Use of English Language Essay Example | Topics and Well Written Essays - 1000 words - 5

Use of English Language - Essay Example On the other hand, non-verbal surpasses verbal communication, given that people depend on non-verbal for expressing their ideas since when they are born. In this case, due to innate attributes of non-verbal behaviors, this leads to its significance in communication. For instance, some people use body gestures and facial expressions before uttering sentences, whereby they try making sense through symbolic messages. Furthermore, non-verbal cues are considered trustable they are elicited unconsciously by people through their behaviors. Moreover, there is the notion that non-verbal cues are not delusional; in fact, member of this community have a conviction that non-verbal messages are applicable where verbal messages are contradicting. In this case, people focus on creating the meaning of their non-verbal behaviors through attachment of meaning by observing what others are doing. Therefore, symbolic messages assist people in interpreting intentions of the speaker, and this is an indicat ion of the significance of non-verbal communication in the process of interpretation. In this case, non-verbal communications are considered very helpful in a situation whereby people do not understand messages communicated by a person through verbal communication. In addition, there is the deprivation of an interpreter to fall back on other ways of facilitating understanding of the speaker. In this situation, the non-verbal communication is utilized to offer subtle hints regarding the way a message should be understood.... In this case, people should avoid using gendered adjectives that are considered irrelevant such as â€Å"lady doctor†, â€Å"male nurse,† or â€Å"woman lawyer†. Issues of exclusion through language use involve explicit gender dichotomies, which are involved in social and linguistic awareness of speakers. In fact, this depends on whether there are social implications of gender non-stereotypical linguistic terminologies. Nevertheless, in order to identify this exclusion, there is need to analyze and pay attention on the stereotypical gender binarities, which are associated with social awareness and linguistic. For instance, there are divergent cultures and languages presented as indicative can lead to gender polarization, which is reflected in global and local trends of perception towards language. There are complex interdependencies, which exist between gender and languages can be explored in regard to theories associated with language and gender interplay; for i nstance, there are social cognitive approaches and social constructionism (Wolfgang, 23). Therefore, gender stereotypes are considered inherent based on the perception and application of language. Nonetheless, language and gender stereotypes may be assumed, while the discussion is based on the conceptualization of languages and gender, thereby referring to impact of gender stereotypes on language perceptions. Interesting Event Involving Language within the Community One of the most interesting events involving language within a community involves a special public or semi-public event, where an organization seeks to develop a sense of â€Å"political correctness†. In fact, this event starts with a short opening speech and

Apple Pie as totem food Research Paper Example | Topics and Well Written Essays - 3000 words

Apple Pie as totem food - Research Paper Example This essay discusses that apple as a fruit in itself was more predominant in Asia and Europe. The first apple was said to be cultivated in the â€Å" northern slopes of the Tien Shan, the mountain range running for a thousand miles between the Chinese border to the east and Uzbekistan, in fact almost to the Caspian Sea, in the west.† The biblical reference to the apple as the forbidden fruit could also have emerged from the fact that Mount Ararat; the resting place of Noah’s ark is also around this region. The mountain range is in present day Turkey and extends from Iran to Armenia, which encompasses the region where the first instance of apple cultivations were found. Turkey till today remains one of the biggest producers of apples in the world. Earliest origins of apple cultivation could be dated back to 8000BC with the discovery of agriculture when nomadic settlements settled in the fertile lands along the Tigris and Euphrates and moving from there to other regions w ith the onset of trade and military expeditions. There is evidence that the early colonists brought with them the first seen apples, crab apples in US. Crab apples are considered the native apples of America and since then there are more than 20 different varieties of apples grown in the US. It is believed that John Endecott, an early governor, was the first to bring an apple tree to North America, and the first orchard was planted on Beacon Hill by a clergyman named William Blaxton. The apple consequently grew to become a part of the staple diet, as it could be easily stored in winter. Despite the fact that apples were not initially from North America, and have been growing disease-free for centuries in their native habitats, the early settlers found that the long, hot summers and cold winters of New England grew apples unlike anywhere else in the world.  Ã‚  New England apples are known not only for their unique blend of tart and sweet flavours, but also for their size and fresh ness. (Nahmias, 2012). The growing of apple consequently began to be viewed as a status symbol. With the growing popularity of the American Apple Pie, diplomats and statesmen began to grow the prize apples for these pies in their backyard. It is therefore no coincidence that 60% of the nation’s yearly harvest in apples comes from the State of Washington. Recorded history shows evidence that Apple Pie was served as a gourmet desserts during dinners for

How Technology is changing our online life Essay Example for Free

How Technology is changing our online life Essay It is hard to imagine life without email nowadays. The only efficient means of communication, with efficient meaning that the message is delivered within seconds, is either through the cellular phone or through email via the internet. It is even more impossible to imagine how people could work under circumstances that denied them access to the latest communication technologies or even technology at all. Yet somehow, there was really a time when people where not at the beck and call of their cellular phones and a time when nobody really felt the urge to keep checking the mailbox every five minutes for fear of missing an email. There was a time when people actually drove to the store or entered a store and talked with the attendants before buying something. Ordering shoes and bags or other electronic items was done by going to a shop and not by going online and surfing online as it is done today. Friends and lovers were met and made by going to social functions and parties instead of by checking out somebody’s myspace profile or advertising on online personals. While those practices are still being done by certain individuals, the growth of the internet and the wide array of services that it offers have dramatically altered the manner by which people interact with one another and also the manner by which individuals lead their daily lives. The convenience and accessibility that the internet offers makes it an ideal replacement for all the previous time and energy consuming endeavors. With the number of people who are connected to the internet growing everyday, it is but a natural consequence that more and more services are being offered online ranging from dating, shopping, research and entertainment. In understanding how this newfound online lifestyle has changed our lives, it is important to understand the lures that are online that make it such a tempting alternative to doing this the time consuming and energy expending tasks. The internet provides everything online. Everything a person can desire or want is available online. Romance can be found through chatting or through online personals while intrigue can also be found on popular blog spots. Food is readily available for order online and so are clothes and other items. In short, there is nothing that cannot be found online and all a person needs to do is point and click. This is the lure of the online life and this is the reason why more and more people are leading the online life. It is convenient. It is time saving. It does not require one to expend a lot of energy. In certain cases, it also allows a person to work more efficiently and become more productive. From the standpoint of privacy, the internet offers virtual anonymity to anybody who goes online. All of this is offered online thanks to the great improvements in electronic and communications technology. As the developments in the electronics and communications technology continues to improve and advance, it will no longer be far off to imagine a world where nobody is walking the streets and everyone is hooked up to their computers interacting with each other in a world where they can be their own gods and dictate their own destinies without even breaking a sweat. Instead of just seeing an image of another person online, it may actually be possible to experience the sensation of feeling and touching that person. This all may just be future talk but one thing is certain. Today’s society has become so dependent on the benefits that technology has brought in making online life possible that we have come to a point of no return where we can no longer imagine life without it. If you think otherwise, turn off your cellular phone and unhook the jack of your computer and see how long you can survive without it.

Spanish Cinema During The Dictatorship

Spanish Cinema During The Dictatorship Spanish cinema was highly affected by the effects of the civil war; private investment in the production of commercial films fell drastically. The country was divided in two areas which were facing the effects of having military forces. This situation was reflected specially in the movie industry because at the time no-one wanted to invest in any new projects. Nevertheless, movie theatres in the whole country were doing extremely well all through the war; they were screening local productions as for example, Florià ¡n Reys clichà ©d Morena Clara (1936) and also, they were importing popular American productions. The Republican, who had the control over the principal centres of urban movie-making, gave authorization for the production of more than 200 films during the conflict. However, at the beginning of 1938 it started to be perceived that the Republican government was going to be defeated and therefore several members of the film industry started to organize their departure; most of them were Republican supporters. The directors Luis Alcoriza, Luis Buà ±uel, Carlos Velo, etc; also many actors as for example, Josà © Luis Baviera, Margarita Xirgu, Ana Marà ­a Custodio, Alberto Closes, Rosita Dà ­az Gimeno, Carmen Amaya; accompanied by a huge group of technicians such as the editor Josà © Caà ±izares, the camera operator Josà © Marà ­a Beltrà ¡n and the majority of the team members who were in charge of Andrà © Malrauxs Lespoir: Sierra de Teruel, migrated from Spain to countries such as: France, Argentina and Mexico. These were countries in which Spanish speakers had the opportunity to continue their work in the film industry. The director Buà ±uel was the perfect example of someone that was able to adapt to a life forced out of Spain. After he was exiled in 1946 he decided to go to Mexico and in 1949 became a Mexican citizen. However a large list of film makers who had started their careers under the Republicans and were sympathizers of the democratic government stayed at Francos side for example, Juan de Orduà ±a, Antonio del Amo, Benito Perojo, Florià ¡n Rey, Edgar Neville, Eduardo Garcà ­a Maroto, Rafael Gil, etc. The civil war finally ended on April 1939; afterwards Spain assumed a military dictatorship with General Franco in command. Obviously, the new management of the Spanish cinema industry during the dictatorship had a very negative repercussion on the film industry and could only lead to the best opportunity for those who were in the power to commit several crimes such as fraud, patronage, use of favours etc. It is important to highlight the fact that in 1940 three main official regulations were established and then submitted leading to the Spanish film industry to suffer the side effects of these intransigent regulations for many years. These regulations were: Compulsory dubbing Official state newsreel Film censorship Spanish Cinema during the dictatorship: Film Censorship Film censorship had been presented to Spain when the country was still facing the civil war in 1938; then in 1939 during the dictatorship of Franco it was stipulated all through the nation. During this period all film scripts had to endure a pre-censorship, shooting scripts had to be approved and Spanish films were required to have an exhibition licence, changes to image and sound tracks, cuts in completed movies were as well imposed and there was authorization of dubbing and subtitling. Film censorship was characterised for its inefficiency, for not being consistent when making decisions, and also for being arbitrary in its choices. Nevertheless it is difficult to establish if censorship caused the same impact on Spanish cinema as compulsory dubbing. Compulsory dubbing into Spanish and the taxation of all films that were imported from foreign countries were introduced by the industry and commerce ministry in April 1941. These two measures are normally seen as a consequence of Axis satisfactory results during the Second World War. However it seems to have more connection with Francos constant attempts to Hispanicize Spanish culture. At this time over 50% of the public couldnt read or write and most of Spain only spoke Spanish and didnt speak any other language and therefore Spanish film viewers soon got used to watching foreign films in dubbed Spanish. The film industry quickly realised that they could produce more profit from dubbed films than from using subtitles in films; as a result it was easier for censors to manipulate soundtracks and images. Nevertheless, compulsory dubbing drastically affected the country; economically and industrially. It caused a great damage to Spanish film productions; the main reason was that Foreign and Spanish films were in a position of equal accessibility to Spanish audiences and thus distributors and exhibitors abandoned essential elements in the effort to defeat international competition. Furthermore, the importation of international productions for distribution and even for exhibition was determined by the concession of import licences to national film producers. These licenses were given by official organisations to national film makers depending on the ideology of their productions. It was typical that the producers who supported Francos regime who behaved in a moderate and morally acceptable way would obtain three or five import permits. However, there were some films for example; El davo (1944) directed by Rafael Gil and El escà ¡ndalo (1943) directed by Josà © Luis Sà ¡enz de Heredia that won fifteen licences. Then these were sold for a lot of money, normally through the illicit black market, mainly to distributors from America who were based in Spain. The Spanish audience seemed to prefer foreign productions and therefore producers became very rich from selling import permits. This was also true for the distributers and exhibitors who also became very wealthy from screening foreign movies. As a consequence of this, for about ten years, the Spanish film industry was only used as a simply way of making very good profits from selling import licences. Spanish industry started suffering the consequences of a new law: compulsory official newsreels commonly recognised as NODO which was presented in December 1942 and had to be screened in all cinemas in Spain. This was basically political publication; propaganda used by the regime that had as its main purpose to influence Spanish people by the use of inaccurate information. NO-DO which is the acronym for Noticieros y Documentales Cinematograficos was used instead of the Italian and the German newsreels in cinemas in Spain and was compulsory until 1976. Unluckily, the mandatory introduction of NO-DO newsreels in Spain efficiently excluded a large number of younger national film-makers from presenting their work to the public such as, animation, documentaries or shorts and this certainly discouraged others to study in these areas. To lessen the gravity of the disastrous effects of the NO-DO policy, the regime presented a list of new protectionist measures that benefited the Spanish film industry. The following are some of these measures: Revised classification schemes, screen quotas (initially one week of Spanish film for every six of a foreign film). Official loans with which to finance up to 40 per cent of a film budget. Official prize of 400.000 pesetas. National interest awards for deserving films. Until about 1945, the regime of General Franco had its favourite film genres, especially one called cine de cruzada or films inspired by war, which also commemorated the Franco regimes victories in the civil war, disapproved the defeated Republican and celebrated the power of the armed forces, the religious, and colonialist values of the new people who ruled the country by that time. These films included: Escuadrilla (1941), Boda en el infierno (1942) and Los à ºltimos de Filipinas (1945), all directed by Antonio Romà ¡n.  ¡Harka! (1941) directed by Carlos Arà ©valo, El crucero Baleares (1941) directed by Enrique del campo and Juan de Orduà ±as  ¡A mà ­ legià ³n! (1942). There was especially one film called Raza (The Race) (1942) directed by Josà © Luis Sà ¡enz de Heredia which was without doubt one of the more significant films for the genre. Towards the end of 1940 and As the nation came to terms with the dramatic repercussions of the bloody civil war that had just ended, and while the rest of Europe engaged in its own devastating conflict, Franco found the time to write a brief novella entitled Raza. Published under the pseudonym Jaime de Andrade, Raza was structured like a screenplay and clearly intended to be made into a film; a semi autobiographical film, reflecting aspects of Francos real life. In 1945 with the foreseen defeat of the Axis, the descent in influence of Falange (Political organisation) and the ideology adopted by Franco of National Catholicism, the principles of the cine de cruzada was transformed into different nationalist genres. These also contained the period drama, the folkloric comedy, the historical movie, and the religious film. Comedies seemed to be preferred by the box office, the reason being this genre of film was the most popular and therefore the most profitable; especially films directed by Edgar Neville, Rafael Gil and Josà © Luis Sà ¡enz de Heredia who produced many clichà ©d, bullfighting films and folkloric musicals. These types of films were characterised for their poor quality and being cheerful in nature and having low production values. However, these films were produced for easy viewing; also, audience had the opportunity to participate. These were vehicles which were created around the best singers of that time, for example, Juanita Reina, Carmen Sevilla, Lola Florez, Paquita Rico, Currito de la Cruz, and Conchita Piquer as in Florià ¡n Rey La Dolores (1940). Yet in a time in which international isolation and repression for its fascist supporters was very common, the regime encouraged film producers to use the great national symbols of old and resist using anti-Spanish symbols in a serie s of bulky over produced biopics, commemorating distinguished Catholic heroines as in Juan de Orduà ±a Locura de Amor (Love Crazy) (1950) and La Leona de Castilla (The Lioness of Castille) (1951), and Reina Santa (1947) a film about a virtuous Spanish princess who becomes the Queen of Portugal directed by Rafael Gil. Along with these theatrical and historical films, we also see a strong Catholicism and missionary colonialism theme running through the cinema at this time, such as Misià ³n blanca (1946) directed by Juan de Orduà ±a, and then there were the prototypes for the sentimental, religious dramas of the early 1950s with films like Balarrasa (Reckless) (1951), A mans harrowing experience in war which turns him to God for salvation and he becomes a Priest) directed by Josà © Antonio Nieves Conde. It is worth mentioning that the same Falangist director, Josà © Antonio Nieves Conde, directed Surcos (Furrows) (1951), dealing with the fatal repercussions of leaving the old country and implications of migrating to the city. This film seemed to symbolise the realist cinema which was more relative to daily life in Spain and to the Spanish people, issues of lower orders, and presenting social problems that were entirely absent from Spanish cinema screens. Surcos was also the cause of strong disagreements between Falangism and conventional Catholicism because in 1951 Josà © Marà ­a Garcà ­a Escudero who was the General Director of Cinema at the time, denied to give the national interest award to Juan de Orduà ±as Alba de America (Dawn of America) (1951) as he preferred Surcos instead. As a consequence of this, Escudero had to leave his position as General Director of Cinema and Orduà ±as historical epic was awarded instead. This was an indication of the regime position towards f ilm makers who had the courage to defy the regime baring the less appealing, problematic side of social issues in Francos dictatorship. Realism had gradually returned into Spain through the weird example of Italian neo-realism and soviet cinema at the end the 1940s, it had sneaked into university film programmes. These types of films found great acceptance among some disillusioned Falangist film makers in the new, official film school, which was created by the regime and founded in 1947. Originally, the regime permitted the establishment of the Instituto de Investigaciones y experiencias cinematogrà ¡ficas (Institute for Film Research and Experiment) by means of forcing control on professional access to the film industry. In 1962 its name was changed to Escuela Oficial de Cine (Official Film School) and represented its programme on the curriculum for the Italian Centro Sperimentale in Rome. The IIEC was known for its lack of good teaching standards, and poor resources. However, the IIEC acquired 109 students just in the first year of its foundation; many of these pupils played important roles in the film industry movements in the 1950s and events which were organized to manifest cultural and also political opposition to Francos regime. Spanish Cinema during the dictatorship: Neo-Realism (1952-1961) Neo-Realist ideology started to be more obvious throughout the film industry in Spain almost immediately, not only in films by the young upcoming directors but also in those by followers of Franco such as Josà © Antonio Nieves Conde, who with his controversial film Surcos, let Spaniards see some of the unpleasant aspects of urban life. Luis Garcà ­a Berlanga and Juan Antonio Bardem were two disillusioned Falangists who studied at IIEC, they both were very important individuals in the attempt to renew Spanish cinema. These two men worked together with their own production company called UNINCI and in 1951 made Esa Pareja Feliz (That Happy Couple) (1953). The story was based on dreams of the working class about the improvement of the economy with parodies of CIFESAs (Compaà ±Ãƒ ­a Industrial Film Espaà ±ol S.A.) epic cinema and also the escapism of romantic comedies from Hollywood. Berlanga and Bardem proceeded with the same satirical style in the respected Spanish parody Bienvenido Mister Marshall (Welcome Mr. Marshall!) (1953).This production had a very critical edge and for that reason it obtained a very positive international recognition. Nevertheless, it was publicly and officially disapproved in Spain. Although the critics of his movies were softened by the parody and comic tone, Berlanga frequently had cens orship and poor distribution issues. Juan Antonio Bardem was part of the illegal Communist Party and also one of the organizers of the Salamanca Film Conference in 1955. His career in the film industry in the 50s and 60s was interrupted with periods of imprisonment due to his political actions against the regime. Among his works were Cà ³micos (Actors) (1953) and Muerte de un ciclista (Death of a Cyclist) (1955) in which Bardem emphasises in a critical perception of the bourgeoisie in Spain and showed some short images of people living in extreme poverty in Spain, this film gave Bardem substantial international recognition (Winner of the 1955 FIPRESCI Prize at the Cannes Film Festival). The introduction of new ideas from international lands caused great fervour and strong feelings of change among filmmakers and the general public alike. Public discussions were due for the first time in Spains old University City Salamanca lead by Basilio Martà ­n Patino and sponsored by the Universities film club, the first National cinematographic conversations called the attention of professionals in the Spanish film industry, scholars, critics and writers who were there to represent a vast range of ideologies, these conversations took place between 14th and 19th of May in 1955. There was an opened document declaring the meeting which was signed by directors such as Bardem, Patino, Muà ±oz Suay, etc; these recognised personalities of the film industry along with many others discussing a number of topics, for example the censorship criteria, film distribution, and protection quotas. They also mentioned that it was crucial to include a member of the film industry in the censorship team and wanted that point to be considered. The discussions in Salamanca caused a minimum reaction for which many of their supporters thought the talks had been a failure. The fascist government opposition said the talks were an opportunity given to the regime by a bourgeois organization to sharpen its manipulation by the use of censorship criteria. Conservatives said the talks were proof that communist were infiltrating; some other people said that the discussions were clear evidence that the film industry in Spain was in its infancy, but for others of its history and maturity. Nevertheless it is important to say that the talks had helped the awareness of Spanish cinema on a national level and due to some insecurity in the government eleven months after the Salamancan talks the general director of film and theatre was substituted by Josà © Muà ±oz Fontà ¡n (Whose career would later be destroyed by Buà ±uels controversial Viridiana (1961)). The most obvious evidence of official reactions was that the film industry was in c omplete silence following the talks and the Franco Government quietly turned its back. Although censorship had caused an artistic void in Spain, the new emerging and inspiring ideas being introduced into Spain had created new blood with young home grown directors such as pioneers Luis Garcia Berlanga and Juan Antonio Bardem (Who both helped to create la està ©tica franquista, a film style which ironically defined Spanish film during Francos reign). Spanish Cinema during the dictatorship: New Spanish Cinema (1962-1968) Spain made its first attempt to be part of the European common market in 1962; the country wanted to prove that Spain was not the fascist, retrograde it used to be; Spain was going through a new phase of liberalization. The moderate Garcà ­a Escudero who was dismissed 10 years before for supporting the film Surcos was brought back to accompany the director of cinematographic and theatre position. Garcia participated in the discussions in Salamanca and was aware of the disappointment and frustrations of those people who were attempting to make films during the dictatorship of General Franco and therefore when the repression caused by the use of censorship temporally down the pressure on the film industry in 1962, Josà © Marà ­a Garcà ­a Escuderos started to revise the points discussed in Salamanca which after seven years had not been even considered. One of the hardest aims for Garcà ­a Escudero to achieve was to update the censorship system. In this attempt he was attacked by constant criticism, especially by members of the church and the right wing who accused him of being a repulsive freak of a promoter. Forth revised codes were stipulated in 1963, which were strongly attacked with the only purpose of bringing back many of the strictly controlled measures. Although several of the new film makers were clearly part of the opposition, the dictatorship found the way to silence their voices. Josà © Garcà ­a Escudero did not find enough political support to cause any serious alteration to the censorship system; however, in 1962 he managed to create a new category for special interest films. This category was very significant for new professional film makers from The Escuela Oficial de Cinematografà ­a (EOC), to work in a film industry in which they had never been allowed to be involved in unless they were only apprentices. As a consequence of the special interest category a new genre in the film industry appeared. This new genre was films that showed the problems of Spain, especially with criticism towards the social situation of the country, for the first time realistic narratives of Spain were screened in cinemas along the country. This type of cinema was called by critic Juan Francisco de Lasa as New Spanish Cinema. The new cinema in Spain was known for its use of metaphor showing social criticism which was prominent in the 1950s especially by directors Luis Garcà ­a Berlanga and Juan Antonio Bardem who were well respected at the time and classed as the best of their era and genre. Nevertheless new directors focused more on the 1890s literary generation. Spanish writers like the likes of Antonio Machado, Miguel de Unamuno and Pà ­o Baroja were attempting to find answers to national issues in its literary, historical and also geographical past, the new directors in the 1960s were more interested in analyzing and criticizing social traditions in Spain in an attempt to form an image of Spain in which the country is seen for what it really is, instead of for what it was in the past or people thought it would be in the future. Despite the special category which allowed new Spanish productions to work as films of special interest, young Spanish film makers were still being attacked by censorship, as seen in Miguel Picazos La tia Tula (1964), that had a cut of over four minutes and then there was the confiscation of certain scenes from Carlos Sauras Llanto por un bandido (1964) which were eventually destroyed by the censors. Manuel Summers Juguetes rotos (1964) recalls the heroics of a boxer, a bullfighter, and a soccer player, showing the contrast between the opportunities of youth and the loneliness of advancing age still had its problems with the censors with the director receiving a long list of prohibited shots, including the following. A child begging A group of girls in bikinis Dialogue saying Cualquier Espaà ±ol puede ser torero (Any Spaniard can be a bullfighter) These frequent restrictions caused an enormous frustration among many promising film makers. When the regime realised that the new Spanish cinema was being used in opposition, the government designed a system which allowed control over film distribution, making sure that these films were seen only by a chosen few; new Spanish films were screened exclusively in a system of art theatres for a very small educated audience. The arte y ensayo system started in January 1967 with the following restrictions: 380 theatres Only in urban areas (cities of over 500,000 inhabitants) Cannot seat more than 500 (By law) The distributors at first thought it was great to be able to offer films shown for the first time in Spain but because the audiences were small, exhibitors advertised promising them fruto prohibido (films prohibited or censored elsewhere). While this was correct, most of the public had misinterpreted it and would come looking for lewd material. Most previously censored films were not necessarily sexually explicit, censored more for political or social reasons such as Jean-Godards A bout de soufflà © (1960), Luis Buà ±uels Exterminating Angel (1962) and Ingmar Bergmans Persona (1966). The public became totally disillusioned and because of the years of censorship was completely unprepared for the new developments in films. By 1972 the art theatre ceased because it proved to an unsuccessful experiment. The special theatres were created not so much for the benefit of the Spanish film industry but so that foreign tourists in Spain could see movies in their native language. The New Spani sh Cinema was being exhibited mostly in the art theatres but after a mere five years, Spains New Cinema did not have an audience in its own country and they were all abolished. The whole movement had attracted nothing but problems from the start due to the total lack of film culture in Spain. Directors of New Spanish Cinema created films which felt out of date to the foreign audiences. Basilio Martà ­n Patinos Nueve cartes a Berta (1966) was entered into Cannes by Josà © Marà ­a Garcà ­a Escudero but straight away rejected; Patinos honest and naive film felt dated to an international audience with their advanced understanding of cinema. To be fair to Garcà ­a Escudero he had accomplished a lot between 1962 and 1966, over forty new directors had made their first film. This wasnt enough for him to keep his position of director general of Cinematografia y Teatro, and he was dismissed for the second time in his career. There were two reasons given, the first was economic; the secon d was for The Primeras Jornadas Internacionales de Escuelas de Cinematografà ­a (First International Film Schools Discussions) and his lack of control over a new and important presence in the Spanish film world, a group of students and young directors who were presided over by the respected film critic Ramà ³n Gubern and in part by director Joaquim Jordà   who is quoted saying: Today is impossible to speak freely of reality in Spain, so we are trying to describe its imaginary life* This group organized the only public discussion of film in Spain for the last twelve years. These discussions were held between 1st and 6th of October 1967 in the Catalan beach town of Sitges. Attended by students, critics and young filmmakers, the Sitges conference provided a unique space for anti-Franco protesters, revolutionaries and supporters of experimental film. The Catalonian film director, Jordà   presented a manifesto for the Barcelona School that became widely known as the Sitges Manifesto. This manifesto provided a clear focus for debates on questions of film principles and political ideals, as well as new ideas for production and exhibition of work outside Francos restrictive regime. Jordà  s drafted the manifesto with a Marxist tone and could not be further from the New Spanish Cinema if it tried, with demands to end all censorship and state subsidies of any kind. Furthermore it called for the replacement of the Sindicato Nacional de Espectà ¡culo (State Entertainmen t Union) which would be able to supervise the production, distribution and exhibition of film. The Sitges manifesto rejected any possibility of working with the system and would only agree to a film industry totally independent of the state. By the time the Franco regime noticed what was going on in Sitges the conference was coming to a close. Nevertheless police interrupted the end of the event and arrested participants. Jordà   sought refuge in Rome and classes were briefly suspended at the National Film School. Garcà ­a Escudero was finally dismissed in November 1967. After the regimes reaction to the conference in Sitges, the Spanish film directors union (Agrupacià ³n Sindical de Directores-Realizadores Espaà ±oles de Cinematografà ­a (ASDREC)) was planning to continue the debates at their own convention, scheduled on the 23rd of November in 1969. A group of professional directors proposed that they carry out a study of the main problems of Spanish film and publish the find ings. Some of these findings, including eliminating film censorship, had been taken from Sitges. Officially the ASDREC convention was prohibited due to its controversial tone, but this didnt stop them. After many preliminary talks between directors discussing the topics most relevant to the industry, the main meeting was eventually held in March 1970. * Higginbotham, V. (1988). Spanish Film Under Franco. Texas: University of Texas Press. p66 Spanish Cinema during the dictatorship: The decade of Francos death (1969-1975) With the demise of Garcà ­a Escudero and the New Spanish Cinema and the breakup of School of Barcelona with its avant garde views, Spanish movie screens were full of foreign Spy movies and spaghetti westerns. The decade of Francos death (November 20th 1975) had started badly for Spanish film, with huge debts for the industry and the best of its new films were hardly shown on Spanish cinemas screens. 20 percent of world cinema had been banned in Spain since the Civil War and by the 1970s it had risen to over 50 percent of films made abroad that couldnt be seen on Spanish screens. If most of the worlds greatest films couldnt be seen in Spain, at least it wasnt being so strong on letting them be filmed there, even if it brought controversy. One of the most important (and controversial) events for Spanish film during the later years of Francos reign was Buà ±uel being granted permission to film Tristana (1970) in 1969. Tristana, definitely one of Buà ±uels finest, is a great example o f why his films, although banned and not well known to the Spanish people, were considered by Spanish Directors in the know as National treasures. In total contrast to most of the Spanish films made during the dictatorship, Buà ±uels vision of Spain seemed and felt more authentic. With the use of real people where possible as in Viridiana (1961) where he selected a group of beggars straight from the streets of Toledo and Madrid, and then there is the title character from Nazarin (1959) who is a typical anarchistic Spanish clergyman (many were murdered on the suspicion of being Communist sympathizers during the Civil War). Buà ±uels return to Spain was also the start of a new era in Spanish film, in the next five years leading up to Francos death there were some great films to come out of Spain. Carlos Saura (after Buà ±uel is Spains most important director during the post-war era) managed to create some great films even though his films were criticized by both right and left wing equally. He had the power to irritate and inherited Buà ±uels ability to cause trouble and whose films also managed to disturb the uneasy calm of the Franco camp. Films included Los golfos (1959), Ana y los lobos (1972), La prima Angelica (1973) and Cria cuervos (1975) the title in Spanish stems from the phrase Raise ravens and theyll pluck out your eyes and the equivalent phrase in English would be you reap what you sow. Filmed the year before Francos death, it makes clear how the regime, through an out of date religious education, making certain that the young do not grow into cuervos (ravens) and rebel the fascist myth. Last but definitely not least is the most highly acclaimed film in the history of Spanish cinema, El espà ­ritu de la colmena (Spirit of the Beehive) (1973) one of the most beautiful and poetic films ever filmed, a film which has been haunting audiences both Spanish and abroad since it first premiered in Madrid in October 1973. A young Victor Erice (he was 33 years old when he directed his master piece, 3 years younger than Orson Welles when he directed Citizen Kane (1941)) was in search of new myths and turned to classic horror films for inspiration and he found Frankensteins monster to represent Spain and its problems. After seeing James Whales Frankenstein (1931) for the first time, seven year old Ana becomes fascinated with the monster, she becomes obsessed with finding him, and transfers this onto a wounded army deserter, who she is convinced is the monster. As a metaphor for Spain, the monster is a ghoulish collage of a man, a monstrous figure constructed by the sinister creat or, Dr. Henry Frankenstein. Even the Doctors name sounds very much like Franco. With its reference to the myth of Frankenstein, Erice found an uncanny metaphor for Francos Spain. The monster was reborn and had no memory like a new born baby, he has no moral sense and so can behave kindly, then kill (by accident or otherwise). Frankensteins monster being a literary myth himself suitably represents the final result of the so called Franco myth. Chapter Three Spanish Cinema back to Democracy General Franco died on the 20th November 1975, and with his death died 46 years repression, a new phase of history was about to be born in Spain. It was the time for freedom which would give strength and new backbone to the Spanish cinema. It was as if Spain finally had democracy, liberalism, explicitness and experimentation all at once. Directors were now creating without the pressure of all those previous prohibitions. Franco before he died had designated as his successor Juan Carlos of Bourbon, who was the grandson of the last king of Spain. For the first time in over 40 years, a free election took place on June 15, 1977 and

Essays --

Education is very important for human life. It becomes main necessity for human beings. Almost all aspects of life are influenced by education. A human is introduced to education started from born, and it keeps going on until the death. If a human has a good basic education, it will be easy for the next development. Human will be easily accept and adapt their self with new education which more advanced. They can accept values in social life, school, family, and environment. Moreover, of course they will be smart and be respectful human. Sometimes, education is regarded as a sign whether a human is in high class or not. It influences a lot of areas in human life, for example; in the world of work, in getting money, in communicating with others, and in adapting human in this more modern era and advanced technology. First, education influences the world of work. Human are demanded to have skill in its sector. Usually a company conduct interview before recruiting employee. In recruitment process, there are some questions that related to level of education background. Having good quality in education will help a human to get wanted job and of course with balance income. A human who has high level education will get good job easier than a human who has not good education. Moreover, to get a job is very difficult. It shows that education has important role in the world of work. Secondly, education helps human in getting money. Educated human are more useful and easier in getting money because they have something that can be sold. Just by using the skill, they can get money. Furthermore, they do not need to work powerfully because they work use their brain. It is different with an uneducated human. Uneducated human usually work by using ... ...ality of education because that is very helpful in increasing human’s quality. Therefore, education is very important in the survival of a human because it affects many aspects of life. It can be gotten from formal institute and informal institute. However, many human prefer to choose formal education. Usually it is started from elementary school until university. It has big role in forming good personality, such as; responsibility, honesty, and attitude. Responsibility is important thing that must be belonged to every human. Then, honesty comes from the heart. The price of it is very expensive and it cannot be changed by everything. Next is about attitude, it relates to human’s behavior. Attitude cannot be kept hiding because it comes out spontaneously. Human do not need to be worried if they have good habit in behavior, because a good habit shows a good attitude.

Origin Of Surnames :: essays research papers

Origins of Surnames   Ã‚  Ã‚  Ã‚  Ã‚  In today’s society we all want to know who we are and where our names originated from. Our names are what give each of us our own style and individuality, the importance of style and individuality can be related back to our original surnames. Our surnames have come from all areas of the world, each with specific meanings to our family. Surnames or last names have an important meaning to all of us, they give us identity through our family’s history. Looking back into history our names have changed drastically, keeping some people from knowing how their surnames really originated. Surnames originated early in history and did so for many reasons.   Ã‚  Ã‚  Ã‚  Ã‚  The first knowledge of surnames was in the biblical times, they used names that went by geography, for example â€Å" Corey of Carlisle.† The actual use of surnames originated in Europe, and in some Scandinavian areas, in the eleventh and fifteenth century by small villages. The reason that no surnames were used before this time was the fact that most people were illiterate, living in small villages in a country atmosphere. Living out in the country these people had no reason to learn to read or write, because their lives were lived off the land. They did not need surnames to signify who they we’re or what they did. In these small villages they went by their first names, people all had different first names, so they did not need surnames to tell people apart. But when the population of the villages grew, it became important to have surnames to identify two people with the same name. The use of surnames showed social class, culture, tradition and, the jobs they worked.   Ã‚  Ã‚  Ã‚  Ã‚  The forming of surnames first came from other names by which someone was called. The name â€Å"Johnson† originated from â€Å"the son of John,† and the same goes with my last name â€Å"Richardson.† In some countries they would use their mothers first name for a surname, such as â€Å"Paige.† Jimmy Paige, from the band Led Zeppelin, could say his surname originated this way. Other origins of surnames came from places and geographical names. The surname â€Å"England† or â€Å"Penn† show this quality. Obviously England is a country and Penn is shortened from Pennsylvania. Surnames like â€Å"Smith† ( as in blacksmith ) and â€Å"Carpenter† ( one who works with wood ) come from the jobs that these people held.

Lord of the Flies †Character Analysis: Piggy Essay

Examine the significance of the character Piggy in the novel â€Å"Lord of The Flies† consider his purpose, key role and relationship with the other boys at important points in the novel. To mimic men’s actions and lost of civility in times of war and need, William Golding, narrates a story in which all characters are boys, with the intention of taking the reader through the journey made by those who descend to savagery when facing certain conditions. This essay is going to explore and explain the symbolism behind one of the novel’s main characters and how his presence influences other characters’ actions and the way things turn out. Piggy is a Short and heavyset boy who wears spectacles and is disadvantaged by asthma. At first he appears to be a desperate childish boy by panicking over the rest of the world’s lack of information regarding his and the boys’ whereabouts, – while the others see this as an opportunity to be free and independent – which makes him seem like a dependable, desperate young boy. However, as the story unfolds we come to understand that his worrying at the beginning is related to his analytical way of thinking. And even though the other boys put him down due to his physical appearance, we come to learn how necessary he is on the island as a source of intelligence and insight. Due to his unfortunate looks and his nickname, the boys on the island refuse on sympathizing with Piggy and collectively make fun of him, making him an outcast – â€Å"The boys were a circle of sympathy with Piggy outside†. Bullied and brutalized by Jack, he maturely shields away the mocking and focuses on increasing their chances of being rescued and meanwhile living in an organized environment. However, as soon as his intellectual side starts to show, and his critical thinking becomes a crucial part in assembling a new community, – â€Å"I expect we’ll want to know all their names,† said the fat boy, â€Å"and make a list. We ought to have a meeting. † – he slowly begins being accepted. His clever ideas introduce important concepts to the rest of the boys. For example, the use of the conch: the power to speak and be heard given to whoever held it in hands. The way he thinks endears him especially to Ralph who starts to admire him. â€Å"Piggy rubbed his glasses slowly and thought. When he understood how far Ralph had gone towards accepting him he flushed pinkly with pride. †- Thankful for being accepted, Piggy shows loyalty and respect for Ralph. At a certain point, Ralph questions his leadership skills and compares himself to Piggy who stands up for him – â€Å"You said Ralph was chief and you don’t give him time to think. Then when he says something you rush off†. He protects Ralph and reminds the others that they all collectively chose him to be their leader. Once again, Piggy shows he hasn’t lost his values and instincts. Although he might not entirely fit in with the others, he manages to get his point across with Ralph’s help. His ideas frequently lead to innovation and his way of thinking is what gets them by the first stages of civilized survival. He represents democracy by presenting his ideals to the others and hoping to come to a mutual agreement on the way of executing things; and clings onto civility throughout the whole novel, by pointing out whenever one of the other boys take a step away from civilization. Underestimated by many at the beginning, Piggy’s role in the story carries a very important meaning and stands for great attributes found in men. The sensible understanding of reality shown by the character stands for the rational scientific side of civilization. His maturity differentiates him from the others – â€Å"With the martyred expression of a parent who has to keep up with the senseless ebullience of the children† – and becomes essential in avoiding savagery and barbaric behavior from the boys. His character is related to a great part of the symbolism used by Golding and has a very important role in preventing the descent from civilization to savagery, however, he sadly he witnesses the turnover. Piggy’s glasses represent many different ideas. The initial importance of the specs is that they represent the ability to make fire, which they hoped would provide the rescue they needed. Piggy’s glasses also signify Piggy’s ability to see literally and figuratively. Without them, he is helpless and blind. He is unable to serve as well as Ralph’s right-hand man and voice of logic. When Piggy is â€Å"blinded† it symbolizes the blindness of the Jack’s tribe to the evil to which they are succumbing. Piggy’s murder completes the boys’ lost of sight (figuratively speaking) and forces them into total darkness, which leads to the hunting of Ralph. When his glasses are broken and he tragically dies, so does what is left of order and civilization in the island. Of all the forms of symbolism present in the book, Piggy’s character carries a relation to many of them. To being with, his nickname isn’t only related to his physical structure, but it also suggests vulnerability, like the pigs on the island that rapidly become Jack’s targets. Another important symbolic element related to Piggy is the conch he and Ralph found at the start of the novel. They used it to call the boys and assemble them. After the conch is crashed along with his body, the boys divide themselves representing the loss of the civilized instinct once present in each and every boy. Piggy is significant in the novel not only because he is one of the main characters, but also because his purpose is directly related to the main theme of the story: civilization vs. savagery. Although he wasn’t able to make the concept of civilization permanent, he spends the whole novel trying to get his values across, and reminding the others of who they were and how they were expected to behave. His intelligence gives him the voice of sanity and reason.