Drama Essays Women in Comedy

Drama Essays Women in Comedy The Changing Role of Women in Comedy. How has comedy between 1950 to 2000 been used by female performers to highlight the oppression and objectification of women in society? What impact has this had on the contemporary female comedian of today? Introduction Overview Chapter One: A Sense of the Times 1950s 1960s 1970s-1980s Chapter Two: Women’s ‘Sense’ of Humour Chapter Three: Issues in Stand-up Comedy Being a Woman Traditional Gender Expectations Aggressiveness Sexuality and Femininity Issues of Power and Control Modes of Stand-up Comedy Self-Deprecation in Women’s Humour Self-deprecation in the work of Phyllis Diller and Joan Rivers The domestic goddess Conclusion: The 1990s and Beyond: The Future of Women in Stand-up Comedy Reference List Introduction Comedy is a form of expression which stretches and sometimes breaks boundaries. It crosses all kinds of boundaries, including those of gender. It can be risky because it often ridicules social and moral conventions in a way that challenges and threatens accepted norms, threatening the status quo. This is particularly true of women’s comedy. This paper will examine the way that comedy has been used by female performers during the period from 1950 to 2000, focusing on the themes of oppression and objectification of women in society. It will also analyze the ways in which the experiences of these five decades have affected contemporary female comics. Chapter One gives a general overview of each decade, to explain the political and social climates of that time as a framework for examining the changes in women’s roles. Included will be examples of different women comics whose experiences best represent selected aspects of that time frame. This will be followed by an analysis of what people mean when they talk of a ‘sense of humour’ what, exactly, is a sense of humour? Do women have a different sense of humour than men? Most of the literature about women comics touches on this question on some level; some of the literature goes into a great deal of depth. This is frequently done to respond to the assertion that has been made, repeatedly over the years, that women ‘don’t have a sense of humour’. This statement has been made most frequently by men. However, this same assertion has at times been leveled (often in an accusatory manner) by women toward other women. Chapter One:  Ã‚   A Sense of the Times A. The Decade of the 1950s   The decade of the 1950s was a time of great change. Britain was entering a period of increased affluence and freedom, and many of the old social and cultural structures began to be challenged, particularly by the young. In Hollywood, as well as throughout the United States and North America, post-war sentiment lingered on and mingled with the confusion that accompanies times of great change. In some places, such as Britain, this turmoil was exemplified by a tendency to pull away from formal religion. In the United States, this period was an era of economic growth mixed with a sense of conservation. At the same time, there seemed to be a professed belief in the old values; however, this belief was tinged with doubt. According to one scholar, the professed belief was ‘mixed with a sense of unease that maybe the old values no longer held all the answers’ (Sova, 1998, 106). According to critics Linda Martin and Kerry Segrave, the portrayal of women during the 1950s was generally considered to be negative. Women actors and performers were mostly typecast as ‘dumb, ugly man-chasers or some image thereof’ (Martin and Segrave, 1986, 203). Some notable performers of comedy of this period include Judy Holliday, Lucille Ball, Phyllis Diller, and Joan Rivers. Blond comedian Judy Holliday, who had been appearing in films as early as the 1940s, continued to so do in the 1950s. She even managed to become a film comedy star in the 1950s, a feat that even Lucille Ball did not manage. Sova asserts that Holliday ‘went for the laughs in an innocent manner’, something which worked well for her in the 1950s, but which did not work for Ball either then or later (Sova, 1998, 120–121). Holliday and Ball were similar in that they both played both straight drama, and then switched over later on to a comedic format. Ball, however, was not a larger-than-life presence on the silver screen, and she failed to attract the kind of interest that Holliday did. Hence, she never reached stardom on a cinematic level. Still, Ball is perhaps a more familiar name, even to this day. She went on to revolutionize television with her comedy partner and husband Desi Arnaz. In so doing, it may be said that Lucille Ball set the standard for what was then a fairly new genre, the situational comedy. Phyllis Diller is another comedian who became known during this period, and has remained known to this day. ‘Diller transcended â€Å"comediennes† of the day, if not femaleness itself, by announcing her arrival in the mid-1950s in the most outlandish manner imaginable,’ asserts a contemporary of hers. He goes on to describe her entrance onto the stage:   ‘She landed onstage like a flightless goony bird wielding her cigarette holder, piercing the nightclub air with her manic squawk, all beak and beady chicken eyes, and dressed in a deliberately garish getup’ (Nachman, 2003, 216). Susan Horowitz points out that Diller came out of the 1950s, ‘a period which stressed and exaggerated sex–role differences’ (Horowitz, 1997, 50). In addition, it is significant to note that at the time Diller entered the profession of comedy in the mid 1950s female comics were practically non-existent. Commenting on her career as a whole, Horowitz asserts that ‘both Diller’s subject matter sex appeal and domestic competence and the manner in which she handles it self-deprecation are Diller’s comedic take on the stereotypical 1950’s woman’ (Horowitz, 1987, 62). This decade also ushered in Joan Rivers, who is described by a colleague as arriving upon the scene ‘with forked tongue and sharpened talons. . . [she] bit and clawed her way to comic success and has clung to it for dear life’ (Nachman, 2003, 592). Rivers’ comedic approach has been described as ‘a jolt of contrasts’: her rapid-fire manner of talking, combined with her wide variation of topics, kept her audience members on their toes. Her comedic style is often attributed to background: she drifted between social classes, never feeling truly comfortable in any one category. Horowitz has described her as ‘both an insider and an outsider, classy and dà ©classà © the private school student whose family cannot pay the bills; the wealthy celebrity whose act mocks the elite; the elegant lady who talks about farts and pooping’ (Horowitz, 1997, 93). Yet not even the most outrageous comedy act could compete with television. The growth of this television’s popularity had a strong impact on every aspect of society. Television had very quickly become more popular than radio, replacing it as the preferred form of entertainment in the home. In addition, more and more people began to have television sets in their homes. The proliferation of television brought with it a change in style. Martin and Segrave explain that ‘where radio relied on women mangling the language, television, in keeping with its visual nature, relied more on physical sight gags to convey â€Å"dumbness†Ã¢â‚¬â„¢. Thus, this period hallmarked the combination of the dumb, blonde, buxom stereotype. At least on television, as opposed to radio, women were able to articulate clearly (Martin and Segrave, 1986, 204). B.   The 1960s The movement away from the conservative fifties began and continued throughout the turbulent 60s in America. Revolutionary ways of thinking spread rapidly, and real change transformed the cultural fabric of American life.  During this decade, consumption continued in Britain, but had become less connected with utilitarian needs, and more to do with status and comfort. For women comics, however, the first half of the 1960s was one of the least productive in their history. Although in Hollywood the film industry was opening up more for women, the field of comic stand-up seemed to be at a standstill. Martin and Segrave do point out that there was at least one positive image in American humor to welcome the new decade. This one exception was Elaine May. Elaine May was an example, and she represented what women could accomplish when given a fair and equal opportunity. May, according to Martin and Segrave, ‘provided a sample of what was to follow as more and more female comics cast off the old images and stereotypes and broadened and extended their place in the field of humor’ (1986, 206). What was noteworthy about May’s performance is that she did not try to look ugly, the way so many women comics of this period seemed to do. In addition, she did not rely on self-deprecation the way other female comics did. She and Nichols shared an equal partnership another rare thing at this time. Ordinarily the woman would play a foil to showcase the other, male, part of the duo. Among the comics who started to become know during this time, one was Carol Burnett. According to Martin and Segrave, Burnett ‘represented a performer who straddled the line between independence and submissiveness’ (1986, 308). This was no easy task, given the hostile climate the world of comedy offered women. Horowitz points out that Burnett’s style at this time was marked by self-deprecation: ‘Burnett’s self-deprecating humor was typical of comediennes of the late 1950s and early 1960s, and it served to soften audience resistance to the notion of an assertively funny woman’ (Horowitz, 1997, 69). Dave Tebert, the man who ran the talent department at NBC in the early 1960s, asserted that women were given the same opportunities as men, but that ‘they were not aggressive enough or forceful enough to deal with the drunks and hecklers often found in the audience’ (Martin and Segrave, 1986, 18).In addition, Bob Shanks, the talent coordinator for the Paar show, made an attempt to find female comics. Over a three-year period, however, he interviewed 500 women; only twenty of them were considered good enough to pass. He commented that ‘the wit was missing’ or that the women lacked ‘quickness of response’ (Martin and Segrave, 1986, 19). Comedy was performance arising from skill and wit, and performance was a male role. Funny girls would not be asked out on dates’ assert Martin and Segrave (1986, 19). Being popular in school, having a date to the prom, being seen as attractive and compliant these qualities were valued in young women and girls. Being clever and witty key qualities for a comic, were not valued. There, most women of the time felt that given a choice, comedy should be submerged. When men make clever jokes at women’s expense, they may be considered great, insightful comics, assert Martin and Segrave. On the other hand, women who do the same at the expense of men may be labeled such derogatory terms as ‘ball-busters or man-haters’. In fact, ‘women are not even safe poking fun at other women. They are considered anti-female or catty’ citing Joan Rivers as an example of this (Martin and Segrave, 1986, 20). C.  Ã‚   1970s–1980s   The 1970s was a time of gradual change. According to some, ‘the decade of the 1970s was one of slow but steady growth in the number of women entering or reentering facets of the film industry that had been closed to them for decades’ (Sova, 1998, 153). Laugh-In hadhit the airwaves at the end of the 1960s, and once it was firmly entrenched, it showcased a variety of women comics. In fact, it was the first time that so many comedians had so much exposure since the days of vaudeville. Laugh-in helped a number of comics to get exposure and start careers. Among these were Goldie Hawn, Ruth Buzzi, JoAnne Worley, Lily Tomlin. Lily Tomlin brought some unique skills to the industry through her intelligence and creativity. She did this through the creation of new comic characters. In addition, she was able to perform several well-received stage concerts. Her film career has been less successful; this may be partly due to the poor selection of roles she has been given. The beginning of the Women’s Movement in America in the late 1960s and early 1970s of course had an effect on women in comedy throughout the United States and Britain. Comedians who began to appear during this time include Bette Midler, Sandra Bernhard, Madeleine Kahn, and Marilyn Sokol. Laugh-In continued to display women comics. In addition, shows like Shows like Saturday Night Live and SCTV helped start the careers of such comedians as Gilda Radner and Andrea Martin. The 1980s did not see much improvement. ‘Comediennes with anything to say were being labeled â€Å"hostile† or â€Å"too masculine† (Martin and Segrave, 1986, 312). The most phenomenal rise, however, was the unprecedented number of women who had begun to appear in comedy clubs as stand-up comics. These new women comics dealt with women’s issues, such as fashion, menstruation, weight, hygiene, being single, sex and relationships. These topics were often part of the self-deprecating humor that continued to mark women’s humor through the remainder of the century. During this time, it should be noted that very few minority women appeared in this profession. The great exception was Moms Mabley, who managed to overcome exceptional obstacles in gaining acceptance in the world of primarily white male entertainers. Chapter 2 Women’s ‘Sense’ of Humour In their 1986 volume Women in Comedy, Linda Martin and Kerry Segrave assert that female comics are a rare commodity. The explanation for this, they assert, lies in the commonly held belief that ‘women are just not funny they don’t laugh at jokes, nor do they create them’. To support their assertion, Martin and Segrave describe a magazine article written in 1951. A writer named Robert Allen wrote an article about women and humor for Maclean’s. Allen bemoaned the fact that women never seemed to know when to laugh at a joke, or they often failed to laugh at all. He claimed he had experimented at home, and that he used different kinds and different styles of humor, but that his ‘subjects’ never seemed to get the jokes. To be fair, he said he tested people outside his own home, including a ‘variety’ of other females. Still, he got the same results with that group. After all this, he stated that the only conclusion he could draw was that women have no sense of humor (Martin and Segrave, 1986, 16-17). It is interesting to note that it never occurred to Allen that he might be the one who was not ‘getting it’. It also interesting to note that Allen’s article was considered important enough to eventually make it into Reader’s Digest as a condensed piece but this did not happen until thirteen years later. Considering the fact that most Reader’s Digest condensed articles appear within months of the original publication, a lag time of thirteen years is rather remarkable. As Martin and Segrave suggest, ‘this illustrated perhaps the timelessness of the idea and the need to present it again in a different decade, to a new audience just at a period when the image of the female comic was beginning to be liberated’ (1986, 17). The humorist James Thurber, writing contemporaneously with Allen, wrote a piece in which he addressed an anonymous Miss G.H., who had sent him some unsolicited comedy material. He responded to her material by suggesting that she ‘become a bacteriologist, or a Red-Cross nurse, or a Wave, like all the other girls’. The most scathing criticism at the time, however, came from a woman. Sarel Eimerl wrote in a November 1962 issue of Mademoiselle that ‘a woman who really makes one laugh is about as easy to find as a pauper taking his Sunday brunch in the Edwardian Room’ (Martin and Segrave, 1986, 17). It appears that in the 1950s and beyond, women were thought mostly by men, but also some women to be lacking a sense of humor. That belief has not been completely eradicated to this day. In her essay ‘Gender and Humour’, Lizbeth Goodman analyzes the following joke from Banks and Swift’s 1987 book on comedy:Question: How many feminists does it take to screw in a light bulb?Answer: That’s not funny. Goodman goes on to explain that although the idea of the joke is simple, that there is a great deal more going on. This joke is, in fact, ‘an example of an accessible and non-valorized form of social critique, which functions as a mirror of the values of the dominant culture’ (Goodman, 1992a, 287). It is also interesting to note that this joke is familiar to us. It has been repeated any number of times in recent years, each time with some detail changed. Often the change is in the choice of target. Different minority groups may be featured as the target, depending on the context of the telling. Therefore, the teller of the joke is implicitly stating that women, too, are a ‘minority’. According to Goodman, ‘that women are singled out as a â€Å"minority† group, despite the majority of women in society, is indicative of the male bias of society and its values’ (Goodman, 1992a, 288). Horowitz points out that, like other groups that have suffered discrimination, women are classified as a minority group by affirmative action programs; however, ‘unlike ethnic minorities, women are a numerical majority’ (Horowitz, 1997, 8). Goodman also points out that the fact that women are so frequently targeted in jokes in western culture is significant in itself:   ‘that women are so often the butt of jokes in western culture says a great deal about that culture’. It reveals, for example, that the jokers are usually men. It also reveals that the listeners are deeply immersed in the patriarchal culture. In fact, Goodman takes this a step further. She points out that the listeners are steeped in the patriarchal culture ‘to the extent that certain types of responses are â€Å"gendered†: for instance, loud laughter as opposed to quiet hand-over-the-mouth giggles’ (Goodman, 1992a, 288). Another way to analyze this joke, Goodman suggests, is to take into consideration the fact that the value of the joke does not lie solely within the joke itself. Rather, its value depends on other factors. One of these factors is the context of the telling; the other is the interpretation of the hearer. She cites Adrienne Rich’s 1979 reinterpretation of the joke, explaining that doing so ‘requires an awareness of the context of the joke’s production and an ability to decontextualize the joke mentally’ (Goodman, 1992a, 288). By doing this, the joke can be interpreted in such a way that it is not an insult to women, or an insult to feminism. Instead, it becomes a critique of the simplistic notions that are commonly held about women in society and especially about women who are feminists. This ultimately brings us to the rhetorical question about women and humour: do women have a sense of humour? Linda Naranjo-Huebl answers this in the affirmative. She also includes an explanation of how this humor is different. ‘One of the common findings of all the gender and humor studies is that there does in fact exist something that can be identified as womens humor’, she asserts. She then explains that it is a ‘distinct’ form of humor, ‘characteristic of and arising from womens experience that serves distinct communicative functions associated with that experience’ (Naranjo-Huebl, 2005, web). Linda Naranjo-Huebl asserts that ‘the stereotype of the humorless female has stubbornly persisted, reinforced by studies concluding that women use humor less often than men’. She puts forth three theories to explain why this stereotype has persisted for so long. The first explanation has to do with women’s use of language. Women are generally brought up to be polite, and the language of humour is often impolite. In addition, humour tends to be aggressive, and women have traditionally been discouraged from expressing any sort of open aggression. The second explanation for the continuation of this stereotype is that ‘much of womens humor has been either censored or misinterpreted’ (Naranjo-Hueblo, web). That is to say, women do have a sense of humour, but it has largely gone unrecognized a situation which is still being rectified today. Not only have examples of women’s humour been censored and misinterpreted, but also the methodology of the studies has frequently been flawed. The methods used, primarily those created by men, tend to favor male forms of humor. The results then falsely ‘prove’ that women lack a sense of humour. Naranjo-Hueblo explains one such study, in which 250 undergraduate business students from a major university were asked to answer questions regarding a hypothetical situation. The situation consisted of the students pretending that they were with a colleague; the colleague is carrying a briefcase which suddenly becomes open, resulting in papers flying all over the place. The students are then asked how they would respond: would they ignore the episode and keep on walking? Would they assist the colleague by stopping to help pick up the papers? Or would they tease the colleague or in some other way express humour? Each student was allowed to choose only one response. As one might expect, the majority of men chose to respond with humour, while the majority of women chose to help. This creators of the study assumed that one couldn’t be helpful and humorous at the same time. Furthermore, it led them to conclude that women did not have as great a sense of humour as men. Naranjo-Hueblo points out the choices do not include the possibility that women may be humorous about the situation as they are assisting their colleague. Furthermore, ‘another problem with the study is that it posits humor as a one-line quip in a slapstick situation, which is not womens preferred form of humor (Naranjo-Huebl, web). The third reason women have been found to lack a sense of humour is that humour has largely been defined by men. Women find humour in different sources, often preferring word jokes and puns as well as stories, whereas men prefer much more derisive forms of humour. ‘It has always been more acceptable for masculine styles to influence feminine ones, rather than vice versa. . . The powerless take on the trappings of the powerful’ (Horowitz, 1997, 9). Chapter Three: Issues in Stand-up Comedy Being a woman Traditional gender expectations Aggressiveness Sexuality and Femininity Power and Control Issues Modes of Stand-up Comedy Self-Deprecation in Women’s Humour Self-deprecation in the work of Phyllis Diller and Joan Rivers The domestic goddess A.   Being a Woman As stated earlier, comedy is a form of expression which stretches and sometimes breaks boundaries. This is very true in the case of stand-up comedy. Stand-up comedy ridicules the norms of society. It challenges convention, and it questions moral views. in particular has a tradition of ridiculing moral, social, and political conventions. The stand-up comedian is frequently considered as existing on the fringes of mainstream society. For any stand-up comedian, male or female, a number of factors come into play when they are in front of an audience. What race are they? What is their ethnic background? What is their sexual orientation, or what does it appear to be? Are they disabled, and is that uncomfortable for the audience member? When you add gender into the mix, it becomes that much more unpredictable. The reaction the audience gives to a female stand-up is much different to the one they would give to her male counterpart. The audience seems to expect a man to be funny. When confronted with a female stand-up, they suspend judgment until she can prove that she is funny. B.   Traditional Gender Expectations Traditional gender expectations are also a very important issue for women comics. Conventional definitions of ‘lady-like’ behavior are an obstacle. Conventional definitions of what it means to be ‘feminine’ or to act ‘lady-like’ are incongruent with the often-inappropriate behavior of women in comedy. This is particularly true of such forms of comedy as stand-up routines. In stand-up comedy, women comics cannot be passive and demure on stage, for this behavior will not elicit laughter. Instead, they must be aggressive, sometimes loud, and frequently un-ladylike. They must completely break with accepted social conventions. Bucking these conventions is difficult for a number of reasons, not the least of which is economic profit. Gender expectations are reinforced, especially by mainstream corporate media, because they are tied into money. The objectification of women ‘is a central factor in the sale of commodities, another pillar of the competitive system’ (Sakeris, 2001, 227). Women comics by definition break barriers and defy convention. By so doing, they present a number of different challenges to mainstream society, and especially to that portion of mainstream society which will ultimately suffer financially. In addition, notes Sakeris, ‘the ghettoization of women’s work and the provision of necessary, but unpaid, labor in the home all supported by our processes of gender socialization are central to a capitalist economy as well’ (Sakeris, 2001, 227). C.   Aggressiveness Another aspect that must be considered is the aggressiveness involved in stand-up comedy. Stand-up comedy can be viewed as an aggressive act. In the attempt to elicit laughter, it can be said that the comic is trying to exert control over her audience. Thus, it can be seen as a power struggle. Because of the power associated with the successful use of humor, humor initiation has become associated with other traditionally masculine characteristics, such as aggression, dominance, and assertiveness. For a female to develop into a clown or joker, then, she must violate the behavioral pattern normally reserved for women (Naranjo-Huebl, 2005, web). This is in direct opposition to the passiveness that society traditionally expects of women. To get up on stage and act aggressively is something that goes against traditional norms and is therefore suspect. Being female means acting demurely, being subservient while remaining unobtrusive. When a female gets up on stage and performs as a comic, she is aggressive, actively engaging the participants, and demanding for attention.  Ã‚   Womens humour is frequently interpreted as a challenge. This is naturally due to the aggressive nature of stand-up comedy, especially in an audience, which will most probably be comprised primarily of men. Too much aggression can be alienating in the best of situations. When too much aggression is exhibited by a female, the threat is compounded. It can appear to males that this female interloper is trying to seize what they think of as their territory ‘male’ territory. This can be disastrous for an act, eventually for a career. As several researchers have pointed out, comedy is an aggressive activity, and it requires performers to be hard and women are not supposed to be hard. ‘Being pervasively nice is not conducive to comedy which requires satire and ridicule. Women who do break through into comedy are branded with all sorts of unpleasant labels, such as strident, dyke, or frustrated’ (Martin and Segrave, 20). D.   Sexuality and Femininity   Another issue, and one which is vitally important, is that of sexuality. Even if she is not talking about sex in her act, this is an issue. The question of a woman’s sexuality and her sense of femininity are undeniably central issues to the professional woman comic. What is the connection between comic appeal, sex appeal, and our notions of what is feminine? Mother, virgin, prostitute: these are the social roles imposed on women.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The characteristics of (so-called) feminine sexuality derive from them: the valorization of reproduction and nursing; faithfulness; modesty,   ignorance of and even lack of interest in sexual pleasure; a passive acceptance of men’s ‘activity’; seductiveness, in order to arouse the consumers’ desire while offering herself as its material support without getting pleasure herself’ (Irigary, 1985, 63-4).  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Some would go as far as to see parallels between the act of standup comedy and the act of sex. For example, Horowitz asserts that ‘sexuality can be loving, mutual vulnerability as can comedy (Horowitz, 1997, 12). Horowitz and others have suggested that there is an intimacy in the relationship between the comic and her audience that is not unlike the intimacy between lovers. There are varying levels of frankness in different stand-up routines. This may be seen as mirroring the sexual frankness of the male stand-up comedian. However, it is accepted less easily. As Horowitz points out, ‘female comics are expected to go far but not too far’ (Horowitz, 1997, 17).  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   E.   Power and Control Issues Humour is often used as a means of controlling social situations. In a highly volatile set of circumstances, humour can often defuse the threat by helping to ease the tension. By using humour this way, dangerous explosions of temper can be averted without forcing confrontations. Yet since the end result is the same the situation is brought to a halt by peaceful means this also means that humour exerts a kind of power. The dynamics of power are complex and can be difficult to negotiate. These dynamics are further complicated when it comes to the case of self-deprecatory humour. The comic may seem to be relinquishing control by taking her own inadequacies and flaws and putting them out there on public display.

Classification Essay - Good Books and Great Books -- Classification Es

The Difference Between Good Books and Great Books Reading is fundamental, but some books are more so than others. Surely Daniel Steele is a far cry from William Shakespeare, but what exactly is the difference? Even in the realm of quality literature there are still "good" books and "great" books. The difference between the importance of good and great books is also why it is so important to read great literature: Great books have a scope much larger than good ones. Good and great books differ by nature, not by degree. A good book is not almost a great one; a great book is a totally different creature than a good book. What makes them different is how much they pertain to the human experience. A good book may have one very important meaning, but it is a meaning that only pertains to the time in which it was written. Across the river though, a great book has many meanings. Great books also involve deeper issues, issues that are and always were part of the human experience. A good book only needs to be read once, but to realize all the different meanings of...

Study into English Courseware for Slow Learners

Abstract- Current tendency indicate that larning through the usage of application and courseware had become of import instruction method. However, it is different instance for slow scholars. As most schools easy accommodating the more effectual instruction method, they can non maintain up with the flow. Even though there are courseware developed for the slow scholars, the courseware is far from carry throughing their specific demands. Statistic shows that in a US typical schoolroom there will be 3 or 4 slow scholars. In countries of poorness and many low-income urban countries, the kids per schoolroom who could be characterized as slow scholars might be twice that figure. The feature of the slow scholars are frequently described as immature in dealingss, find it hard to work out complex job, work really easy, can easy lose path of clip, unable to execute long-run ends, and have hapless concentration accomplishments. However, they are really good with hands-on stuffs. This paper will show the development of courseware made to learn English for the slow scholars. Keywords-component: courseware ; slow scholars ; English ;IntroductionBackgroundSlow scholars are no longer rare instances in Malaysia. However, they are non categorized as people with particular demands. Some might confound the slow scholars with dyslexia. However, both footings are different. Dyslexic will hold troubles in larning to read and compose despite holding same learning procedure and attempt with others. For slow scholars, they do non make good at schools or undertaking that require extended reading, authorship, and mathematic but they perform great outside category particularly in hands-on undertakings. They will necessitate excess clip in finishing the undertakings given. Because of their features, slow scholars are ever left behind as they can non catch up with the larning procedure gone through by other childs. Even though new engineering has been developed to heighten larning procedure, they are left out because it is non suited for their acquisition demands. This undertaking is intend to heighten the English courseware specifically for the slow scholars in manner that will function their acquisition demands which is different from other childs. The courseware will be focus on non-linear techniques to do it flexible and more contributing for the slow scholars. As there is non much of courseware developed for slow scholars, the merchandise of the undertaking will significantly convey the acquisition procedure for the slow scholars into new degree and lighten up the hope for them to larn like normal childs.Problem StatementTeaching slow scholars is n't same like learning normal childs. Teaching them require different methods and attacks because of their features. As larning procedure traveling on taking advantage of computing machines and cyberspace, slow scholars are left behind because there are no specific acquisition applications for them that will accommodate their demands particularly in critical topics such as Science and Mathematic. There are tonss of courseware in the market out at that place but it is excessively small in Numberss and it is far from perfect. This new courseware to be developed will be a great tool for instructor to learn English to the slow scholars because it will heighten what ‘s already in the courseware a nd do it better.Aims and Scope of SurveiesAimsThe aim of this undertaking is to heighten the current English courseware from Mohd Izzat Helmi Bin Yahya ‘s English Courseware for Slow Learners undertaking and will be specifically designed for the slow scholars so that the acquisition procedure will accommodate their demands. Because of their features, the courseware will necessitate careful designation.. The courseware will enrich English larning procedure which already in the current courseware and do it more synergistic and flexible.Scope of SurveiesThe undertaking will affect the survey of slow scholar behaviour and courseware development. The consequence of the survey so will be analyzed to develop and heightening cognitive accomplishments developing that will be integrated with the courseware so that the mark to learn slow scholars can be achieved. Target group of the courseware will be primary school pupil in Standard 4 to Standard 6 ( 10-12 old ages old ) . The coursewar e will be developed as a game to learn General English.Literature ReviewGame-Based LearningMarc Prensky ( 2003 ) says that since Pong is introduced in 1974, the alone expertness that game interior decorators have honed to a superfine border is participant battle: the ability to maintain people in their seats for hr after hr, twenty-four hours after twenty-four hours, at ecstatic attending, actively seeking to make new ends, shouting with hilarity at their successes, determined to get the better of their failures, all the piece imploring for more. Along with the new engineering that had been developed in recent old ages, games had become more than merely amusement, it had evolve to go the medium of larning. In Digital Game-Based Learning ( Prensky, 2001 ) , explain that kids presents are different from old coevals where they grow up with digital engineering and their heads are altering to suit the engineerings with which they spend more clip. From at that place, it is clear that most kids today from different gender, ages and societal groups spends most of the clip with video games. Many experts see the values in video games as a medium of larning. Its true that this kids love games more than schools but their attitudes toward games is the attitude of the scholars ; passionate, concerted, and actively affect in problem-solving. Research by Zyda ( 2007 ) argue that computing machine games are an piquant medium for acquisition, since games can excite cognitive procedures such as reading explicit and inexplicit information, deductive and inductive logical thinking, problem-solving, and doing illations from information displayed across a figure of screens To specify game based acquisition will be rather complicated because there are several different sentiment on the affair. Kirjavainen ( 2009 ) specify game-based acquisition as field of research and game design based on observations that play, structured or unstructured, conditions the human encephalon for transmutation and acquisition. Wee Hoe Tan ( 2008 ) defines game-based acquisition as signifier of learner-centered acquisition that uses electronic games for educational intents. However, the construct of game-based acquisition is still the same ; the usage of game with the defined acquisition results for the intent of acquisition. Kasvi ( 2000 ) lists the seven demands for effectual acquisition environment as: Supply a high strength of interaction and feedback ; Have specific ends and established processs ; Be motivational ; Supply a continual feeling of challenge, non excessively hard to be frustrating nor excessively easy to make ennui ; Supply a sense of direct battle on the undertaking involved ; Supply the appropriate tools that fit the undertaking ; and Avoid distractions and breaks that destroy the subjective experience. Kasvi ( 2000 ) suggests that computing machine games fulfill all of these demands and believes that they â€Å" satisfy them better than most other larning mediums † . By looking at how the Western universe had utilised game as larning faculty in schoolroom, it proves that the statement is true. R.V. Eck ( 2006 ) explain that games like Civilization, SimCity 4, Cruise Ship Tycoon, and Roller Coaster Tycoon had already been implemented in schoolroom. Peoples might be disbelieving at first glimpse. All these games have prove them incorrect. For illustration, in Roller Coaster Tycoon pupils build roller-coasters to different specifications, which is what applied scientists should make. By widening the gameplay with basic larning procedure like calculus physic cognition, it will do a valuable acquisition experience.Slow Learners in MalayaIn Malaysia, dyslexic kids had begin to have attending when MyLexics, a courseware to assist the dyslexic learn basic Malay linguistic communicat ion is introduced ( Haziq, 2009 ) . However, it ‘s a different narrative for the slow scholars. In fact, there are instances reported where slow scholars are left behind in the categories ( NST, 2008 ) . Cases like this should n't go on because even though they are weak in survey they are decidedly really good in other facets. Even worse, One in every three juvenile delinquent in unity school in prison or detainment centres shows larning troubles including being slow scholars. ( The Star, 2008 ) Many believe that if these young person non identified and helped will do them to stop up as felons. Most of them tend to drop out of schools and vulnerable to negative influence because of the job they facing.Get the better ofing the FailingsResearch by LearningRX ( 2006 ) argue that weak cognitive accomplishments are the cause of larning disablements such as dyslexia and decelerate acquisition. Important accomplishments such as concentration, perceptual experience, memories and logical thought are non every bit good as other normal people which make reading, authorship, and believing more hard. However, this failing can be improved through specific preparation and testing. Mel Levine ( 2008 ) explain that how Kitty Hawk Elementary School in North Carolina America had implied School Attuned Program utilizing the N eurodevelopmental Profiles where all pupils with different cognitive accomplishments can larn. Lisa Galleli, a instructor at Kitty Hawk describes her direction program for one such pupils as â€Å" He had important graphomotor failings with spelling and authorship. But he truly shined in his societal accomplishments and that made all the difference in the universe. He was besides good at math and job resolution. We use his strength who keep him motivated with success while undertaking his authorship job. † The consequence had proved that it is non impossible to get the better of the failing. Neurodevelopmental Profile is researched and synthesized by Mel Levine and his co-workers consist of 8 concepts that are: Table 1: 8 concepts of Neurodevelopmental Profiles Attention This includes the ability to concentrate, concentrate on one thing instead than another, finish undertakings, and command what one says and does Temporal-sequential ordination Whether it ‘s being able to declaim the alphabet or forcing a response button on Jeopardy, being able to understand the clip and sequence of pieces of information is a cardinal constituent of acquisition. Spatial ordination The ability, for case to separate between a circle and square or to utilize images to retrieve related information Memory Even if people are able to understand, form, and construe complex information at the minute, their inability to shop and subsequently remember can dramatically impact their public presentation. Language Developing linguistic communication maps involves luxuriant interaction between assorted parts of the encephalon that control such abilities as pronouncing words, understanding different sounds and groking written symbols Neuromotor maps The encephalon ‘s ability to organize motor or musculus map is cardinal to many country of acquisition, including authorship and keyboarding. Social knowledge One of the most unmarked constituents of acquisition is the ability to win in societal relationship with equal force per unit area. Higher-order knowledge This involve the ability to understand and implement the stairss necessary to work out jobs, attack new countries of acquisition and believe creatively. By recognizing that every homo have some strong maps and some weak 1s, Mel Levine found that it is possible to depict each person ‘s alone mix of strength and failings. Using the right method in developing the courseware and the right attack for the slow scholars, it is non impossible that this courseware will be decidedly assist them.Formative VS Summative EvaluationIn order to garner informations for the sweetening of the courseware, an appraisal demand to be done. There are two methods to be used ; formative rating and summational rating. Harmonizing to H.L Roberts ( 2009 ) , formative ratings besides known as developmental or execution rating assess what works and what does non work about a peculiar activity or undertaking as it is go oning. It is used to measure the value of a undertaking as it is taking topographic point to find how it can be improved. The method usage in formative rating is the same like other appraisal which include study, interview or informations aggregation. This type of rating relies on qualitative informations that is how participants felt about the procedure every bit good as quantitative informations, such as charts or trial tonss. Formative rating typically involves a little group of users and participants in the undertaking being evaluated. Participants in formative ratings look non merely at the ends of the procedure and whether those ends are achieved but besides at the procedure itself and where that procedure is a successful one or non. Even though this type of appraisal is rather co mplex, there are benefit in it. It allow early designation of possible job in the topic of appraisal. Furthermore, it can be a good manner of gage the user perceptual experience on the topic because it rely on user feedback. As for summational rating, Fox Valley Technical College ( 2007 ) depict it as procedure that concerns concluding rating to inquire if the undertaking or plan met its ends. It is cumulative in nature. It concentrates on scholar results instead than merely the plan of direction where the purpose is to find the user ‘s command and apprehension of information, construct, accomplishment or procedure. Ongoing summational appraisal represents of import tools for supervising the advancement across clip. There are assorted method of summational appraisal such as presentation, licensing, internship, portfolio or clinical. Summational rating is typically quantitative, utilizing numeral tonss or missive classs to measure learner accomplishment. In a sense, it lets the scholar know â€Å" how they did † and â€Å" how good they are † However, there ‘s more to it. By looking at how the scholar ‘s did, it helps to cognize whether the merchandise teaches what it is su pposed to learn and how efficient it is. Here the courseware will be utilizing formative rating method. By utilizing formative rating, the current English courseware functionality can be assessed to happen out whether its working to absolutely or not.. Even if the courseware is working decently, it wo n't carry through its aims if the user ( in this instance pupil ) do n't wish it or holding job in utilizing it. By utilizing formative rating method, user feedback can be recorded and country of betterment can be found. In decision, formative rating method will measure the courseware from two positions ; the courseware functionality and user feedback. Both will greatly assist in the enhancement procedure of the current courseware.MethodologyThrow-Away PrototypingThe methodological analysis chosen for the undertaking would be Throw-Away Prototyping. Dummy paradigm, which is presentational merely will be developed. Thorough analysis will be done before first silent person paradigm is developed to guarantee the paradigm have eno ugh inside informations stand foring existent working system. From at that place, the silent person paradigm will be shown and tested with the user to acquire feedback and identify extra demand. The following paradigm will be developed until it truly visualise existent working system. When it is ready and all issues are resolved, it will be implemented as fully-functional system. Figure 1: Throw-Away PrototypingPlaningThe planning stage is the important 1 in developing the undertaking. First thing to be considered is how the undertaking will be developed. For that, the Gantt Chart for the undertaking is build so that each undertaking milepost during the one twelvemonth of the undertaking can be tracked. Other than that, research is made to happen suited tool to be used for the development of the undertaking. As the undertaking intended to heighten the current courseware, research besides made to place suited trial topic to seek the current courseware.Initial AnalysisDuring this stage, the trial scenario is developed and interview every bit good as questionnaire is build to acquire informations from the mark school. Data is gathered every bit much as possible which besides include slow scholar course of study in school and from there thorough analysis is done. The intent is to place strengths, failings, country of betterment and what to be done for the enhance ment procedure.Prototype BuildingAfter all analysis has been done, the design of the courseware begins. A study is done to acquire the overview of new courseware to be developed. The study will gone through polish to incorporate the content and multimedia elements ( lifes, flow of information, etc ) . The inside informations of the design will be recorded. After all inside informations completed, the development of the paradigm Begin. When the silent person paradigm is complete with all needed characteristics, it will so prove at the school to happen whether it visualise all the issue that should be addressed. If farther polish is required, the silent person paradigm will continuously be build until all demands is complete.ExecutionAfter all demands had been fulfilled and the silent person paradigm is truly visualising the courseware, it will be declared to be complete and existent working courseware will be implemented.Research MethodologiesTo acquire all the information required, two research methodological analysiss will be chosen that are: Interview: An interview is conducted with the several instructor of the school. A trial scenario will be deployed to the pupil utilizing the current courseware along with the interview. This is portion of formative rating that will prove the functionality of the courseware and estimate the user on how they use the courseware. The aim is to place the strengths and failings of the current courseware and happen the country of betterment. Questionnaire: The interview and questionnaire will be done with the several instructor to derive in deepness inside informations of how slow scholars learn and gain all relevant informations which will be mention in developing the new courseware.Result & A ; DiscussionRequirement GatheringInterviewIn the manner of garnering informations required for the sweetening of the English courseware, an interview is conducted with Pn Khadijah, Coordinator of Special Education for Sekolah Kebangsaan Sultan Yusuf who is besides the English instructor for Particular Education Department. Using the current courseware made by Mohd Izzat Helmi B Yahya, a trial scenario is deployed where the end is to place the strengths and the failings of the courseware so that the consequence found can be implemented during the development of new English courseware. The trial scenario will verify the conditions and stairss taken in utilizing the courseware sample to acquire the consequence for farther analysis. Three slow scholar pupils from Sekolah Kebangsaan Sultan Yusuf take portion in the trial scenario. Below are the inside informations of the three pupils: Answering 1 – A 12 old ages old male child and is fixing for his UPSR following twelvemonth. He falls into the class of normal slow scholar. His public presentation in the category is really good. He has the basic accomplishments of utilizing computing machine which make him able to utilize the sample courseware decently. Answering 2 – A 12 old ages old male child. He falls under the class of slow scholar and Syndrom Down. He has the basic accomplishments of utilizing computing machine which make him able to utilize the sample courseware decently. Answering 3 – A 7 old ages old male child. He merely started his school early this twelvemonth. He is the most ambitious pupil because he falls under the ICU slow scholars class. Furthermore, he does n't hold basic accomplishments of utilizing computing machine which make the trial scenario more hard to be performed. The intent of taking these three pupils is to detect how different classs of slow scholars make usage of and respond to the courseware. Basically, all the pupil use the courseware in the same manner depends on their cognition and accomplishments about computing machine. Below is the sum-up of consequence from the trial scenario done with all three pupils. Table 2: Summary of trial Scenario Result No Simulation Date Action and Data Expected Consequence Actual Consequence 1 12 Apr 2010 Establish the courseware interface Courseware interface appear successfully 2 12 Apr 2010 Establishing subject 1 Subject 1 launched successfully 3 12 Apr 2010 Launch ‘Learn ‘ from subject 1 bill of fare Learning faculty appear successfully 4 12 Apr 2010 Checking sound for subject one Audio working successfully 5 12 Apr 2010 Checking synchronism of audio and ocular flows. Audio and ocular is synchronized Flow of audio and ocular is excessively fast 6 12 Apr 2010 Click the button ‘Play Again ‘ for subject 1 acquisition faculty Audio and ocular rematch 7 12 Apr 2010 Launch ‘Exercise ‘ for subject 1 Exercise launched successfully Exercise for Topic 3 about colourss appear 8 12 Apr 2010 Performing exercising about Numberss Exercise done successfully Exercise can non be performed because exercising for colourss appear 9 12 Apr 2010 Click the button ‘Play Again ‘ for subject 1 exercising Exercise can be redo Exercise appear is non for subject 1 10 12 Apr 2010 Establishing subject 2 Subject 2 launched successfully 11 12 Apr 2010 Launch ‘Learn ‘ from subject 2 bill of fare Learning faculty appear successfully 12 12 Apr 2010 Click and hover on the images of the organic structure parts Audio and visuals working to depict the images Audio working merely if pointer is hovered on the image. When image clicked, nil happened 13 12 Apr 2010 Launch ‘Exercise ‘ for subject 2 Exercise launched successfully 14 12 Apr 2010 Drag the words into the several organic structure portion Wordss dragged successfully Because there are some input of the exercising non in the acquisition faculty of subject 2, pupil get confused easy 15 12 Apr 2010 Click the button ‘Play Again ‘ for subject 1 exercising Exercise can be redo 16 12 Apr 2010 Establishing subject 3 Subject 1 launched successfully 17 12 Apr 2010 Launch ‘Learn ‘ from subject 3 bill of fare Learning faculty appear successfully 18 12 Apr 2010 Click and hover on the images of the colour. Audio and visuals working to depict the images Audio appear when the image is clicked. When it is hovered nil happened 19 12 Apr 2010 Launch ‘Exercise ‘ for subject 3 Exercise launched successfully 20 12 Apr 2010 Draging each colour into the several jar. Each colour dragged successfully 21 12 Apr 2010 Tax return to courseware interface from any point of the courseware Courseware interface appear successfully Other that that, Pn Khadijah says that, the instruction course of study and method are different from the mainstream course of study. They use preschool course of study in their acquisition faculties However, if they show good public presentation the instructor will fix them to be in national scrutiny like UPSR. More information about the interview will be explained in the following subdivision below.QuestionnaireIn order to acquire in-depth inside informations of demands of the courseware to be developed, interviews and questionnaire is conducted with the several instructors of the schools. This is of import because non all required informations can be acquired through the trial scenario appraisal. The instructor replying the questionnaire is Pn Khadijah, Coordinator of Special Education for Sekolah Kebangsaan Sultan Yusuf. She has old ages of experience in learning slow scholars particularly in English topic. Pn Khadijah is given the overview of the current English courseware and s o she is given the questionnaire. Below is the consequence of questionnaire answered by the instructor:Datas AnalysisFrom the interview and questionnaire conducted with pupils and instructor of Sekolah Kebangsaan Sultan Yusuf, there are several issue should be addressed about the current English courseware and besides what can be improved for the courseware to be developed: Flow of audio and ocular must be synchronized and non excessively fast because slow scholars could n't catch up if it ‘s excessively fast For unknown ground, exercising for Topic 1 that should cover about Numberss is replaced with exercising from Topic 3 which is about colorss consequences in holding two exercisings about colorss and the absences of exercising about figure. The direction is different than what can be done in the acquisition faculty. For illustration the direction of subject 2 says to snap the image to hear the sound. But alternatively, the sound merely look when pointer is hovered on the image. Nothing happened when it is clicked. Input signal of the exercising should be the same as what it appears in the acquisition faculties to avoid confusion for slow scholars. For illustration, the input of the exercising for subject 2 includes the tummy portion even though it is non taught in the acquisition faculties. Input of larning faculties should n't be more than 5 in a subject because slow scholars could easy bury what they learn if there ‘s excessively many input. Slow scholars in Malaysia are familiar with the Malaysia English. Using U.S English or Britain English in the courseware would confound them. Students particularly childs like larning utilizing computing machine. Slow scholars are non excluded. So the courseware to be developed must be visually attractive.Proposed System ArchitectureFigure 2: Proposed System Architecture The courseware will incorporate usage suited multimedia elements that will back up synergistic acquisition environment either for the usage at school or at place. This will do the acquisition procedure will be more piquant and entertaining. The courseware will dwell of 3 faculties chiefly developed for pupils of Standard 4 to Standard 6. All this faculties will be developed based on larning course of study for slow scholars from Sekolah Kebangsaan Sultan Yusuf. After the application is launched, pupils will be accessing the courseware interface. To guarantee the flexibleness of the acquisition procedure, pupils will be given freedom to take which faculty they want to utilize. After each faculty there will be exercising that will prove the pupil ‘s understand of the current subject. However, pupils are free to take whether they want to make the exercising or non. If they do n't desire to make the exercising, they can continue to following faculty or return to the courseware interface to take other faculties. In turn toing that slow scholars can non get by with excessively much input at a clip, each faculty will dwell of two parts. This will enable the pupils to enrich their acquisition without taking excessively much input at a clip. They have the freedom to take which portion they want to utilize in a faculty. The three faculties are: Numbers, Reading Skills, Body Parts.Faculty 1: NumbersThe first faculty will learn the pupils the fou ndation of acknowledging Numberss. The first portion will learn about how to place ordinal and central Numberss and what ‘s the difference about them. The 2nd portion will learn the pupil how to distinguish between uneven Numberss and even Numberss utilizing the same faculties in current English courseware with sweetening made on it.Faculty 2: Reading SkillsThis faculty is intended to heighten the reading accomplishments of the students.. The activity in the first portion will be focus on duplicate image. Each clip a image from two sets of images will be shown to the pupil and from there the pupils will be asked to fit the image with the image from the set which is non shown. The 2nd portion will concentrate on duplicate missive and words. The construct will be the same like in the first portion.Faculty 3: Body PartssThis faculty will learn the pupil the foundation of placing organic structure parts. The first portion will learn the pupil about chief organic structure parts in general. The 2nd portion will learn the pupil specifically about parts on caput The tools chosen for the development of the undertaking will be Gamemaker 8. The ground to utilize this tool is because it is easy to be used compared to most of other tools. It allow the user to utilize aggregation of freeware images and sound for starting motors like the writer to do a game looking courseware which will embrace on drag-and-drop action utilizing the mouse. This tool will be used along with other tools like Adobe Photoshop CS3 and Macromedia Flash where necessary to do the courseware more synergistic and rich.DecisionCurrent English courseware is utilizing basic construct of uniting sound with ocular in the instruction. Even though, it is still non perfect. There is tonss of country for betterment can be made for the courseware. The writer ‘s undertaking will take the chance to do sweetening on the courseware to maximise its possible. The new courseware to be developed will be more synergistic and rich piece in the same clip turn toing the issue of current cour seware. With aid from assorted parties such as the writer ‘s supervisor, Miss Elaine, instructors of Sekolah Kebangsan Sultan Yusuf every bit good as other people, this undertaking will win.RecognitionThe current courseware mentioned in this paper is developed by Mohd Izzat helmi B Yahya where his work had been base for the writer ‘s English courseware developed for slow scholars. Here the writer besides would wish to thank Ms. Elaine Chen Yoke Yie as the supervisor for the undertaking, Pn Khadijah, Coordinator of Special Education for Sekolah Kebangsaan Sultan Yusuf, and all other parties who had contribute to the undertaking whether straight or indirectly.

The Old Testament Of The Bible - 1238 Words

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Essay on Love in Shakespeares Sonnet 138 - 702 Words

The Philosophy of Love in Sonnet 138 Shakespeare was a superb philosopher, but in his sonnets, he was a philosopher of love. Shakespeare sets forth the experiences of love and its torments fully within his sonnets. The philosophy of love is that, love reconciles all. Love is the evil and the good, the lies and the truth. Love is all there is. It passion as well as deception and lies. Sonnet 138, is a notable example of Shakespeares philosophy of love. Written as a dramatic monologue, this sonnet (also known as song) is a lyric. Like all sonnets, there are fourteen lines, with every four lines written as quatrains in a b a b format. The last two lines are known as a couplet. This sonnet has a†¦show more content†¦In the above six lines, the narrator is explaining the situation of the lies, as they are being shared between the two of them. At line 7, the narrator takes on a change of heart as he simply or foolishly places the responsibility of the lies on his companion. Simply I credit her false-speaking tongue (l. 7). The style of mirrored lines and thoughts, as show through the fist six lines changes at this moment. Yet, in line 8, He says that On both sides the ugly truth is suppressed. It appears that he is saying that although he gives her credit for maybe starting the lies in the first place, they are both currently in the position of the deceiver. Once again, in lines 10-11 we see another shift in thought as the narrator questions the reality of their love and the imposing lies. But wherefore says she not she is unjust? And wherefore say not I that I am old? He is asking himself why she doesnt tell him that she is unfaithful, and why does he not admit that he is old. In the lines following, he answers this question. Because loves best disguise is the pretence of truth, and older lovers do not like to have their age pointed out (l. 11-12). In Line 13, Therefore I lie with her and she with me, notice the double meaning of lie. The line can also be interpreted as That is why I sleep with her and she with me. In the end, the narrator concludes that the lies they tell each other help them forgetShow MoreRelatedIs Love An Unattainable Ideal? Essay1388 Words   |  6 PagesIs true love an unattainable ideal? Do we all have a soul mate? Is love just an exchange of lies for the purpose of flattery? These questions, and countless others, regarding love have been pondered by philosophers and pop music stars alike for hundreds of years. William Shakespeare examines these questions from two vantage points in â€Å"Sonnet 116† and â€Å"Sonnet 138.† Firstly, in â€Å"Sonnet 116†, Shakespeare analyzes love in a rhetorical manner, meaning that he is not discussing a specific relationshipRead MoreWilliam Shakespeares Othello997 Words   |  4 Pageschooses to act around a certain group of people can be out of c ourteousness or his or her bad nature. William Shakespeare does not only shed light towards this topic but allows his audience to distinguish appearance versus reality. Shakespeares Othello and sonnets 93 and 138 demonstrate being who you are in reality triumphs over appearance and what you seem to be. In Othello, Shakespeare illustrates the importance reality takes place in identifying a persons true character as early as in act oneRead MoreThe Effects Of Time In Sonnet 138 And Sir Walter Raleighs Sonnet 116872 Words   |  4 Pagesthe effects of time in William Shakespeares â€Å"Sonnet 138† and Sir Walter Raleigh’s â€Å"The Nymph’s Reply to the Shepherd† Being a constant and unalterable force of nature, time is constant subject of renaissance poetry. While some poems have time as the main subject of their conceits, other poems such as William Shakespeare’s â€Å"Sonnet 138† and Sir Walter Raleigh â€Å"The Nymph’s Reply to the Shepherd† have conceits that focus on other themes, but still portray time. â€Å"Sonnet 138† is a man pondering the changesRead MoreShakespearen Sonnets Essay883 Words   |  4 PagesShakespearen Sonnets William Shakespeare is one of the most famous authors of all times. His works span a wide range of formats, styles, and themes. While best known for plays, such as the tragedy Romeo and Juliet, he was also a composer of poetry. To many people, these poems constitute the greatest of Shakespeares accomplishments. They were often highly emotional in nature, and dealt with timeless ideas such as beauty, love, and death. Each one of the poems is unique. Yet for allRead More Midlife Crisis in William Shakespeares Sonnet 138 Essay1954 Words   |  8 PagesMidlife Crisis in William Shakespeares Sonnet 138 William Shakespeare’s â€Å"Sonnet 138† presents an aging man’s rationalization for deceit in an affair with a younger woman. The speaker of the sonnet realizes his mistress lies to him about being faithful. He in turn, portrays himself as younger than he actually is: â€Å"When my love swears that she is made of truth / I do believe her though I know she lies, / That she might think me some untutored youth†¦Ã¢â‚¬  (1-3). â€Å"Sonnet 138† allows the reader a glimpseRead MoreSonnet 138, by William Shakespeare963 Words   |  4 Pages(Interesting hook) William Shakespeare’s Sonnet 138 depicts the relationship of a couple, who many believe to be Shakespeare and his mistress, a woman referred to as, The Black Lady. Throughout the sonnet the vast use of imagery causes the reader to imagine the sonnet as if it were a play where the characters are covered by a mask of lies. (Put a clever transition in here) Although Sonnet 138 depicts the speak ers’ willingness to settle for false love and put on a mask, Sonnet 138 depicts a relationshipRead MoreCritique of William Shakespeares Sonnet 138 Essay710 Words   |  3 PagesWilliam Shakespeares Sonnet 138 In â€Å"Sonnet 138† also known as â€Å"When My Love Swears that she is Made of Truth† is a sonnet written by William Shakespeare, has many examples of literary elements such as personification and various types of rhyme. In â€Å"Sonnet 138† the author writes the sonnet in iambic pentameter and writes in an ABAB, CDCD, EFEF, GG rhyme scheme. The narrator also includes examples of connotation and denotation to help change the meaning of the poem. Throughout the sonnet the authorRead MoreWilliam Shakespeare s Sonnet 138863 Words   |  4 PagesSometimes it is just easier to ignore the obvious rather than accepting the facts. Sadly this is exactly how this poem seems to plays out. Sonnet 138 is one of William Shakespeare most famous sonnets. The poem emphasizes the effects of age on the relationship, the mutual decision of dishonesty, and the mysterious and infamous ‘Dark Lady’. Subsequently, in the sonnet Shakespeare references a lot to his numerical number in life. The line â€Å"that she might think me some untutored youth† points out that theRead MoreSonnet 1381084 Words   |  5 Pagesrelationship. However, in Shakespeares Sonnet 138, the key to a healthy relationship between the speaker and the Dark Lady is keeping up the lies they have constructed for one another. Through wordplay Shakespeare creates different levels of meaning, in doing this, he shows the nature of truth and flattery in relationships. Shakespeares Sonnet 138 is one of his sonnets about the Dark Lady. Dark both in appearance, and in her actions, she is once again the subject of the sonnet. The speaker is theRead MoreLiterary Analysis Of Sonnet 127-152766 Words   |  4 PagesLiterary Analysis Sonnets 127-152 by William Shakespeare explores the imagery of falling in love and how the cause of that can have painful emotional and physical consequences. In sonnets 127- 152 clearly state that the so called dark lady, expresses a more obsessive physical love that the young man. The intro to sonnet 127 is about the meaning of such beauty; as stated, â€Å"In the old age black was not counted fair†¦But now is black beauty’s successive heir.† (line 1 3 of sonnet 127). Sonnet 127 shows a

Public Speaking Self Reflection free essay sample

By reviewing the presentation and accumulating the thoughts of those involved will improve future productions. Introduction The intro to this presentation should catch the attention of any doctor who knows about time management. Gaining attention and interest early was a goal in this presentation. The topic to save time and view radiology films from home was clear, and informative. An overview was not given of what would be covered instead the speech flowed into the step by step to view the images from home. Body The body of this presentation logically flowed step by step, using Powering to liver messages clearly and so that the audience could follow along more easily. No misinterpretation was felt regarding the use of language spoken, and the body was delivered well. The steps were clear and concise. Delivery When viewing the presentation again, it was rushed from start to finish. The time factor disabled the use of more information being shared. We will write a custom essay sample on Public Speaking Self Reflection or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page A well defined topic would have solved this problem. Watch out for eye contact, hand gestures, and bouncing around, these were noticed and portrayed poor body language. There were not any pauses due to time constraint. There were times that there could have been a pause to prove a point, or to allow the audience to ask a question or catch up to the speaker. Language The language used was appropriate. Due to the recording device used the audience could not hear clearly. Future presentation must have a better sound system. Audience and Topic The message was adapted for the appropriate audience. One of the biggest topics in any clinic is how to save time in a day. This is one suggestion for doing Just that.Any doctor looking to save time would view this two minute presentation to allow them a ewe extra minutes each day. Visual Aids Step by step instructions were used via Powering, on how to view Patient Images from home. The slides allowed the audience to view the steps clearly and efficiently. Many times in this presentation the visual aids allowed the speaker a chance to look away from the audience. A quick glance is fine but there is no reason to read the slide. Conclusion The end of the presentation was as rushed as the beginning and body. The reinforcement of how this would save time in the day, allowing more time with tenants, was preparation to the end of the speech. There was not a vivid ending Just more of the same Power Point presentation. A stronger conclusion would have helped close the presentation with confidence. Overall Evaluation The presentation was good throughout. There could have been a better sound system to make the presentation more appealing. The requirement was met for the assignment. To respect attention to detail, the time limit was followed closely. A general comment stated, was to wait a second or two prior to speaking to allow equipment to work so as not to cut off the beginning. There was clear purpose and overall the outcome was quite good. By reviewing the important parts of a presentation, introduction, body, conclusion, delivery, language, audience and topic, visual aids, and overall evaluation, the giver of the speech can use the information provided to improve upon them self. Overcoming the need to think of oneself as right and allowing outside perspective enables the speech presenter the ability to become a remarkable speaker, in everyones eyes.