The book A Christmas Carol Essay Example for Free

The book A Christmas Carol Essay The three ghosts add to the popularity of the novel. First of all they take Scrooge on a journey. This is popular because it gives a sense of adventure and adventure themes are very popular for example Charlotte Bronti s Jane Eyre and Emily Bronti s Wuthering heights. The reason these adventures were so popular is because it is a journey through time. This is a new thing for the Victorians which creates shock nowadays. We relate to this through television like doctor who. Also this makes scrooge change; this makes it popular as its not all about visiting place, its about he reacts and changes. At the end of the novel scrooge has completely changed. He has changed from being old, miserable and mean; to being kind and exhilarated (quote). In the first paragraph Dickens cleverly used scrooges voice to describe the room (quote). This makes us empathise with him and feel his excitement. Dickens also uses repetition to emphasise scrooges laugh (quote). He does this to make sure that the audience has noticed that he is laughing. Scrooge also sends for a giant turkey for Bob cratchitt and gives the boy money for getting it. He also pays for a cab so the delivery person doesnt have to carry it. This part of the novel shows how much scrooge has changed. He has become generous, kind and considerate. Next scrooge walks around the street greeting people. He also bumps into the charity collectors who he gave a huge contribution too. You begin to see that Dickens has cleverly repeated the events from stave 1, but made them chances for scrooge to be generous, for example the boy, the charity men, his nephew This has a huge effect on people and most of them are surprised and happy for example the charity men. Cried the old gentleman. This is repeated to show his pleasure. Again this emphasises the point and makes us relate and feel the enthusiasm and joy.

Genre Theory and John Fords Stagecoach Essay -- Movie Film Films Cine

Genre Theory and John Ford's Stagecoach The analytic theory posited by Robert Warshow in his essay "The Westerner", itemizes the elements necessary for a film to belong to the genre of the "western". Most contentiously, he mandates that the narrative focus upon the individual hero's plight to assert his identity, and diminishes the importance of secondary characters and issues, or any tendency toward "social drama." (431) He states that it is subtle variations that make successive instances of a genre film interesting, yet limits this variety to "minor variations in the characteristics of the actors who play the hero's role." (430) It is my belief that while exhibiting many of the traits itemized by Warshow, John Ford's Stagecoach (1939) also exhibits variations in characterization, symbolism and even moral focus which project it dangerously close to what Warshow would view as a "social" film. It would be nearly impossible to declare Stagecoach a non-western by either Warshow's own generic criteria or the expectations of the genre viewer, yet the film clearly conveys the more individuated social concerns of its director. While Warshow claims that this perversion of the norm threatens to make the genre uninteresting, I believe the contrary to be true. Subverting the expectations of the genre, while still functioning within the language of the "western" is what makes Stagecoach a powerful film, and legitimizes the notion of genre itself. The traits cited by Warshow as compulsory for the "western" are extensive. Most elements concern the figure of the melancholy cowboy hero, who is certainly present in Stagecoach in the personage of Ringo. The hero usually exhibits a certain leisure, an ambiguity of occupation, a noncha... ...r variations within the working out of a pre-established order." (461) However, his theory seems too eager to limit a genre film to achieving the same end in every incidence. I believe that Stagecoach reveals that it can be more constructive to achieve something new through the use of the conventional mode. It seems that it is only through the creation of an ostensibly new product by each recurrence of a generic form that a genre can continue. Theorists who deny the possibility of retaining enough of the original mode to make the film recognizable as part of a genre, while still capitalizing on the full range of variation available through plot, characterization, and style, underestimate the audience's capacity to simultaneously make connections and receive a new product. I believe an audience would rather be challenged than spoon-fed another "creative" recreation. Genre Theory and John Ford's Stagecoach Essay -- Movie Film Films Cine Genre Theory and John Ford's Stagecoach The analytic theory posited by Robert Warshow in his essay "The Westerner", itemizes the elements necessary for a film to belong to the genre of the "western". Most contentiously, he mandates that the narrative focus upon the individual hero's plight to assert his identity, and diminishes the importance of secondary characters and issues, or any tendency toward "social drama." (431) He states that it is subtle variations that make successive instances of a genre film interesting, yet limits this variety to "minor variations in the characteristics of the actors who play the hero's role." (430) It is my belief that while exhibiting many of the traits itemized by Warshow, John Ford's Stagecoach (1939) also exhibits variations in characterization, symbolism and even moral focus which project it dangerously close to what Warshow would view as a "social" film. It would be nearly impossible to declare Stagecoach a non-western by either Warshow's own generic criteria or the expectations of the genre viewer, yet the film clearly conveys the more individuated social concerns of its director. While Warshow claims that this perversion of the norm threatens to make the genre uninteresting, I believe the contrary to be true. Subverting the expectations of the genre, while still functioning within the language of the "western" is what makes Stagecoach a powerful film, and legitimizes the notion of genre itself. The traits cited by Warshow as compulsory for the "western" are extensive. Most elements concern the figure of the melancholy cowboy hero, who is certainly present in Stagecoach in the personage of Ringo. The hero usually exhibits a certain leisure, an ambiguity of occupation, a noncha... ...r variations within the working out of a pre-established order." (461) However, his theory seems too eager to limit a genre film to achieving the same end in every incidence. I believe that Stagecoach reveals that it can be more constructive to achieve something new through the use of the conventional mode. It seems that it is only through the creation of an ostensibly new product by each recurrence of a generic form that a genre can continue. Theorists who deny the possibility of retaining enough of the original mode to make the film recognizable as part of a genre, while still capitalizing on the full range of variation available through plot, characterization, and style, underestimate the audience's capacity to simultaneously make connections and receive a new product. I believe an audience would rather be challenged than spoon-fed another "creative" recreation.

Tenor in Email Communication

Today we will be discussing â€Å"tenor† in workplace emails. We will: 1) explain what tenor and how it is reflected in workplace emails, 2) why using proper tenor in the workplace is important, and 3) provide tips as to how you can successfully determine tenor for use in your own workplace emails. (First Slide) What is tenor? Tenor is the tone of a form of communication that reflects the relationship between the speaker and their audience. In regards to email, it is the relationship between the writer and their recipient. Every person uses different forms of tenor on a daily basis, whether they are in the work place, at home or even with friends. Tenor is present in an email and can be reflected in a number of ways. It is most evident in the formality of the speech used and the words chosen in the communication of ideas. However, the tenor of an email can also be affected by the subject matter of an email. More serious or pressing issues often call for a more formal use of tenor. (Second Slide) Why is tenor important? Also read: The Other Side of E-mail Tenor is an important element of workplace communication for a number of reasons. Firstly, the tenor used in an email demonstrates one’s level of respect for who they are speaking to. In the workplace, it reflects the level of respect one shows for their superior, co-workers or even direct reports. This is evident in the politeness and mannerisms displayed in the email. Calling your friend â€Å"dude† may be normal in their company, but calling your boss the same may be taken as offensive or undermining. Secondly, tenor can display your dedication or seriousness about issue. While some subjects may discussed light-heartedly, such as an office event, while other require more a serious tone, such as discussing grievances or personal absences. Mistaking tenor in the workplace can have a number of negative effects. It could possibly damage your work relationships and create tension in the workplace, reduce the effectiveness of workplace communication and processes, as well as reduce your chances for advancement in a company. Always remember to consider if your words could be misinterpreted before you click send! (Third Slide) So how do you determine the proper tenor to use in your email? There are 3 simple questions that you can use to evaluate your relation to the recipient and effectively gauge the proper tenor in an email. These questions are as follows: Ask yourself – What is the recipient’s position in the company? Are they a superior? A co-worker? A direct report? While these employees all share different roles, they can all be treated with different tenors. While your boss requires a highly formal level of tenor in your communication, a co-worker may not. – What is the subject matter of the email? As we have already mentioned, the subject matter of the email you are writing may also have an effect on the tenor you should be using. For instance, consider the co-worker mentioned above. On a day-to-day basis, a co-worker may not require a highly formal tenor in communication. However, while discussing this co-worker’s grievances, bereavement leave or other personal matters, a more formal tenor may be required to spare their feelings and show your respect for their situation. – Another good question to ask yourself is: Who will have access to the email? Although you may think the email you just sent is only seen by the recipient, this may not always be true. The last thing you want to happen is for your boss to see an email that you wrote and think that you may have disrespected another employee by using informal tenor. To end this conference, we would like to suggest some tips for determining and executing proper tenor in workplace emails. 1. Always use more formal language in your initial message. Once your recipient replies, it will be easier to determine what tenor is appropriate. It is better to err towards the casual side after an exchange of emails. 2. When in doubt, mirror it out! Mirroring is a valuable tool in determining workplace tenor. When mirroring, one simply replies to an email with the same tone as the sender. In other words, send email you would like to receive and you will do no wrong. 3. Always think before you send! You may think you are communicating one message, but your recipient may read another. Always be sure to re-read you emails and consider if your words could be misinterpreted.

Battle of Brandywine in the American Revolution

The Battle of Brandywine was fought September 11, 1777, during the American Revolution (1775-1783). One of the largest battles of the conflict, Brandywine saw  General George Washington  attempt to defend the American capital at Philadelphia. The campaign began when British forces, led by  General Sir William Howe  departed New York City and sailed up the Chesapeake Bay. Landing in northern Maryland, the British advanced northeast towards Washingtons army. Clashing along the Brandywine River, Howe attempted to flank the American position. The resulting fight was one of the longest one-day battles of the war and saw the British force Washingtons men to retreat. Though beaten, the American army remained ready for another fight. In the days after Brandywine, both armies conducted a campaign of maneuver which resulted in Howe taking Philadelphia.  Ã‚  Ã‚  Ã‚   Background In the summer of 1777, with Major General John Burgoynes army advancing south from Canada, the overall commander of British forces, Howe, prepared his own campaign for capturing the American capital at Philadelphia. Leaving a small force under Major General Henry Clinton at New York, he embarked 13,000 men on transports and sailed south. Entering the Chesapeake, the fleet traveled north and the army landed at Head of Elk, MD on August 25, 1777. Due to the shallow and muddy conditions there, delays ensued as Howe worked to disembark his men and supplies. Having marched south from positions around New York, American forces under General George Washington concentrated west of Philadelphia in anticipation of Howes advance. Sending forward skirmishers, the Americans fought minor a battle with Howes column at Elkton, MD. On September 3, fighting continued with a skirmish at Coochs Bridge, DE. In the wake of this engagement, Washington moved from a defensive line behind Red Clay Creek, DE north to a new line behind the Brandywine River in Pennsylvania. Arriving on September 9, he deployed his men to cover the river crossings. Armies Commanders: Americans General George Washington14,600 men​ British General Sir William Howe15,500 men The American Position Located approximately halfway to Philadelphia, the focus of the American line was at Chadds Ford, astride the main road into the city. Here Washington placed troops under Major General Nathanael Greene and Brigadier General Anthony Wayne. To their left, covering Pyles Ford, were around 1,000 Pennsylvania militia led by Major General John Armstrong. On their right, Major General John Sullivans division occupied the high ground along the river and Brintons Ford with Major General Adam Stephens men to the north. Beyond Stephens division, was that of Major General Lord Stirling which held Painters Ford. On the far right of the American line, detached from Stirling, was a brigade under Colonel Moses Hazen which had been assigned to watch Wistars and Buffingtons Fords. Having formed his army, Washington was confident that he had barred the way to Philadelphia. Arriving at Kennett Square to the southwest, Howe concentrated his army and assessed the American position. Rather than attempt a direct attack against Washingtons lines, Howe elected to use the same plan that had achieved victory the year before at Long Island (Map). Howes Plan This entailed sending a force to fix Washington in place while marching with the bulk of the army around the American flank. Accordingly, on September 11 Howe ordered Lieutenant General Wilhelm von Knyphausen to advance to Chadds Ford with 5,000 men, while he and Major General Lord Charles Cornwallis moved north with the remainder of the army. Moving out around 5:00 AM, Cornwallis column crossed the West Branch of the Brandywine at Trimbles Ford, then turned east and crossed the East Branch at Jeffries Ford. Turning south, they advanced to high ground on Osbornes Hill and were in position to strike the American rear. Opening Shots Moving out around 5:30 AM, Knyphausens men moved along the road towards Chadds Ford and pushed back American skirmishers led by Brigadier General William Maxwell. The first shots of the battle were fired at Welchs Tavern approximately four miles west of Chadds Ford. Pushing ahead, the Hessians engaged a larger Continental force at Old Kennett Meetinghouse around mid-morning.    Finally arriving on the opposite bank from the American position, Knyphausens men began a desultory artillery bombardment. Through the day, Washington received various reports that Howe was attempting a flanking march. While this led to the American commander considering a strike on Knyphausen, he demurred when he received one report that convinced him the earlier ones were incorrect. Around 2:00 PM, Howes men were spotted as they arrived on Osbornes Hill. Flanked (Again) In a stroke of luck for Washington, Howe halted on the hill and rested for around two hours. This break allowed Sullivan, Stephen, and Stirling to hastily form a new line facing the threat. This new line was under the oversight of Sullivan and command of his division devolved to Brigadier General Preudhomme de Borre.  As the situation at Chadds Ford appeared stable, Washington informed Greene to be ready to march north at a moments notice. Around 4:00 PM, Howe began his attack on the new American line. Surging forward, the attack quickly shattered one of Sullivans brigades causing it to flee. This was due to it being out of position due to a series of bizarre orders issued by de Borre. Left with little choice, Washington summoned Greene. For around ninety minutes heavy fighting swirled around the Birmingham Meeting House and what is now known as Battle Hill with the British slowly pushing the Americans back.   Washington Retreats Marching an impressive four miles in forty-five minutes, Greenes troops joined the fray around 6:00 PM. Supported by the remnants of Sullivans line and Colonel Henry Knoxs artillery, Washington and Greene slowed the British advance and allowed the rest of the army to withdraw.  By around 6:45 PM, the fighting quieted and Brigadier General George Weedons brigade was tasked with covering the American retreat from the area. Hearing the fighting, Knyphausen began his own assault at Chadds Ford with artillery and columns attacking across the river. Encountering Waynes Pennsylvanians and Maxwells light infantry, he was able to slowly push the outnumbered Americans back. Halting at every stone wall and fence, Waynes men slowly bled the advancing enemy and were able to cover the retreat of Armstrongs militia which had not been engaged in the fighting. Continuing to fall back along the road to Chester, Wayne skillfully handled his men until the fighting petered out around 7:00 PM. Aftermath The Battle of Brandywine cost Washington around 1,000 killed, wounded, and captured as well as most of his artillery, while British losses were 93 killed, 488 wounded, and 6 missing. Among the American wounded was the newly arrived Marquis de Lafayette. Retreating from Brandywine, Washingtons army fell back on Chester feeling that it had merely lost a battle and desiring another fight. Though Howe had won a victory, he failed to destroy Washingtons army or immediately exploit his success. Over the next few weeks, the two armies engaged in a campaign of maneuver that saw the armies attempt to fight on September 16 near Malvern and Wayne defeated at Paoli on September 20/21. Five days later, Howe finally out-maneuvered Washington and marched into Philadelphia unopposed. The two armies next met at the Battle of Germantown on October 4.