Sammy obviously mistakes the girls’ potential for sexual appeal for something more. Instead of the glory he expects as a hero, he is left with the uncertainty of a future without a job. The girls, like fairies, vanish into thin air and the supermarket world remains as grey as before, with its usual inhabitants: â€Å"I look around for my girls, but they’re gone, of course. There wasn’t anybody but some young married screaming with her children about some candy they didn’t get by the door of a powder-blue Falcon station wagon† (Updike 196). Sammy is therefore the embodiment of an idealist, inexperienced young man, who seems to believe that the three girls belong to another world. Through the use of narrative and description, Updike renders a vivid portrait of the narrator of A&P. Thus, the narrator speaks in his own language, using his own particular style. Moreover, his observation and description of the three girls and of the events is very significant, as it reveals him to be an idealist young man, with unreasonable expectations of what the surrounding reality should look like. Works Cited: Blodgett, Harriet. Imagery in the Works of John Updike. New York: Heldref, 2003. Updike, John. â€Å"A&P. † Pigeon Feathers and Other Stories. New York: Knopf, 1962. 187-96. Wells, Walter. â€Å"John Updike’s ‘A&P’: A Return Visit to Araby. † Studies in Short Fiction. 30. 2 (1993): 127-33.

A charity appeal letter for Action Against Hunger

I am the director of a company called Action against Hunger which You may have heard of, I am writing to you to ask your generosity and kindness to those less fortunate than you. I am hoping that you can spare a small amount of time to read my letter, and consider making a donation. You may be thinking that this is just another junk letter asking for money for a worthless cause, but we need your help. Firstly, Action against hunger is an organisation that helps children and adults all around the world suffering from malnutrition Action against Hunger’s vision is of a world without hunger. A world in which all children and adults have sufficient food and water, equitable access to the resources that sustain life, and are able to attain these with dignity. Our mission is to save lives by eliminating hunger through the prevention, detection and treatment of malnutrition, especially during and after emergency situations of conflict, war and natural disaster. From crisis to sustainability, we tackle the underlying causes of malnutrition and its effects. By integrating our programmes with local and national systems we further ensure that short-term interventions become long-term solutions. As you can see, we do a lot of things for people that are less fortunate than us, and we need all the donation we can get to keep this going. Your support is immensely powerful. Regardless of the amount, it enables our field workers to save lives, feeding children on the brink of death, helping isolated and vulnerable communities, and providing families with clean and safe drinking water. You can change a person’s life. So why wait? Furthermore, the expected rains across large areas of the region (including north east Kenya and large parts of Somalia) have failed, leading to an severe food crisis. Thousands of families, including around 70,000 children, have been forced to flee the drought-stricken homes to survive, with many joining overcrowded refugee camps. What if you were in this position? And you were the one begging for food. They do need your help, or the worse could happen. No person was born to die. So help fight global hunger!