Portrait Of William Pitt The Younger Painted By George...

â€Å"Portrait of William Pitt the Younger painted by John Young, 1797 † â€Å"Portrait of William Wilberforce from a picture by George Richmond. Under the Superintendence of the society for the diffusion of useful knowledge. London Published by Charles Knight and company Ludgate Street. Engraved by E. Scriven.† The portrait of William Pitt the Younger, that hangs in the Center for Study of the Life and Work of William Carey, D.D., Museum and Research Collection. It was painted by John Young in 1797, while Pitt was serving as the Prime minister of Great Britain. William Pitt the Younger, is best known for, at the age of 24, serving as the youngest prime minister of Great Britain. His father William Pitt the Elder, also served as the prime minister†¦show more content†¦His portrait can also be found at the museum. It is from a picture painted by George Richmond, who under the superintendence of the society for the diffusion of useful knowledge painted it. The painting was engraved by Edward Scriven. Wilberforce, a strong abolitionist, was a member of parliament and supported the work of William Carey. Wilberforce and Pitt meet at Cambridge University. After Pitt became prime minister, Wilberforce supported him during the difficult months of transition. Wilberforce was not only an a bolitionist, he also was a philanthropist and a politician. In March of 1784, Wilberforce delivered a speech at the Yorkshire County meeting in the Castle Yard at York, in which he announced himself to the assembled freeholders. This brought him much public attention, in which he emerged as a compromise Pittite candidate. On April 6th, he won the election, and was a representative of Yorkshire, England’s largest county. He achieved all this at the young age of 24 years old! This position helped open his way to political weight which helped him later in his career. In 1785, Wilberforce because a Christian. Isaac Milner was the primary influence for his decision for Christ. He sought spiritual guidance from the foremost evangelical clergyman, John Newton. Through a variety of associations, Wilberforce started to gain a concern for the welfare of the slaves and for the abolition of the slave trade. In May

Visual Rhetorical Analysis Into the Wild Essay - 1043 Words

Name: Lu Seng Chuin ENGL250 FD Visual Rhetorical Analysis: Into The Wild (Rough Draft) The movie â€Å"Into The Wild† is a true story depicts the desperation of a young Emory graduate, Christopher Johnson McCandless, to flee from the invisible binding of societal pressure and family problems; and worked his way through the unusual journey to Alaskan. The story began with his college graduation and inner frustration to his broken family, then proceeds through a series of events full with mix feelings of joy, loneliness, and lost; in the end he died of starvation in the derelict bus with sorrow and hopeless in Alaskan wilderness in September 1992. This movie is not plainly about the boldness of a young adventurer or his intended†¦show more content†¦This scene indicated how passionate a young adventurer wanted to show the old man his new discovery, yet to no avail, as Ron seemed to do it perfunctorily and mainly because of polite mannerism. Ron ended up giving up and climbed down the hill. However this is only the beginning transition of Ron’ s life, which symbolizes a typical life of the man who adheres strongly to the social norm, rules and regulation without thinking of leaving own comfort zone and experience the new stuffs. It is the introduction into the exchange of knowledge and thoughts of life with each others. Next, the director fully utilizes the cinematography techniques of pace and building a scene together. Penn used the lonely yet relaxing background music to slowly depict the interaction moments between Ron and Chris for certain period of time with barely include any dialogue between the characters, typically the progress of making the personal leather belt. It aims to emphasize the willingness, seriousness and joy of Chris to learn new skills and spend time with Ron. On the other sides, the old man was also pleased to have his company along. Indirectly, the director may try to bring off the message that no man is an island. There is greater happiness when there are companionShow MoreRelatedPreserving Bio Diversity Among Fish Populations1164 Words   |  5 PagesRestoring Bio-Diversity Amongst Fish Populations: An Analysis of Visual Rhetoric Throughout the planet the effects of over fishing are being experienced daily. In fact, 24% of the world’s fish species are overexploited, depleted, or recovering from depletion (World Wildlfe Fund). Defined, overfishing is the process of catching fish in massive quantities, with the possibility of causing extinction among a species of fish. While it is understood that catching more fish now will lead to a drasticRead MorePoetry and War1681 Words   |  7 Pagesconnotations associated with the word â€Å"dead†. Diction is used, â€Å"Dull porters watched them, and a casual tramp†¦staring hard, sorry to miss them†¦,† to demonstrate that most onlookers have a lack of emotion towards war. The rhetorical question, â€Å"Shall they return to beatings of great bells in wild train-loads?,† conveys the uncertainty of war, where a soldier’s fate is unknown to many. The composer’s use of repetition â€Å"A few, a few, too few for drums and yells†, conveys a sense of loneliness, as there areRead MoreANALYSIS OF SEK Mhakayi 11491 Words   |  6 Pages ANALYSIS OF ‘AFTER THE BATTLE’ by S.E.K Mqhayi MqhayiRead MoreDevil in a Blue Dress Rhetorical Analysis Novel vs. Film Essay2428 Words   |  10 Pagesin 1995 and was directed by Carl Franklin and starred Denzel Washington, who also financed and produced the film (Easy Writer). From a well-liked hardboiled detective novel to a contemporary film, viewers and readers are restricted from several rhetorical devices and techniques displayed in either mediums such as point of view, tone and imagery. In both works we see how this transition of mediums affects viewer’s appreciation and understanding of the plot, characters, and historical context. Read MoreWilliam Shakespeare s A Midsummer Night s Dream1760 Words   |  8 Pages Early in A Midsummer Night’s Dream by William Shakespeare, the fascistic use of charm, Oberon’s ability to use incantations to unsettle Theseus’ early wish for perfect harmony (1.1.11-15) and control wild forces such as nature, other fairies and mankind, foregrounds the play’s action. Modeled after the power of speech-acts (utterances considered as actions, particularly in terms of its intention, purpose or effect), the theatrical use of charm I propose here predominantly resides in the vocal chordsRead MoreThursday Evening by Morley Analysis1823 Words   |  8 PagesThe excerpt under analysis is taken from a play Thursday Evening written by Christopher Morley. He was born in 1890. He is an American author, received unusual recognition early in his career. Among his widely known novels are Kitty Foyle and The Trojan Horse. The subject matter of the excerpt is a quarrel between Laura and Gordon, a married couple, they have to struggle through and a common mother-in-law stereotype, which Christopher Morley opposes the with two very likable and charming womenRead MoreStylistic Analysis10009 Words   |  41 PagesConclusion†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦29-30 References†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦31-32 Introduction The theme of the course paper is concerned with the stylistic analysis of five poems by different authors (D.H. Lawrence, H.W. Longfellow, R. Burns, Ch. Kingsley, B. Googe). The issue of stylistics and stylistic analysis has been extensively studied in recent years and the problem of stylistics has been a subject of special interest. Various scientific paradigms, trends andRead MoreDeath Penalty Is Justified For Violent Criminals Like Those Who Kill Others Essay2094 Words   |  9 Pagesbefore committing the offense. The death penalty can act as a tool for maintaining peace in the society to some extent. The present article is a rhetorical analysis of the arguments for the death penalty, and the purpose of the paper is to explain that death penalty is justified for violent criminals like those who kill others. The paper is composed of the visual rhetoric, ethos, logos and pathos related to the death penalty and its effects on the society. The highest penalties are not those who haveRead MoreThe Classroom Discussion Model of Teaching (*Arends, 2001)6735 Words   |  27 Pagesclass meetings, these teachers, all of whom have classrooms of their own in which to test the models, utilize the model several times in teaching their own class. They select one of these experiences and write a detailed analysis of the process and the results they achieved. This analysis includes the lesson plan and the content of the lesson. At the next meeting of the class, we begin by asking the teachers to share their experiences. We take their written reports and provide feedback to them to be returnedRead MoreEssay about The Publication of Uncle Tom’s Cabin4044 Words   |  17 Pageshave researched both portions of this topic through the more modern works of historical analysis, and by examining primary sources reproduced in online collections (with especially heavy use of Railton’s extremely resourceful website, for which I would like to acknowledge my gratitude). Outside of the Southern region that Uncle Tom’s Cabin criticized, the book immediately received a critical reception â€Å"of wild enthusiasm† (Donovan 16) that fully recognized the strong moral weight that was carried

African American Stereotypes in the Media Free Essays

Jakaya McCambry 10/02/12 African American Stereotypes in the Media When I first heard someone say, â€Å"All African American people are Ghetto,† I was very offended that someone would make this type of assumption about my culture, and I thought how ignorant this person must be; but then I stopped and wondered why other people would think this about us. I asked her why she would say something like this, and she instantly listed shows like Tosh. O and Chelsea Lately, which highlight my culture in a negative view. We will write a custom essay sample on African American Stereotypes in the Media or any similar topic only for you Order Now It was clear to me that she had made up her mind about black people through watching the media and seeing African Americans fulfill that stereotype in person. This led me to question: Where exactly do these stereotypes come from? Are African American stereotypes still apparent in the media? What shows, movies, etc have made others portray our race as â€Å"Ghetto† or other lists of stereotypes? Are there any solutions to stop African American stereotypes? When we subscribe to the belief that groups of member are expected to possess certain characteristics, we are engaging stereotypes. When these groups are evaluated based on what the perceiver believes the target ought to be, judgments are made. These judgments concerning these individuals, based on their membership in a group or judgments made about people are not particularly based on facts. Stereotypes about our race dates all the way back to slavery. The beliefs that we were dishonest, promiscuous, and violent were evident during slavery of our black race. More recently the media sets the tone for morals, values, info about our culture; leading people to believe everything they see on TV including black stereotypes. It is a fact that one out of three people are said to have more than one TV in their house, which shows that media is a source for how people form perceptions about people (Tosi 13). Perception thus becomes a reality to people, and once people perceive it, stereotyping is born. Stereotyping of African Americans in the media has stemmed from how the media has presented African Americans to the world. There is a theory by George Gerbner that states, â€Å"Individuals who frequently watch high contents of television will begin to believe that they are living in a world similar to what is portrayed on the screen (GerbnerGross, 1976). It is the idea that whether something is being portrayed as negative or positive on television, most people will believe it. There is a fact which says that about six percent of African Americans are seen in comedies and dramas (Tosi 14). Within that category, they are mostly illustrated as being lazy, loud, uneducated and poor. For example, in movies like The Color Purple and shows like Good Times demonstrates negative perceptions of our race. On the other hand, shows like The Cosby show and Fresh prince of Bel Aire try and broaden the viewer’s idea of a typical â€Å"black† family. These shows highlight black people living a very high class, educated, wealthy lifestyle. And so, as we see, the media ultimately controls how our race as they perceived, whether it is negative or positive. Since the media has a strong influence on the people’s perceptions of each other, they are the real deciding factor on how to solve the problem of stereotyping. We could possibly find solutions by matching every negative stereotype with a positive one, so that the good and bad cancel each other out. This is just a start; we want it so that when other cultures look at us, degrading stereotypes pertaining to our race will not come to mind. I believe we as inviduals also have the power to choose not to conform to our own stereotypes. Bordewich once said, â€Å" Only by abandoning many long-held, lovingly-held, myths and fantasies; we will become able to shape a healthy rational policy for people’s whose real life s far more complex and interesting, than our persistent fantasies. † So although the entertainment in the media may be interesting, we as a culture need to lead and be as catalyst in ending these demeaning stereotypes. Stereotypes can be good or bad, but given the evidence from my research on this topic, I can conclude that most African American stereotypes are negative. The way entertainment in the media portrays us has greatly affected how others identify us. Movies and shows like; Madea’s family Reunion, Bringing down the House, Love and Hip Hop, and Basketball Wives all portray us in a degrading way. People sometimes find it comical of course, but the fact that it is comical does not justify it being debasing. This image of us has evolved from things in the media, and its’ power to shape people’s idea of us. We as a race must stop living up to our stereotypes. As soon as we take action in not succumbing to our own stereotype, people will not think we are â€Å"Ghetto† or any other undignified term they think of us; therefore in the media we won’t be perceived in that way. As Colin Powell once said, â€Å"Fit no stereotypes. Don’t chase the latest management fads. The situation dictates which approach best accomplishes the team’s mission. † Although African American stereotyping is prevalent in the media now because of its’ entertaining quality; it perpetuates a cycle of harmful stereotypes. As long as this cycle continues, our culture will always be illustrated negatively. Works Cited Dixon, Travis L. â€Å"Network News And Racial Beliefs: Exploring The Connection Between National Television News Exposure And Stereotypical Perceptions Of African Americans. †Ã‚  Journal Of Communication  58. 2 (2008): 321-337. Academic Search Premier. Web. 2 Oct. 2012 Horton, Yurii, Eric Brown, and Raagen Price. â€Å"PORTRAYAL OF MINORITIES IN THE FILM, MEDIA AND ENTERTAINMENT INDUSTRIES. †Ã‚  PORTRAYAL OF MINORITIES IN THE FILM, MEDIA AND ENTERTAINMENT INDUSTRIES. Ethics of Development in a Global Environment (EDGE), 1 June 1999. Web. 02 Oct. 2012. http://www. stanford. edu/class/e297c/poverty_prejudice/mediarace/portrayal. htm. Retirethechief. â€Å"Stereotypes and Symbolism: Images Can Hurt. †Ã‚  Stereotypes and Symbolism: Images Can Hurt. RetireTheChief. org, May 2003. Web. 02 Oct. 2012. http://www. retirethechief. org/Essays/stereotype0503. html. Sanders, Meghan S. , and Srividya Ramasubramanian. â€Å"An Examination Of African Americans’ Stereotyped Perceptions Of Fictional Media Characters. †Ã‚  Howard Journal Of Communications  23. (2012): 17-39. Academic Search Premier. Web. 2 Oct. 2012. Tosi, Paula. â€Å"Thinking About What We See: Using Media Literacy To Examine Images Of African Americans On Television. †Ã‚  Black History Bulletin  74. 1 (2011): 13-20. Academic Search Premier. Web. 2 Oct. 2012. Ramasubramanian, Srividya, and Mary Beth Oliver. â€Å"Activating And Suppressing Hostile And Benevolent R acism: Evidence For Comparative Media Stereotyping. †Ã‚  Media Psychology  9. 3 (2007): 623-646. Academic Search Premier. Web. 13 Nov. 2012. Moon J. Lee, Shannon L. Bichard, Meagan S. Irey, Heather M. Walt Alana J. Carlson, (2009)Television Viewing and Ethnic Stereotypes: Do College Students Form Stereotypical Perceptions of Ethnic Groups as a Result of Heavy Television Consumption?. Howard Journal of Communications 20:1, pages 95-110. Bradley W. Gorham, (2006) News Media’s Relationship With Stereotyping: The Linguistic Intergroup Bias in Response to Crime News. Journal of Communication 56:2, pages 289-308. C. Mo Bahk Fred E. Jandt, (2004)  Being White in America: Development of a Scale. Howard Journal of Communications 15:1, pages 57-68. â€Å"Stereotypes In Media. †Ã‚  Stereotypes In Media. N. p. , n. d. Web. 19 Nov. 2012. http://serendip. brynmawr. edu/local/scisoc/sports03/papers/lgataullina. html. Monique Kloosterman, et al. â€Å"‘Shake It Baby, Shake It’: Media Preferences, Sexual Attitudes And Gender Stereotypes Among Adolescents. †Ã‚  Sex Roles  63. 11/12 (2010): 844-859. Academic Search Premier. Web. 13 Nov. 2012. Hutchison, Phillip J. â€Å"Reexamining Jack Johnson, Stereotypes, And America’s White Press, 1908–1915. †Ã‚  Howard Journal Of Communications23. 3 (2012): 215-234. Academic Search Premier. Web. 14 Nov. 2012 Pickering, Michael. â€Å"Sex In The Sun: Racial Stereotypes And Tabloid News.   Social Semiotics  18. 3 (2008): 363-375. Academic Search Premier. Web. 14 Nov. 2012. Li Chen, et al. â€Å"Male Mammies: A Social-Comparison Perspective On How Exaggeratedly Overweight Media Portrayals Of Madea, Rasputia, And Big Momma Affect How Black Women Feel About Themselves. †Ã‚  Mass Communication Society  15. 1 (2012) : 115-135. Academic Search Premier. Web. 13 Nov. 2012. Hermes, Joke. â€Å"On Stereotypes, Media And Redressing Gendered Social Inequality. †Ã‚  Contemporary Readings In Law Social Justice  2. 2 (2011): 181-187. Academic Search Premier. Web. 12 Nov. 2012. How to cite African American Stereotypes in the Media, Essay examples

The phenomenon of religion is so diverse, elusive Essays

"The phenomenon of religion is so diverse, elusive and complex, hence it is polymethodic and multidimensional a concept such that no one approach can claim to study it in entirety." In light of the above assertion delineate the methodological limitations of any two approaches in the study of the Religion(s) of Africa. Religion is a complex concept to define and to deal with, hence, there is no one answer that we can give to the question what is religion. In fact, in the study of religion scholars face many problems and controversies in their attempt to come with a universal acceptance of religion which does not suffer from any lack of accuracy. The different approaches pertaining to the social sciences such as sociology, anthropology, and psychology just to name a few have been judged as inappropriate for they carry some biases, prejudices which misconceive, misunderstand religion by reducing it to what it is not. In this context, one scholar argues that 'the concept of the sui-generis nature of religion in which religion is treated as a discrete and irreducible phenomenon which exists in and of itself is a remedy to reductionism in the study of religion' (class notes). This paper aims to examine critically such a claim associated with the phenomenological approach of religion presented as the last resort in dealing with the issue of religious reductionism. In this perspective, one may first try to state precisely the significance of the concepts of 'reductionism' and 'sui-generis' in connection with the definition of religion. Secondly, one will provide evidence on how the sui- generis nature of religion is a solution to reductionism. Thirdly, one will discuss the phenomenological approach by highlighting its limits in the study of religion. In the process of handling religious concept and phenomenon many scholars fall into the trap of reductionism. Reductionism suggests the idea of reduction or to reduce and evokes the process of considering the part for the whole or to bring something general into its particular aspect. In religious field reductionism refers, according to Segal, 'to an analysis of religion in secular rather than in religious term' (Segal in Brill 4). In this sense, he explains reductionism as a situation wherein 'the origin, function, meaning, and even truth of religion are subjects to reduction' (4). J. L. Cox in Expressing the Sacred: An Introduction to the Phenomenology of Religion identifies two types of reductionism namely scientific reductionism (46) and theological reductionism (55). Scientific reductionism applies to the study of religion in the light of social sciences including sociology, psychology, and anthropology among others. It concerns with the definition, description or interpretation of religious phenomena completely based on subjects which have nothing to do with religion itself (Cox 46). For instance, the Freudian view of religion holding that 'religion is a universal obsessive neurosis' (4) totally misconceives it inasmuch as it confuses religion with pure madness or illness, that is a 'psychological disturbance, one which although universal, must be overcome if humanity is to attain psychological health' (7). Such a reductionist view of religious phenomena remains similarly advocated in Marx's famous claim that 'religion is the opium of the people' (7) from it originates from the dominion and oppression of poor people by the rich. Therefore, one can state that psychological and sociological approaches fail to handle fully the phenomenon of religion for they misunderstand and misinterpret it by reducing it to realities purely relevant to human psyche or society. Theological reductionism, argues Cox, refers to cases 'in which every religion is evaluated according to the criteria established by one alone' (56). In other words, the theological truth-claims of other religions especially American and African traditional religions are discriminated and disqualified by particular religions such as Christianity, Islam or Judaism which claim in one way or another to be revealed by God Himself. To this effect, the proponents of theological reductionism in the study of religion tend to give the monopoly on truth at one religion which is regarded as the true religion (56). As a result of this type of reductionism, the so-called true religions often entertain inclusive or even worse exclusive relationship with other religious beliefs and faith. (Bring a quotation from religious pluralism paper). That is why, argues Cox, 'the theological approach fails to describe or appreciate religious expressions of those who are not believers in the so-called true religion and, therefore, it blocks understanding' (57). In contrast with religious reductionism which tends to compress and decrease the complete sense of religious phenomena, the sui-generis nature of religion treats religion 'as a discrete and irreducible phenomenon which exists in

Writing Young Adult Fiction An Editor’s Guide to Awesome YA

Writing Young Adult Fiction An Editor’s Guide to Awesome YA Writing Young Adult Fiction: An Editor’s Guide to Awesome YA Last updated: 04/12/2018Young Adult is perhaps the largest category of new fiction today. Or, to put it another way, writing young adult fiction seems to be at an all-time high. There’s something about adolescence - coming of age, first loves, first triumphs, loss of innocence - that makes it the perfect backdrop for raw, honest storytelling. No matter how far we get away from them in time, the memories of our teenage years tend to remain fresh.Kate Angelella is an experienced YA editor, formerly of Simon Schuster. She has edited a number of popular series including Nancy Drew and The Hardy Boys. In this post, she shares her top tips for writing Young Adult fiction. 1. Don’t think of YA as ‘adult fiction that’s been dumbed-down’Some of my favorite YA novelists are accidental children’s book authors. YA pioneer Francesca Lia Block - and author/maven of some of the most lyrical prose you’ll find this side of Gabriel Garcà ­a Mrquez - is a fine example. She did not intend to write her cult classic Weetzie Bat series as children’s books, but Weetzie was destined to be a YA protagonist for the ages, doing and saying things while she came of age that would make Holden Caulfield blush, and the rest of us rejoice.Though your character’s voice should be authentic to her identity and life experience, you never have to (and never should) simplify the language, story, or style choices in your novel in order to talk down to teen readers. YA authors should aspire to write at least as well as they would for adult fiction- and there are innumerable examples of YA fiction that outshine even the prettiest prose adult lit-fic has to offer. #YA Tip 1: Young Adult isn't just dumbed-down mainstream fiction. 2. Make sure your characters are the right ageDisney's adaptation of 'The Princess Diaries'Cabot also employs repetition to communicate her main character, Mia’s voice. Note in the first paragraph how two sentences in a row begin with â€Å"he’s cool if† and the next several sentences begin with â€Å"he’s NOT so cool if.†He’s cool if you’re Lilly Moscovitz.He’s cool if you’re good at Algebra†¦.He’s not so cool if you’re flunking Algebra, like me.He’s not so cool if he makes you stay after school†¦.He’s not so cool if he calls your mother†¦then ASKS HER OUT.And he’s not so cool if he’s sticking his tongue in your mom’s mouth.Almost as though she’s ticking items off a list. Through the repetition, you can feel her attitude. There is some snarkiness and drama present here, but note that it’s not off-putting or snarky to the point of meanness or cr uelty, which would make us dislike her. Mia is pretty justified in feeling what she’s feeling here, and she’s not overly sarcastic. There are a few places where Cabot uses caps lock to get across Mia’s dramatic nature, but she’s not so ridiculous that we’re rolling our eyes.The next example is from the opening of MT Anderson’s Feed.We went to the moon to have fun, but the moon turned out to completely suck.We went on a Friday, because there was shit-all to do at home. It was the beginning of spring break. Everything at home was boring. Link Arwaker was like, â€Å"I’m so null,† and Marty was like, â€Å"I’m null too, unit,† but I mean we were all pretty null, because for the last like hour we’d been playing with three uninsulated wires that were coming out of the wall. We were trying to ride shocks off them. So Marty told us there was this fun place for lo-grav on the moon. Lo-grav can be kind of stupid, bu t this was supposed to be good.Probably one of my favorite first lines in any book, ever. We went to the moon to have fun, but the moon turned out to completely suck. What does this sentence say about the main character, Titus, and the world he lives in?The language is casual like in Cabot’s example, but there’s a different feel to this voice. While Mia’s voice felt a bit dramatic, Titus seems just the opposite. â€Å"Shit-all† to do. Boring. Stupid. Without it being stated outright, Titus comes across as kind of apathetic and impassive. And though there are some words in there that Anderson has made up (null, unit) we are able to understand through context and tone that these words, too, are adding to the generally cool, dispassionate feel of Titus’ voice.The last example comes from the opening chapter of The Hate U Give by Angie Thomas, which hit #1 on the New York Times Bestseller list its first week out. It’s a novel that explores police brutality and systemic racism in America.We break out the crowd. Big D’s house is packed wall-to-wall. I’ve always heard that everybody and their momma comes to his spring break parties- well, everybody except me- but damn, I didn’t know it would be this many people. Girls wear their hair colored, curled, laid, and slayed. Got me feeling basic as hell with my ponytail. Guys in their freshest kicks and sagging pants grind so close to girls they just about need condoms. My nana likes to say that spring brings love, but it promises babies in the winter. I wouldn’t be surprised if a lot of them are conceived the night of Big D’s party. He always has it on the Friday of spring break because you need Saturday to recover and Sunday to repent.Starr is the narrator: her voice is thick on the page. Take the sentence: Girls wear their hair colored, curled, laid, and slayed. You can feel the rhythm, the cadence of these words. Word choices like â€Å"mommaâ €  and â€Å"everybody.† Slang like â€Å"kicks† and â€Å"basic,† â€Å"laid and slayed.† From this paragraph, I can tell that Starr is very matter-of-fact. There’s no room for sarcasm or dramatics or even apathy, as in the other examples I’ve read from today. She’s telling it like it is, no frills. No fuss.In all of these examples, see how the punctuation (or lack of punctuation) and sentence-and-paragraph length play a role in the feel of a voice too. #YA Tip 5: Try to nail your protagonist's way of speaking (and don't try to make 'Fetch' happen) 6. Don't write around heavy subject matterOne of the most common statements I hear in my freelance career? â€Å"My main character is a teen, but I don’t think my novel is YA because the content is too dark.†Now I’m not saying that no subject matter is too dark for the YA market (my husband, J.R. Angelella, did a superb job of showcasing that too dark can be an actual thing with his first novel, Zombie). But I will say this: remember that your target audience is experiencing sex, drugs, bad language, and all the other Big Bads you might dream up in their everyday lives, whether they are active participants or not; writing about the teen experience is what YA is all about.So long as you’re writing with purpose (and not just writing to be edgy), embracing heavy subject matter is essential when writing a YA novel that is both authentic and relatable. #YA Tip 6: Embrace heavy subject matter if you want to write a relatable YA novel. @kateangelella 7. Don’t write into trendsIt can be difficult to avoid the temptation of choosing your subject matter based on the latest Publisher’s Marketplace deal that just sold at auction for a â€Å"major deal.† But the truth is, trends in YA are fickle. By the time you get around to shopping your novel, the trend may have already passed.The surefire way to ensure that an agent, editor, or reader will fall madly in love with your book is to write about something that lights you on fire. Something you wake up every day ecstatic to write, regardless of the topic’s trend status. Your passion and originality will come through, and there is nothing more infectious."When reviewing YA submissions,† says Melissa Nasson, Associate Agent for Rubin Pfeffer Content, â€Å"one of my biggest gripes is when I start reading and immediately feel that I've read something similar before. Originality is so important, so when I sense that an author is trying to emulate Suzanne Co llins or Veronica Roth rather than telling their own story, it makes me less inclined to continue reading†¦. if I find the manuscript too familiar, then editors (and eventually readers) certainly will too." #YA Tip 7: Don't write into trends. When  you get to shopping your novel, the trend may have already passed 8. Papa, don’t preachSome call it preaching, some call it didacticism. Whatever you call it, whatever you do, please don’t talk down to your YA reader.By this, I mean that you should never set your main character up to take a fall simply to teach him or her a thing or two. Not only will your teen reader smell the fakey-fake lesson cooking in your prose a mile off, but your YA novel will also suffer for it. Because writing YA is not about the result at the novel’s conclusion; it’s about the journey, about finding the center of your character’s emotional truth to present a very real, very relatable human being who is currently in flux, and figuring things out.YA readers deserve your emotional honesty. They deserve authentic, emotionally resonant characters that serve to show them they aren’t alone, not characters who are being used as tools to sell moral high ground or life lessons. #YA Tip 8: Don't try to 'teach your reader a lesson'. Teens can smell that a mile off. @kateangelella To learn more about how to write a young adult novel, check out Kate's FREE course on Reedsy Learning,  The Ten Commandments of Writing YA Novels.Are you an author of fiction for teen readers? Do you have any questions about the art of writing young adult fiction, drop Kate a message in the comments below.

The Best of Daily Writing Tips in 2011

The Best of Daily Writing Tips in 2011 The Best of Daily Writing Tips in 2011 The Best of Daily Writing Tips in 2011 By Daniel Scocco First of all happy new year to all the Daily Writing Tips readers! Rest assured well keep sending you our best writing tips in 2012. Below youll find a compilation of the most visited posts we published in 2011. Make sure you havent missed any! 100 Mostly Small But Expressive Interjections 7 Grammatical Errors That Aren’t 100 Beautiful and Ugly Words 10 Latin Abbreviations You Might Be Using Incorrectly 100 Whimsical Words Should You Self-Publish? 50 Problem Words and Phrases 20 Classic Novels You Can Read in One Sitting Who Cares About â€Å"Whom† Anymore? How Spelling Diverges Between American and British English 10 Words That Don’t Mean What You May Think They Do 10 Comma Cases in Which More Is More 10 Pairs of Similar-Looking Near Antonyms 150 Foreign Expressions to Inspire You Is â€Å"They† Acceptable as a Singular Pronoun? 50 Redundant Phrases to Avoid 10 Intensifiers You Should Really, Absolutely Avoid The Other N-Words 7 Editing Pet Peeves 8 Steps to More Concise Writing Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the General category, check our popular posts, or choose a related post below:7 Types of Narrative Conflict20 Words Meaning "Being or Existing in the Past"Using "zeitgeist" Coherently

The Themes and Purposes of Art Essay Example | Topics and Well Written Essays - 500 words

The Themes and Purposes of Art - Essay Example However, as to the purpose of a work of art, I have often been confused whether art is for art’s sake or art is for man’s sake. Now, the online visit to the National Gallery of Art (NGA) helped me a lot to resolve much of the conundrum of the purpose of art. I found that whereas Benton’s visionary appeals value a human being’s sake or art’s aesthetic purpose, its static dynamism is for art’s sake, which is for eyes that are more skilled. After reviewing Thomas Hart Benton’s Trail Riders, I realized that his iconography is too simple that its naturalistic majesty can be exaggerated in no way. Amid the three-dimensional landscape of heartland America, the iconographic presence of the horse riders who are seen from a remote panorama conveys the static dynamism of his theme. The vantage point of the artist is such that it turns the remote objects and horse-riders almost into abstraction with the use of contours in implied lines. Though the use of light and shadow clearly contributes to the realism of Benton’s work, the glow of the light surpasses the reality of its atmosphere and adds to its surrealism to a great extent. It is the surrealism that evokes motion of spirit in the minds of the viewers. Remoteness is also a prevailing theme and perspective of this piece of Benton’s artwork. It has thoroughly been maintained through the manipulation of shapes of the contents within the works. Even the nea rest objects such as the flowers, the bush, and the stones do not have the individual clarity. Remoteness as well as the zenith of the mountain contributes to the silence of the artwork in which the motion of the riders refers to the fourth dimension, Time. Also Benton’s work can be interpreted from atmospheric perspective. From this perspective, human being’s kinetic smallness has been contrasted with the vastness of the universe. Though the overlapping of the