Effective Teaching Practices in the Writing Classroom Essay -- English

"While I had thought initially to matriculate into the English Department, it seems to be more heavily weighted toward theory than application, whereas the pedagogical training that I consider necessary for teaching is available through ETAP." So I had thought and so I wrote in my application for admission to the doctoral program. At the same time, realizing that I still would need a solid grounding in my subject area to teach composition and rhetoric, my goal for pursing a Ph.D., I co-matriculated the next semester into the English Department's M.A. program on the writing sequence. Returning to school from a corporate background meant that, while I had trained individuals and small groups in the workplace, I had had no classroom experience with teaching writing. As well, the sun has risen so many times on my memories of learning to write myself that those memories are fairly well bleached out by now. Yet, after almost two years worth of education and English courses, I have learned little about effective teaching practices in the writing classroom. I’ve read about issues of culture and diversity (Apple, 1996; Banks, 1997; Bruner, 1996; Freire, 1998; hooks, 1994) and I’ve been exposed to the history of composition and different approaches to teaching writing (Berlin, 1987; Durst, 1999; Elbow, 1973; Haswell, 1991; Herrington & Curtis, 2000; Lindemann, 1995; Miller, 1993, for example). The better part of class time has been spent discussing racism and feminism and sexism and classism and Marxism and structuralism and expressionism and post-colonialism until the appearance of "ism" makes my eyes glaze over. The teaching of anything concrete or structured, such as the specific formats put forth by current-traditional rhetoric or gr... ...000). Persons in Process: Four Stories of Writing and Personal Development in College. Urbana, IL: National Council of Teachers of English. hooks, b. (1994). Teaching to Transgress: Education as the Practice of Freedom. New York: Routledge. Lindemann, E. (1995). A Rhetoric for Writing Teachers (Third ed.). New York: Oxford University Press. Miller, S. (1993). Textual Carnivals: The Politics of Composition. Carbondale and Edwardsville, IL: Southern Illinois University Press. Richlin, L. (Ed.). (1993). Preparing Faculty for the New Conceptions of Scholarship (Vol. 54). San Francisco: Jossey-Bass. Sosnoski, J. J. (1991). Postmodern Teachers in Their Postmodern Classrooms: Socrates Begone! In P. Harkin & J. Schilb (Eds.), Contending with Words: Composition and Rhetoric in a Postmodern Age (pp. 198-219). New York: The Modern Language Association of America. Effective Teaching Practices in the Writing Classroom Essay -- English "While I had thought initially to matriculate into the English Department, it seems to be more heavily weighted toward theory than application, whereas the pedagogical training that I consider necessary for teaching is available through ETAP." So I had thought and so I wrote in my application for admission to the doctoral program. At the same time, realizing that I still would need a solid grounding in my subject area to teach composition and rhetoric, my goal for pursing a Ph.D., I co-matriculated the next semester into the English Department's M.A. program on the writing sequence. Returning to school from a corporate background meant that, while I had trained individuals and small groups in the workplace, I had had no classroom experience with teaching writing. As well, the sun has risen so many times on my memories of learning to write myself that those memories are fairly well bleached out by now. Yet, after almost two years worth of education and English courses, I have learned little about effective teaching practices in the writing classroom. I’ve read about issues of culture and diversity (Apple, 1996; Banks, 1997; Bruner, 1996; Freire, 1998; hooks, 1994) and I’ve been exposed to the history of composition and different approaches to teaching writing (Berlin, 1987; Durst, 1999; Elbow, 1973; Haswell, 1991; Herrington & Curtis, 2000; Lindemann, 1995; Miller, 1993, for example). The better part of class time has been spent discussing racism and feminism and sexism and classism and Marxism and structuralism and expressionism and post-colonialism until the appearance of "ism" makes my eyes glaze over. The teaching of anything concrete or structured, such as the specific formats put forth by current-traditional rhetoric or gr... ...000). Persons in Process: Four Stories of Writing and Personal Development in College. Urbana, IL: National Council of Teachers of English. hooks, b. (1994). Teaching to Transgress: Education as the Practice of Freedom. New York: Routledge. Lindemann, E. (1995). A Rhetoric for Writing Teachers (Third ed.). New York: Oxford University Press. Miller, S. (1993). Textual Carnivals: The Politics of Composition. Carbondale and Edwardsville, IL: Southern Illinois University Press. Richlin, L. (Ed.). (1993). Preparing Faculty for the New Conceptions of Scholarship (Vol. 54). San Francisco: Jossey-Bass. Sosnoski, J. J. (1991). Postmodern Teachers in Their Postmodern Classrooms: Socrates Begone! In P. Harkin & J. Schilb (Eds.), Contending with Words: Composition and Rhetoric in a Postmodern Age (pp. 198-219). New York: The Modern Language Association of America.

British Prime Minister

From the year 1905 to the year 2008, there are already 24 prime ministers who have ruled over as the Prime Minister of the United Kingdom (United Kingdom Prime Ministers 2008). As of the present times, the position is occupied by Gordon Brown. The power that is being held by the prime minister has been passed on from one hand over the next for the past 103 years. The source of power is an important factor in analyzing the role of the prime minister and the way through which a deeper understanding of how it is maintained can be seen.The distinctiveness and the constant replacement of the prime minister over the course of their existence in the British government have to be related to the dynamics of power together with its source in order to explain why and how it is held by the people in position. This paper aims to draw a concept of power and identify whether there is an informal and formal side of power. This is done through a research using different literatures and also draws upo n personal opinion in order to provide a critical position on the general topic of power.This is followed by a discussion of the power that is exercised by the prime minister, more specifically that of the United Kingdom. The sources of power, according to the conventions, arrangements, and constitutional devices are also researched in order to relate this to how the power is earned and maintained. In order to do this, the experiences of the past prime ministers are studied and collected to form a historical overview of how the power to govern as a prime minister is taken and maintained. What is Power?In understanding the concept of power, it is important to take note of its definition and the characteristics that are associated with it. Morgan (2006) defines it to be â€Å"the medium through which conflicts of interest are ultimately resolved [and] influences who gets what, when, and how† (p. 166). In relation to this, it is seen that power occurs with the picture of social reality drawn by the members of a particular group and the need for the allocation of the scarce resources (Pfeffer & Salancik 2003).There is a relation that can be seen from the two definitions wherein it could be derived that the person or the group which has the power defines the resources that are considered to be of limited amount. Along with the possession of power is the ability and influence for particular resources together with its allocation. In addition to this, the seat of power is defined by the individuals making up a group. Politically speaking, power is seen to be a means through which sharing occurs in the process of making decisions (Fahlbusch, Bromily, & Barrett 1999).In the context of the government, the decision-making process meanaaas the formulation of the policies, which include government action or inaction. Further disparity is seen with the use of power as there are two faces seen for it. It is seen as an instrument through which peace and status quo can be achieved (Fahlbusch, Bromily, & Barrett 1999). On the other hand, it remains to be very susceptible to abuse that includes â€Å"misuse, excess, and tyranny† (Fahlbusch, Bromily, & Barrett 1999: 311)Two additional and related definitions of power is provided by Shortell and Kaluzny (1997) where it is seen that power is: 1) something that is used in order to change the course of action or behavior of another group or individual and 2) the influence that is exerted in order to force another person or group to do something that is in opposite to the original decision. There are certain elements that can be clearly seen from these definitions of power. First, it is seen that it may or it may not transcend through a hierarchical structure and is not dependent on the way through which positions in the organization is patterned.This is because the direction from which the power stems can be anywhere who can actually accomplish the two conditions mentioned above. However, it can b e seen that there is, actually, a greater chance for those who occupy higher positions to have power and use it because of the capabilities and responsibilities that is attached to the position. Second, it is a means of initiating change. To a certain extent, it can be seen that change is often associated with leadership as the latter is associated with two characteristics which include being â€Å"masters of change† and â€Å"visionaries† (Fisher 1999: 138).It can be related that since there is a sense of change in every leader, it can be seen that power is something that is used for the purpose of leading people into making several changes for a particular goal that is intended. It should be noted, still, that leadership is not the same as management and may or may not lie within the formal organizational structure. Third, power is sometimes associated with coercion and the use of force in order to achieve something.Though this is oftentimes seen and accepted in nega tive terms, it should be considered that this is not the sole aspect of power. In fact, there are different types of power that is classified according to their sources and coercion is only one of the elements that can be seen from one or a few of these types. A discussion with regard to this is placed in the following section. Sources of Power There are five general sources of power as presented by Cronkhite (2008). The classification includes reward power, coercive power, legitimate power, referent power, and expert power (Cronkhite 2008).First, reward power exists where loyalty and cooperation is earned in exchange for something that is needed (Cronkhite 2008). Second, coercive power involves the ability to take away something that is considered to be of value when the behavior or action desired is not achieved (R. Denhardt, J. Denhardt, & Aristigueta 2001). Third, legitimate power, placed in simple terms, is considered to be the type of power which stems from the position that i s being held wherein people are made to follow and act in consideration of the organizational structure, which indicates the position (Bob, I.Asherman, S. Asherman, & Randall 2001). Fourth, referent power is the type wherein power is gained through association with a powerful group or persons (Timby & Smith 2007). It could be of the inherent power of the organization to which a particular person belongs that makes other people behave in a particular manner Lastly, expert power is that which is derived from the â€Å"special knowledge, skill, or ability† that a particular individual possesses (Cottam, Uhler, Mastors, & Preston 2004).The Role of the Prime Minister There are several roles that need to be fulfilled by the British Prime Minister being the national leader. The breadth of responsibilities include â€Å"constitutional and procedural, appointments to ministerial and other senior posts, conduct of Cabinet and parliamentary business, the organization and efficiency of government, the Budget and other economic decisions, and special foreign and defense functions† (Mayne 1999: 26).As can be discerned from the list of general roles taken by the Prime Minister, there are functions which are legislative and executive in nature. The Prime Minister’s presence and control is felt when it comes to policy formulation, which is in the decision-making process, and in policy implementation, which is the executive functions of the prime minister. For example, he or she has affairs to deal with in the decisions made but also has defense functions, which is under the executive branch of the government.Another set of classification is also provided by Borthwick, Shell, and Williams (1995) wherein the Prime Minister is vested with responsibilities as the primary individual responsible for the operations of the government, the head of the party to which he or she belongs, and the leader of the whole nation. There are different specific tasks that need to be accomplished in consideration of the different interests of the people to whom the prime minister is accountable to.It is also defined by Hayward and Menon (2003) that a seemingly prime ministerial government exists in Britain wherein the â€Å"prime minister co-ordinates policy, resolves conflicts, and controls the main resources† (67). In the definition previously provided in an attempt to clarify the concept of power, it has been shown that the elements of power include possession of control in resources, an influence in the decision making process, and a voice in the resolution of conflict.These are the three elements that could also be discerned from the functions and roles of the prime minister that are presented by Hayward and Menon (2003) and Mayne (1999). It can be concluded that the set of functions given here characterize the existence of power within the hands of the Prime Minister and the sources can be both formal and informal, as is followed in the defini tion of power in general. Where it all Comes From There are different sources of power that can be seen from the history of prime ministerial incumbency in Britain.Through the intricate network of relations formed from the organizational hierarchy of the government, it can be seen that there are three general sources of power that includes the conventions, the constitutional devices, and the arrangements that are present in the British government. From personal characteristics also comes a consideration of whether or not a particular individual is given the power to serve as the Prime Minister.There are four characteristics, which include: 1) the name and status in the society or an organization together with what an individual can do; 2) perceived affiliation with success in terms of politics; 3) acceptance of the public; and 4) a relatively high position in the â€Å"party, parliamentary party, and government† (Poguntke & Webb 2005: 37). While these can not be considered as the direct sources of power, it serves as among the characteristics that are seen as bases whether power is given to an individual or not.This is important because these are requirements or prerequisites that are seen to be the main characteristics of the people that are vested with the powers of the Prime Minister. Likewise, it can be seen that these bases for the acquisition of power is not framed in the Constitution nor is it determined through the formal lines of government but are the shadow elements being considered in the selection process. However, it should also be noted that not everyone who fits these conditions become Prime Ministers.This is because there are other forms of standards are present that limits only one individual to be considered rightful as the Prime Minister. To a certain extent, it can be said that the Prime Minister is considered to be an â€Å"elected monarch† and draws certain powers from the Royal Crown of the land (Borthwick, Shell, & Willia ms 1995). The approval and acceptance of the monarch has been an important factor in maintaining the power that is within the reach of the Prime Minister.Over the years, the manner through which the monarch is selected has evolved in such a way that in the beginning, it is the personal affiliation of the person to the monarch that mattered but in the twentieth century, it became the credentials and appropriateness of the person that is considered by the monarch (Borthwick, Shell, & Williams 1995). While today’s monarch do not hold as much power and influence as those that existed in the past, they are still given the chance to voice out their concerns over the affairs of the government especially with the selection of the key leaders of the country.It has been through traditional considerations and the influence that the monarch has that renders them to still be powerful for certain decisions made in the country. In addition to this, the Prime Minister is tasked to report to the monarch every week in consideration of the monarch’s possession of â€Å"the right to be consulted, the right to encourage and the right to warn† (Williams 1998: 165). There are still powers and rights that are given to the monarch that the Prime Minister could not ignore and should continuously take into account for the former could easily use its power against the Prime Minister.In addition to this, it is argued by Harrison and Boyd (2006) â€Å"that the major development strengthening PM power over the last century have been mainly political rather than constitutional (34-5). Politically speaking, the power of the Prime Minister is related to the party that wins in the House of Common, which is considered to be a source of power for the Prime Minister (Borthwick, Shell, & Williams 1995). The largest party wins in the House of Common and the person who serves as the leader of the said party is appointed as the Prime Minister with the approval of respective autho rities in the land.Just the same as the Prime Minister reports to the monarch, he or she is likewise responsible to the House in lieu of the need to maintain the power that is vested upon him or her. There are several expectations that need to be fulfilled as a Prime Minister that would continuously be within the shoulders of the incumbent. Moreover, another source of power for the Prime Minister is the assignment of being the First Lord of the Treasury where the two positions are often associated with one another (Goodnow 2005). The responsibilities of the said office give the Prime Minister another area from where his or her power could stem from.Conclusion Power is considered to be the influence in the decision-making process, the control over the resources, and the force exerted over the behavior and actions of other people. In general, there are five sources of power that is categorized according to how power is attained and maintained. Placed in the context of the British gove rnment, power is considered in the roles of the Prime Minister. There are general roles that are fulfilled by the individual who is incumbent to the said position, which is being the head of the state, government, and the parliament.The powers of the Prime Minister are also earned through the monarch and the positions assigned of him or her. There are different limitations to the extent of control exhibited by the monarchy today but it remains to be ingrained in the British society and it can still place several pressures on the Prime Minister and the power of the same. In addition to this, there are also personal characteristics that are held as important for the position. Indeed, the powers of the Prime Minister stem from different sources, which are both formal and informal.The broad range from which power is sourced out is considered to be an implication of the need for a clear delineation of the powers and functions of the British Prime Minister. List of References Bob, P. , As herman, I. , Aherman, S. , and Randall, J. (2001) The Negotiation Sourcebook. Amherst, MA: HRD Press. Borthwick, R. L. , Shell, D. , and Williams, R. (1995) Churchill to Major: The British Prime Ministership Since 1945. NY: M. E. Sharpe, Inc. Cottam, M. , Uhler, B. , Mastors, E. and Preston, T. (2004) Introduction to Political Psychology.Mahwah, NJ: Lawrence Erlbaum Associates, Inc. Cronkhite, C. (2008) Criminal Justice Administration: Strategies for the 21st Century. Sudbury, MA: Jones and Bartlett Publishers. Denhardt, R. , Denhardt, J. and Aristigueta, M. (2001) Managing Human Behavior in Public and Nonprofit Organizations. London: SAGE. Fahlbusch, E. , Bromiley, G. , and Barrett, D. (1999) The Encyclopedia of Christianity: (A-D). Michigan: Wm. B. Eerdmans Publishing Company. Fisher, K. (1999) Leading Self-Directed Work Teams: A Guide to Developing New Team Leadership Skills. NY: McGraw-Hill. Goodnow, F.(2005) Comparative Administrative Law: An Analysis of The Administrative Syst ems, National And Local, Of The United States, England, France, And Germany. NY: G. P. Putnam’s Sons. Harrison, K. and Boyd, T. (2006) The Changing Constitution. Edinburgh: Edinburgh University Press. Hayward, J. and Menon, A. (2003) Governing Europe. Oxford: Oxford University Press. Mayne, A. (1999) From Politics Past to Politics Future: An Integrated Analysis of Current and Emergent Paradigms. Westport, CT: Greenwood Publishing Group, Inc. Morgan, G. (2006) Images of Organization. London: SAGE. Pfeffer, J.and Salancik, G. (2003) The External Control of Organizations: A Resource Dependence Perspective. Stanford, CA: Stanford University Press. Poguntke, T. and Webb, P. (2005) The Presidentialization of Politics: A Comparative Study of Modern Democracies. Oxford: Oxford University Press. Shortell, S. and Kaluzny, A. (1997) Essentials of Health Care Management. NY: Thomson Delmar. Timby, B. & Smith, N. (2007) Introductory Medical-Surgical Nursing. Philadelphia PA: Lippincott Wi lliams & Wilkins. Williams, A. (1998) UK Government and Politics. Oxford: Heinemann Educational Publishers.

Callum

Themes TRENCH LIFE & BATTLE â€Å"Coughing Like Hags† – Dulce Et Decorum Est, Wilfred Owen â€Å"Guttering, choking, drowning† – Dulce Et Decorum Est, Wilfred Owen â€Å"Stuttering rifles’ rapid rattle† – Anthem for Doomed Youth, Wilfred Owen â€Å"A great mass of things unclean† – A Dead Boche, Robert Graves â€Å"Like several different kinds of Hell† –Brooke, in a letter on his day in the war â€Å"So much muscle and blood in the Earth† Birdsong, Sebastian Faulks â€Å"Beyond the boundaries of human behaviour† -Birdsong, Sebastian Faulks â€Å"The turned soil and torn flesh of war. – Birdsong, Sebastian Faulks â€Å"Meanwhile my self etcetera lay quietly in the deep mud† – my sweet old etcetera, e. e. cummings â€Å"You think there’s no limit to what a man can bear? †Ã¢â‚¬â€œ Stanhope in Journey’s End, Sherriff LOSS â€Å"They expected to die† – Birdsong, Faulks â€Å"A dust whom England bore† – The Soldier, Brooke â€Å"Gentleness, in hearts at peace, under an English Heaven† – The Soldier, Brooke â€Å"As scared as any frightened child† – The Deserter, Letts â€Å"Looking on the face of grief, the face of dread† – June 1915, Charlotte Mew â€Å"The soldier dying dies upon a kiss,The very kiss of Christ† – Summer in England 1914, Alice Meynell â€Å" The holy glimmer of goodbyes† – Anthem For Doomed Youth, Owen â€Å" Each slow dusk a drawing down of blinds† – Anthem For Doomed Youth, Owen PATRIOTISM â€Å"Dulce et Decorum Est Pro Patria Mori† – Dulce Et Decorum Est, Owen â€Å" Who’ll give his country a hand? † – [i]Who’s For The Game, Jessie Pope â€Å" my father used to become hoarse talking about how it was a privilege† – my sweet old etcetera, e. e. cumming s â€Å" There’s something rather romantic about it all† – Osborne in Journey’s End, Sherriff â€Å" He looked splendid.It – sort of made me feel†¦keen to get out here† – Raleigh in Journeys End, Sherriff â€Å" My hatred of the Kaiser is love true† – This Is No Case Of Petty Right Or Wrong – Thomas â€Å"As we love ourselves, we hate her foe† – This Is No Case Of Petty Right Or Wrong, Thomas WOMEN AND THEIR ROLES â€Å"You love us when we’re heroes† – Glory Of Women, Sassoon â€Å" Come along lads† – Who’s For The Game, Jessie Pope â€Å" Isabel created hundreds (and hundreds) of socks†Ã¢â‚¬â€œmy sweet old etcetera, cummings â€Å" Can’t you see it isn’t decent, to flout and goad men into doing what is not asked of you? – The Jingo-Woman, Helen Hamilton â€Å" We dare not weep who must be brave in battle† – Of All Who Died In Silence Far Away, Iris Tree â€Å" Anyone affected by the war is entitled to comment upon it† – Nasheen Khan GENERAL â€Å" Not quite clear†¦what the fuss was about† – He Went For A Soldier, Ruth Mitchell â€Å" The political errors and insincerities† – A Soldier’s Declaration, Sassoon â€Å" A war of aggression and conquest† – A Soldier’s Declaration, Sassoon â€Å" I am acting on behalf of soldiers† – A Soldier’s Declaration, Sassoon â€Å" An exploration of how far men can be degraded† – Birdsong, Faulks â€Å" You are going to fight and you are going to win. – Birdsong, Faulks â€Å" They didn’t believe in shellshock at all†¦it was just cowardice† – Regeneration, Pat Barker â€Å" The pity and terror the war experience inevitably evoked† – Regeneration, Pat Barker â€Å"It all seems rather silly, doesn†™t it? † – Raleigh in Journey’s End, Sherriff â€Å" My subject is war and the pity of war. † – Wilfred Owen CRITICAL COMMENTS ON THE WAR CANON â€Å" Passive suffering is not a theme for poetry† – Yeats â€Å"War equates with ombat thus limiting the canon† – James Campbell â€Å" The knowledge of combat is a prerequisite for the production of a literary text that adequately deals with war† – James Campbell â€Å"Anyone affected by war is entitled to comment upon it† – Nasheen Khan â€Å" The spectator, the contemplator, the opposer of war have their hours with the enemy no less than uniformed combatants† – Richard Eberhart Pre-WWI Literature ‘The Charge of the Light Brigade’ by Alfred Lord Tennyson †¢ Disastrous incident in the Crimean war. †¢ â€Å"Into the valley of death/ Rode the six hundred† – Celebrates devotion to duty and heroism in the face of certain death.The glamour of chivalry. †¢ â€Å"Honour the Charge they made! † â€Å"While horse and hero fell† – patriotic, presents war positively. †¢ â€Å"Someone had blunder'd† – blames Generals – interesting as it is before WWI, about the Boer war. So perhaps realistic in this sense? ‘Vitai Lampada, by Sir Henry Newbolt’ †¢ About the Boer War †¢ â€Å"The Gatling’s lamed and the colonel dead† – Presents the actuality of the war, reality. †¢ â€Å"The sand of the desert is sodden dead† – realism, huge scale of death. Alliteration of â€Å"s† and â€Å"d†. †¢ â€Å"But the voice of a schoolboy rallies the ranks, ‘play up! Play up! And play the game! – Compares war to a game of cricket, euphemism of war. Early War Literature – (1914-1915) ‘The Soldier’ by Rupert Brooke †¢ â€Å"Some corner of a fo reign field/that is forever England† – Idealised. Accused of naivete and being a ‘ridiculous pastoral’. †¢ â€Å"If I should die, think only this of me† – More than a sentimental patriotic verse. The word ‘think’ acts as a message from Brooke for people to remember him. †¢ A dialogue between the living (survivors and civilians) and the dead (or soon-to-be). ‘The Call’ by Jessie Pope †¢ Jessie Pope (a. k. a Owen's arch-nemesis! ) was incredibly pro-war. â€Å"Who's for the trench – are you, my laddie? Who'll follow the French – will you, my laddie? † – used for propaganda to young soldiers. ‘Men who March Away’ by Thomas Hardy †¢ Thomas Hardy didn’t fight in war. †¢ Written in the opening days of war. †¢ Expresses feelings of those enlisting as war was meant to be over by Christmas. †¢ â€Å"Braggarts must surely bite the dust† â €“ sounds quaint & naive. A letter written by Julien Grenfell †¢ â€Å"We are all awfully well, except those who have stopped something† – ‘Stopped something’ was slang for being shot! ‘As the Team’s Head Brass’ by Edward Thomas Conversation between an elder ploughman and a speaker uncertain whether or not to enlist. †¢ â€Å"’have you been out yet? ’ ‘No. ’ ‘And don’t want to, perhaps? ’† – series of questions. Later Literature – (1916-1918) ‘All the Hills and Vales Along’ by Charles Hamilton Sorely †¢ â€Å"And the singers† – optimism, calling soldiers ‘singers’. This is immediately undercut by describing them as â€Å"the chaps/who are going to die perhaps! † †¢ â€Å"So be glad, when you are sleeping† – ‘sleeping’ undertones of death, implicit suggestion of death as mos t desirable end, inevitable end for a soldier. â€Å"Sow your gladness for earth’s reaping† – celebrate chance of fighting, earth personified, harvesting future happiness planted by soldiers. †¢ â€Å"To the Gates of Death with song† – Almost Tennyson-like enthusiasm, cheerful death. †¢ Offset by the final line; â€Å"so be merry, so be dead† – sober view of death compared to Brooke’s. ‘To England – A note’ by Ivor Gurney †¢ In this sonnet each seemingly patriotic phrase is undercut. †¢ â€Å"The boys of England† – focuses on the facts that the soldiers are no more than boys, often just out of public school. The soldiers â€Å"do in silence† – the things they have to do, war is literally unspeakable. ‘A Dead Boche’ by Rupert Graves †¢ Speaks directly to those who only want to hear ‘of blood and fame’. †¢ â€Å"A certain cure for lust of blood† – Brusquely ironic tone. †¢ Second stanza confronts the horrors of war head-on, he describes a German Corpse. †¢ â€Å"Sat† and â€Å"Scowled† – alliteration attaches these actions of a living person to the corpse. †¢ â€Å"Big-bellied, spectacled, crop-haired† – still identifiable but the â€Å"black blood† turns corpse into an emblem of death. No mutual recognition or respect from one soldier to another (unlike W. O’s statement â€Å"I am the enemy you killed, my friend† – strange meeting) †¢ Reader challenged to disagree with the claim that it is a â€Å"certain cure for the lust of blood†. Post-WWI Literature ‘Journey’s End’ by R. C Sherriff †¢ Set in a dug-out in trenches, it explores tension in a group of officers waiting for their attack. †¢ Names emphasise essential Englishness (Stanhope, Osborne, Raleigh, etc). ‘Birds ong’ by Sebastian Faulks †¢ â€Å"†¦ so horrific†¦ beyond a war†¦ dehumanised to an extent that†¦ †¢ â€Å"This is not a war; this is an exploration of how far men can be degraded† – dehumanising, bitterness of those who experience it, no reason behind war. Modern. What Sebastian Faulks sets to explore in birdsong. (Stephen Wraysford) Glory of Women- Siegfried Sassoon 1917. Criticises those at home, particularly the women. †¢Ã¢â‚¬Å"You love us when we’re heroes, home on leave†¦Ã¢â‚¬  †¢Ã¢â‚¬Å"Trampling the terrible corpses, blind with blood† †¢Ã¢â‚¬Å"O German mother†¦while you are knitting socks to send your son His face is trodden deeper in the mud. † A Dead Boche Robert Graves 1916Wirtten from an anti war perspective, graphic descriptions show the true horror of war. †¢Ã¢â‚¬Å"’War’s hell’† †¢Ã¢â‚¬Å"Sat a dead Boche, he scowled and stunk† †¢Ã¢â‚¬Å"Big-bellied, spectacled, crop haired, Dribbling black blood from nose and beard† Diasbled- Wilfred Owen 1917 Shows a strong anti-war view, criticises those at home who cannt see past the ‘glory' of war. Poem shows a young boy who has been disabled by the war. †¢Ã¢â‚¬Å"Some cheered him home, but not as crowds cheer a goal† †¢Ã¢â‚¬Å"The women’s eyes passed from him to the strong men that were whole† †¢Ã¢â‚¬Å"Why don’t they come? † Dulce et Decorum Est- Wilfred Owen 1917Again anti-war, satirises the view that war is a glorious thing, and that it is an honour to die for ones country. †¢Ã¢â‚¬Å"Bent double, like beggars under sack, knock kneed and coughing like hags. † †¢Ã¢â‚¬Å"As under a green sea, I saw him drowning†¦ gargling from the froth corrupted lungs† †¢Ã¢â‚¬Å"The old lie: Dulce et Decorum est Pro patria mori† The Send Off- Wilfred Owen 1917 This poem has a melancholic tone, which has a sinister effect as the poem focuses on the death and destruction caused by war. †¢Ã¢â‚¬Å"lined the train with faced grimly gay† †¢Ã¢â‚¬ Their breasts were stuck all white with wreath and spray, as mens are, dead. †¢Ã¢â‚¬Å"like wrongs hushed up they went† †¢Ã¢â‚¬Å"A few, too few for drums and yells may creep back, silent†¦ up half known roads. † Glory of Women- Siegfried Sassoon 1917. Criticises those at home, particularly the women. †¢Ã¢â‚¬Å"You love us when we’re heroes, home on leave†¦Ã¢â‚¬  â€Å" He looked splendid. It – sort of made me feel†¦keen to get out here† – Raleigh in Journeys End, Sherriff Rupert Brooke – patriotic There is some corner of a foreign field That is forever England† Sassoon â€Å"Does it matter? Losing your legs? † â€Å"The turned soil and torn flesh of war. † – Birdsong, Sebastian Faulks Charles Sorley – â€Å"nor honour. It is easy to be dead†Edmund Blunden – ‘Vlamertinghe’ – â€Å"who are these coming to the sacrifice? † Quiet protest: Ivor Gurney ‘Beauty’ â€Å"Man’ consolation sung on the quivering strings† Inspiring: Sir Henry Newbolt ‘Vitai Lampada† (the torch of life) â€Å"Play up! Play up! And play the game! † Jessie Pope â€Å"Who’s for the game? † Regeneration Sassoon: â€Å"A hundred years from now they'll still be ploughing up skulls. † Owen, Disabled â€Å"All of them touch him like some queer disease. † â€Å" The holy glimmer of goodbyes† – Anthem For Doomed Youth, Owen Strange Meeting 1)Hill says in the Author's Notes that her novel is a â€Å"microcosm of the ar† to create a â€Å"small world in the great would of the war†-she focusses on 2 main characters John Hilliard and David Blunden which makes it easier to communicate what the wa r was all about arther than taking a much larger perspective 2)the lack of understanding of the â€Å"coward complacence† as Sassoon puts it is another idea found in this novel-Hilliard goes home on leave and says â€Å"noone knew, nobody understood† Recruitment ‘The Call' By Jessie Pope â€Å"Who'd rather wait a bit† ‘The Volunteer' By Herbert Asquith â€Å"lifes tournament† ‘The Call' By Robert Venede â€Å"lad† â€Å"man† â€Å"dreamer† â€Å"brothers† ‘In Flanders Field' By John McCrae Take up our quarrel† Futility and Despair ‘Dulce et Decorum Est' By Owen â€Å"vile incurable sores on innocent tongues† ‘Lamplight' By May Wedderburn Cannan â€Å"we planned to shake the world together† ‘Anthem for Doomed Youth' By Owen â€Å"each slow dusk, a drawing down of blinds† ‘Apologia pro Poemate Meo' By Owen â€Å"hopes lay strewn† ‘Birdsong' By Faulks â€Å"he himself did not believe there was a purpose to the war† ‘All Quiet on the Western Front' By Remarque â€Å"weary, broken, burntout and without hope† Patriotism and Glorifying War ‘The Soldier' By Brooke â€Å"some corner of a foreign field which is forever England† ‘The Call' By Venede ogres† â€Å"faeries† â€Å"princes† ‘This is no case of petty right of wrong' By Edward Thomas â€Å"She (England) is all we know and live by† ‘Channel Firing' By Hardy â€Å"Camelot, and starlit stonehenge† ‘Peace' By Brooke â€Å"as swimmers into cleanness leaping† ‘Happy is England Now' By John Freema â€Å"destroying Dragon† ‘Men Who March Away' By Hardy â€Å"England's need are we† ‘Journeys End' By Sherriff â€Å"There's something rather romantic about it all† (Osbourne) Physical Damage ‘Disabled' By Owen â€Å"The womens' eyes passed f rom him to the strong men that were whole† ‘The Ghost Road' By Pat Barker â€Å"damaged brains and drooping mouths† The Conscript' By Wilfred Gibson â€Å"mangled limbs, blind eyes† ‘All Quiet on the Western Front' By Remarque â€Å"we see men without mouths, jaws, without faces† ‘A Dead Boche' By Graves â€Å"Black blood oozing from his nose and beard† ‘In Memoriam' By EA Mackintosh â€Å"piteous writhing bodies† Class ‘Oh What a Lovely War' By Littlewood and Theatre Workshop â€Å"Blunders of boobies† (Mrs Pankhurst) ‘The Chances' By Owen â€Å"Over the top tomorrer; boys we're for it† ‘Strange Meeting' By Susan Hill â€Å"not the natural camaraderie to be found among the officers† ‘Return of the Heroes' By Sassoon â€Å"Prussian General† and â€Å"Sir Godfrey Stoomer†Mourning ‘A Girl's Song' By Katharine Tynan â€Å"My grief is in the weeping rainsâ⠂¬  ‘The Falling Leaves' By Margaret Postgate Cole â€Å"now all withering lay† ‘Afterwards' By Margaret Postgate Cole â€Å"shall you and I ever be young again? † ‘August 1914' By John Masefield â€Å"So passionate once, so deep† ‘Now that you too muct shortly go away' By Eleanor Farjeon â€Å"By immortal love, which has no first of last† ‘Do Not Weep' By Stephen Crane â€Å"A field where a thousand corpses lie† ‘Letters From a Lost Generation' By Vera Brittain Letters talking about her fiance's death Cowardice ‘The Jingo-Woman' By Helen Hamilton dealer in white feathers, insulter, self appointed† ‘Birdsong' By Faulks â€Å"list of men executed for cowardice† ‘Recruiting' By Mackintosh â€Å"Can't you see them thanking God they're over forty-one? † ‘Regeneration' By Pat Barker â€Å"They didn't believe in shell-shock†¦ it was just cowardice† Post War Thoug hts ‘Blackadder Goes Forth' By Curtis and Elton â€Å"Not even our generals are made enough to shell their own men† ‘Oh What a Lovely War' By Littlewood and Theatre Workshop â€Å"it is slaughter†(soldier) â€Å"we need one big offensive to break through† (Haig) ‘Aftermath' By Sassoon â€Å"Have you forgotten yet? â€Å"

Free Essays on Collective Security

Should the Concert of Europe be viewed as an example of collective security? The Napoleonic Wars, lasting from 1789 until 1815, were unlike any previously fought on continental Europe. For the first time, it was fought between nations and not just the ruling elites of each state . In addition, the terrible toll in lives lost and damage done was of a previously unthinkable scale. When, therefore, Napoleon was defeated and France was restored to its original (pre-Revolutionary) frontiers, the Great Powers of Europe sought to create a system between them that would ensure a lasting peace. This system came to be known as the Concert of Europe, and acted to sustain a viable peace from 1815 until the Crimean War in 1848. This essay discusses whether this system acted in a way consistent with the theory of Collective Security. This essay will begin by discussing the theoretical framework of Collective Security, its key principles and objectives. Following this, a look at the structure of the Concert of Europe will show its theoretical incompatibility with Collec tive Security doctrine. The two systems show two clearly different approaches to power among states, and the principles of Collective Security are not the same as those of the concert. Thirdly, it will be shown how the Concert acted in practice, not in line with collective security, but with balance-of-power, the system that theorists of Collective Security attempt to replace. Nevertheless, the following section of this essay will show how some of the key participants in the Concert of Europe, particularly Metternich of Austria, did sometimes act with collective security, rather than balance of power, in mind, and that many of the Concerts techniques seem at odds with traditional balance of power logic. Thus, the theory of ‘Concert collective security’, put forward to explain this discrepancy, will be explained and examined. This will lead to the conclusion that, while t... Free Essays on Collective Security Free Essays on Collective Security Should the Concert of Europe be viewed as an example of collective security? The Napoleonic Wars, lasting from 1789 until 1815, were unlike any previously fought on continental Europe. For the first time, it was fought between nations and not just the ruling elites of each state . In addition, the terrible toll in lives lost and damage done was of a previously unthinkable scale. When, therefore, Napoleon was defeated and France was restored to its original (pre-Revolutionary) frontiers, the Great Powers of Europe sought to create a system between them that would ensure a lasting peace. This system came to be known as the Concert of Europe, and acted to sustain a viable peace from 1815 until the Crimean War in 1848. This essay discusses whether this system acted in a way consistent with the theory of Collective Security. This essay will begin by discussing the theoretical framework of Collective Security, its key principles and objectives. Following this, a look at the structure of the Concert of Europe will show its theoretical incompatibility with Collec tive Security doctrine. The two systems show two clearly different approaches to power among states, and the principles of Collective Security are not the same as those of the concert. Thirdly, it will be shown how the Concert acted in practice, not in line with collective security, but with balance-of-power, the system that theorists of Collective Security attempt to replace. Nevertheless, the following section of this essay will show how some of the key participants in the Concert of Europe, particularly Metternich of Austria, did sometimes act with collective security, rather than balance of power, in mind, and that many of the Concerts techniques seem at odds with traditional balance of power logic. Thus, the theory of ‘Concert collective security’, put forward to explain this discrepancy, will be explained and examined. This will lead to the conclusion that, while t...

Dissertation Help

Dissertation Help Dissertation Help Dissertation Help Welcome to our blog!  Read the following strategies for clear thesis dissertation writing: Stay focused on the point. It is surprising how often a sentence or a paragraph can wander aimlessly. Ask yourself, 'What is this sentence/paragraph about?' and 'What do I try to say?' Be critical, very critical, of what you write in dissertation because your dissertation examiners will be! Write in whole sentences (except for headings). Each sentence should be grammatically correct and thematically justifiable. Lack of careful dissertation editing creates an impression that many students write much worse than they speak. A good dissertation test of whether a sentence is complete is to ask yourself, 'Could I say this to an audience during the formal lecture?' Dissertation statements that are incomplete, emotional or not supported are usually not suitable for a formal lecture. Similarly, they are unlikely to be appropriate for your MBA dissertation. Use linking sentences and paragraphs. Linking sentences are useful because they build a bridge to the next paragraph and, therefore, maintain coherency and flow. Linking paragraphs are also useful at the end of a chapter, usually after a summary paragraph, inviting dissertation reader to summarize what has been just read and introduce the next chapter. Linking sentences such as 'The preceding analysis has demonstrated - can summarize your dissertation argument and build a bridge to the next dissertation section or chapter. Dissertation Proposal Avoid double negatives. While the preceding sentence is true, the accumulation of negatives makes the sentence difficult to follow. Positive statements such as 'Avoiding double negatives makes it easier to follow the flow of an argument' are much easier for dissertation reader to understand. Be aware of prescriptive language. This site is written in prescriptive language ('you should'), but dissertation papers should not be. Junior research students are often tempted to make sweeping judgments ('managers should ..., 'good researchers must ). Your dissertation writing should include more prudent language such as 'the evidence supports ... or 'such a view reinforces... or 'the divergent theories suggest ..., Broad statements invite a critical dissertation examiner to think of occasions that are not very knowledgeable on the issue. .Com You may request professional dissertation help at our site.   Out writers are capable of impressing you with depth of research, professional presenting, and diligent work. We are open for communication and we guarantee excellent results. It means that we provide qualitative dissertation help, not quantitative.   It would not be true if we say that we do not care about the number of orders, we do. However, we are focused on the quality in the first place.   We are able to provide dissertation help and we are available 24/7!

Cumulative Sentence Definition and Examples

Cumulative Sentence Definition and Examples In grammar, a cumulative sentence is an independent clause followed by a series of subordinate constructions (phrases or clauses) that gather details about a person, place, event, or idea. Contrast with a periodic sentence. Also called  cumulative style or right-branching. In Notes Toward a New Rhetoric, Francis and Bonniejean Christensen observe that after the main clause  (which is often stated in general or abstract terms), the forward movement of the [cumulative] sentence stops, the writer shifts down to the lower level of generalization or abstraction or to singular terms, and goes back over the same ground at this lower level. In short, they conclude that the mere form of the sentence generates ideas. Examples and Observations He dipped his hands in the bichloride solution and shook thema quick shake, fingers down, like the fingers of a pianist above the keys.(Sinclair Lewis, Arrowsmith, 1925)The radiators put out lots of heat, too much, in fact, and old-fashioned sounds and smells came with it, exhalations of the matter that composes our own mortality, and reminiscent of the intimate gases we all diffuse.(Saul Bellow, More Die of Heartbreak. William Morrow, 1987)Her moving wings ignited like tissue paper, enlarging the circle of light in the clearing and creating out of the darkness the sudden blue sleeves of my sweater, the green leaves of jewelweed by my side, the ragged red trunk of a pine.(Annie Dillard, Holy the Firm. Harper Row, 1977)The unwieldy provision carts, draught horses, and heavily armed knights kept the advance down to nine miles a day, the huge horde moving in three parallel columns, cutting broad highways of litter and devastation through an already abandoned countryside, many of the ad venturers now traveling on foot, having sold their horses for bread or having slaughtered them for meat.(John Gardner, Life and Times of Chaucer. Alfred A. Knopf, 1977) The San Bernardino Valley lies only an hour east of Los Angeles by the San Bernardino Freeway but is in certain ways an alien place: not the coastal California of the subtropical twilights and the soft westerlies off the Pacific but a harsher California, haunted by the Mojave just beyond the mountains, devastated by the hot dry Santa Ana wind that comes down through the passes at 100 miles an hour and whines through the eucalyptus windbreaks and works on the nerves.(Joan Didion, Some Dreamers of the Golden Dream. Slouching Towards Bethlehem, 1968)I am with the Eskimos on the tundra who are running after the click-footed caribou, running sleepless and dazed for days, running spread out in scraggling lines across the glacier-ground hummocks and reindeer moss, in sight of the ocean, under the long-shadowed pale sun, running silent all night long.(Annie Dillard, Pilgrim at Tinker Creek. Harper Row, 1974)He wept silently, after the custom of shamed and angry men, so that when the pursuit party came tumbling, pounding, scrabbling down the trail, past the fold in which he and Hillel stood concealed, he could hear the creak and rattle of their leather armor with its scales of horn; and when the Arsiyah returned, just before daybreak, at the very hour when all of creation seemed to fall silent as if fighting off tears, Zelikman could hear the rumbling of the mens bellies and the grit in their eyelids and the hollowness of failure sounding in their chests.(Michael Chabon, Gentlemen of the Road: A Tale of Adventure. Del Ray, 2007) Cumulative Sentences Defined and Illustrated The typical sentence of modern English, the kind we can best spend our efforts trying to write, is what we will call the cumulative sentence. The main or base clause, which may or may not have sentence modifiers like this before or within it, advances the discussion or the narrative. The other additions, placed after it, move backward (as in this sentence), to modify the statement of the base clause or more often to explain it or add examples or details to it, so that the sentence has a flowing and ebbing movement, advancing to a new position and then pausing to consolidate it. (Francis Christensen and Bonniejean Christensen, A New Rhetoric. Harper Row, 1976) Setting a Scene With Cumulative Sentences The cumulative sentence is particularly good for setting a scene or for panning, as with a camera, a place or critical moment, a journey or a remembered life, in a way not dissimilar to the run-on. It is another kind of- potentially endless and half-wildlist. . . . And here is this writer Kent Haruf, writing a cumulative sentence, opening his novel with it, panning the smalltown western landscape of his story: Here was this man Tom Guthrie in Holt standing at the back window in the kitchen of his house smoking cigarettes and looking out over the back lot where the sun was just coming up. (Kent Haruf, Plainsong) (Mark Tredinnick, Writing Well. Cambridge University. Press, 2008)

In a continuous esssay of not more than 1,000 words, analyse this Essay

In a continuous esssay of not more than 1,000 words, analyse this passage, discussing how narrative voice and dialogue are impor - Essay Example The aforementioned piece is a flawless demonstration of Direct Narrative. One can say so, as in this case, the viewpoint presented to the reader is that of a heterodiegetic narrator, who is not a part of the story, and has complete knowledge of all the happenings in the story. As a result, it gives the reader an opportunity to analyse the situation in the story using a wide pool of thoughts. Charlotte did not stay much longer, and Elizabeth was then left to reflect on what she had heard. It was a long time before she became at all reconciled to the idea of so unsuitable a match. The strangeness of Mr. Collins making two offers of marriage within three days was nothing in comparison of his being now accepted. She had always felt that Charlotte's opinion of matrimony was not exactly like her own, but she could not have supposed it possible that when called into action, she would have sacrificed every better feeling to worldly advantage. Charlotte the wife of Mr. Collins was a most humi liating picture! (Paragraph 4) This fragment very gracefully mingles both Direct and Focalised narrative. The first line has been laid out in pure Direct narrative, with the narrator informing the reader about the departure of Charlotte and the beginning of Elizabeth's train of thoughts. However, from the second line onwards, the narrative shifts to being Focalised, with Elizabeth being the focaliser. The text from here onwards, gives the reader a portrayal of the happening (Charlotte's acceptance of Mr. Collins marriage proposal), solely through Elizabeth's point of view. In a way, the reader 'sees' what Elizabeth sees, and is made to think at the same wavelength as Elizabeth. It ignores all the other aspects of the situation, thus narrowing the scope of understanding and reflection of the reader. However, it also gives the reader the liberty to gather a deep understanding of Elizabeth's character. Moreover, the passage also lays down a brilliant understanding of Free Indirect Spee ch and Dialogue. But Elizabeth had not recollected herself, and making a strong effort for it, was able to assure her with tolerable firmness that the prospect of their relationship was highly grateful to her, and that she wished her all imaginable happiness. (Paragraph 3) The underlined sentences in the above paragraph are a perfect literary example of Free Indirect Speech. It models indirect speech to a certain extent, the only difference being that in this form, there is no introductory clause. For example, in the above sentence, one does not see an expression like 'she said' or 'she exclaimed', which are characteristics of indirect speech. Apart from Free Indirect Speech, the passage also underlines the importance and definitive nature of Dialogue. The steady countenance which Miss Lucas had commanded in telling her story, gave way to a momentary confusion here on receiving so direct a reproach; though, as it was no more than she expected, she soon regained her composure, and ca lmly replied, ?Why should you be surprised, my dear Eliza? Do you think it incredible that Mr. Collins should be able to procure any woman's good opinion, because he was not so happy as to succeed with you?" (Paragraph 2) The sentences within double quotes are Dialogues, said by Charlotte to Elizabeth. Whereas Free Indirect Speech gives the reader an overview of the situation at hand,