You choose it Essay Example | Topics and Well Written Essays - 500 words - 6

You choose it - Essay Example is, however, unfortunate that in spite of the great strides, many obstacles still obstruct the realization of the employment rights of people living with disabilities. Only a few people living with disabilities access meaningful employment. There are several misconceptions and negative attitudes about disability that reduce the employers’, whether corporate, government or non-government, willingness from hiring anyone affected by a disability (UNICEF 2011). In some instances, some qualified job seekers are clearly discriminated and sidelined because of disabilities. People with intellectual disability are, for example, stigmatized for their perceived inability to comprehend most of the things that surround them. In addition, some employers are unwilling to recruit them because of the costs of adaptive technology and modifications needed at the workplace for them to work efficiently (UNICEF 2011). It is, therefore, apparent that these misconceptions continue to deprive people with disabilities the opportunity for employment. Lack of access to education, training, and funding are central to securing employment. Young people living with disabilities do not have access to opportunities and formal education to enhance their skills. The gap in education levels between those with disabilities and those without is a primary factor that determines who secures employment (DRNPA 2009). For people with disabilities and lack formal education, training or skills, they can still indulge in self-employment. Their lack of funding, however, presents an obstacle that prevents them from setting up businesses. Securing loans from lenders is a challenge because there are few people in the society who are willing to be collaterals to them. The lack of funds for investment, therefore, continues to deprive them the opportunity for employment (â€Å"Arc, 2014†). It is inevitable that people with disabilities are overprotected by the labor laws. Many countries and, in particular, those

Fight Club (Film) by David Fincher Essay Example for Free

Fight Club (Film) by David Fincher Essay This confronting movie casts the brilliant Edward Norton and the extremely popular Brad Pitt as they team together to bring the public one of the greatest suspense movies of all time. Norton plays Jack, a middle-aged man, who isnt sure what his purpose for living is anymore and Pitt plays Tyler Durden, a soap salesman, who has come to the same realization about life. Directed by David Fincher, written for the screen by Jim Uhls, and based on the acclaimed novel by Chuck Palahniuk, Fight Club is a powerful film, which fuses the highly sensitive issues that haunt its frustrated and confused protagonist with the visual representations of his mental states. It all begins when Jack becomes so frustrated with his life that he just cant take it any longer. For his entire life, the media has painted a glorious image of wealth for everyone and has made everyone believe that they would be rich and famous eventually, while in fact they werent. Flooding society with more useless products and making them slaves to their own needs, Jack realizes that it is all just a joke. Under the realization of this, Jack searches for a way to find new excitement away from the material world. He starts to visit numerous support groups for cancer victims and other diseases. This is where he meets Marla Singer (Helena Bonham Carter), a middle-aged woman who is also going through the same thing as he is. Together these seem to be the only places for them to find real emotions, and to be able to express their own emotions at the same time. One day while on an airplane, Jack meets Tyler Durden. While talking with Tyler, Jack notices that they have the same exact suitcase along with many other things in common. Tyler gives Jack his business card and tells him to call if he ever needs anything. When Jack returns home, he finds that his entire apartment has been blown to pieces. With nowhere to go, he takes out Tylers business card and proceeds to call him. Tyler comes to Jacks rescue and the two begin living together in an old run-down house. One night outside a bar, confused in their frustration of the world, they begin hitting each other for the pure excitement and adrenaline rush. After much thinking, Tyler has made up his mind about society and has created his own beliefs. He opposes all material wealth and lives for the moment, unafraid of pain or death. Slowly he teaches Jack these traits as well, as they now begin to build Fight Club, an underground association where equally frustrated men can take out their emotions by fighting with one another. Soon many Fight Clubs spring up across the country and Tyler is hailed as a celebrity among the members. With Fight Clubs popularity increasing, Tylers plans become much bigger and he establishes Project Mayhem, his plan to destroy the material world. He recruits an army of equally powered men and goes on a spree to destroy all signs of materialism he sees. While watching the mayhem Tyler has created, Jack becomes disturbed by the idiocy of the followers and the violent acts they are committing. He wants to put an end to the insanity, but without Tyler he cant stop it, and Tyler is nowhere to be found. With Tyler now missing, Jack begins travelling from city to city in search of Tyler. When asking people if they know Tyler Durden, he is given the same answer over and over: Yes sir, youre Tyler Durden. Jack finally comes to the conclusion that he and Tyler are the same person. Tyler is simply a figment of Jacks imagination. Tyler is everything that Jack wishes he could be. He looks how he wants to look. He acts how he wants to act. He is Tyler Durden. This movie combines great action sequences, romance, and suspense all rolled up into one. The great casting of Edward Norton and Brad Pitt give the movie just the right amount of masculinity it needs. How the composer creates meaning The composer creates a chilling setting, which is familiar and stereotypically American with its high-tech devices, also with fast and crisp movement of camera angles to show some extraordinary effects. The composer also used lighting to create meaning. The lab in which Jack was sitting down which we witness in the fast and crisp movement of camera shots, had very dark and dull colours. The music also rolled along to help create this setting, which is very important within the film. The director David Fincher utilizes a number of techniques to present his ideas of change. The film opens with voice-over from our lead character Jack, played by Edward Norton. He hasnt slept in months and its beginning to take a toll on his sanity. He finally finds release from his troubles by going to support groups for people with various diseases testicular cancer, bowel disease, etc. where he finds freedom in pretending hes a survivor, that he has nothing to lose. Thus, it also represents a new foundation as a result suggesting a change in Jacks lifestyle. Through the character Jack the composer is also able to create meaning. Here we see that through zoom and close-up camera angles the composer shows a change in the behaviour of Jack. It becomes evident that after bearing in mind explosion of his apartment, he becomes astound and through the facial expressions we see that he is discontented. The smile that was witnessed prior to this terrible tragedy has mislaid as a consequence symbolizing a change in his attitude and his perception of the slight civilization. The composer also creates meaning, through the use of Jacks lifestyle. In this motion picture the main character Jack, changes his lifestyle through self-destruction rather than self-development. The composer has done this to show that there is more than one way to change, that change does not always have to occur in a positive way. This is one of the most important themes running through the movie. Fight Club; a movie about the change within one mans life, Jack, with the help of his friend Tyler, who is actually a creation of Jacks mind. Jack breaks away from all of societies conventions and this leads to the many changes in his life. Jacks changes are made all the more significant through the use of colours. Before Jacks enlightenment all the colours used are dull blue-greys. The camera angles are narrow and focused. This creates a tone of monotony and boredom. Later, the scenes become brighter and colours are powerfully contrasted. Many of the scenes take place at night with neon lights in the background with contrast with the bright red leather jacket worn by Tyler throughout much of the film to create an exciting, almost surreal element to the scene. The camera angles become wider, reflecting Jacks broader perspective of life. A further structural device used by David Fincher is to allude to Jacks earlier life. One example is when he receives a phone-call from the detective looking into the explosion of his house. Jack responds to his questions by discussing how much the things in his apartment meant to him, how they were part of his identity. When the phone-call is over he says, I would like to thank the academy. From this statement, it is obvious that he looks back on his former lifestyle with contempt. From this film we can see how difficult it can be for one to move to another door of perception when everything around them reinforces the accepted view of the world. It is easy to accept everything that is occurring and live in denial without changing. Jack would not have been able to escape from the media induced, corporate driven life that he led if his brain had not created Tyler Durden. In Fight Club we see there are many reasons for people to choose not to change. The risk may seem too high. It might be hard work. There is a loss of the security a person has when he or she is in familiar territory where everything is known to them. Even when the opportunity stares at them right in their faces they refuse to take it. In the movie, we see Jack struggling at first with quitting his ikea-guy life but is soon able to boldly step away from the illusions that held him. Explanation of how the text links to both a text from the Stimulus Booklet and the play Away Clearly, change brings consequences. These consequences can vary in importance and significance; they can be beneficial, detrimental or even impartial. Change, its impact on self and the resulting consequences, which it inevitably brings, is an issue explored by many composers in a variety of texts. Change is the process of being made different. Change can be caused by anything such as time, birth, death, people and fighting The concept of changing self and its significance to the individual is explored in a number of texts including the play Away written by Michael Gow, Sky High by Hannah Roberts (BOS Changing) and the film Fight Club by David Fincher. All these texts symbolise change in a variety of ways. To show the consequences of change composers have used a number of techniques in terms of language, imagery, contrast and repetition. This film Fight Club deals with the approach in which we transform ourselves. In this film Jack transforms his standard of living through self-destruction to assertion self-development. The director David Fincher has fulfilled this to exemplify that the things we own, actually end up owing us. The change occurs when Tyler opens the door for him to amend. Unfortunately, Tyler becomes too powerful. This shows the rituals of both sides. Allusions is a structural device used by the director Fincher to contrast the Jack-then to the Jack-now, constantly making references to his earlier life presented at the beginning of the film. An example of this is when Jack is living in the dilapidated house he often receives calls from a Detective Stern from the arson unit, inquiring about his destroyed condo or feeding him information about it (the police suspect he did it to claim insurance). Jack often replies by talking about how much the things in his condo meant to him and how they were a part of his identity. When the phone-call is over he says; I would like to thank the academy. From this statement it is obvious that he looked back on himself with contempt. The director shows that the choices that one makes during his or her life, defines the changes that would occur to them in the future. When one looks back at the decisions that they had to make, the difference before the choice was made and after becomes quite obvious. Another aspect of change presented in the film is that change is often cyclic. As we make one decision, we are soon required to make further decisions and it is a never-ending cycle until the day we die. Therefore one never stops changing until their death. From this film we can see how complex it can be for one to move to another door of perception when everything around them reinforces the accepted view of the world. It is easy to accept everything that is occurring and live in denial without changing. Jack would not have been able to escape from the media induced, corporate driven life that he led if his brain had not created Tyler Durden. In link to Sky High by Hannah Roberts it demonstrates that responsibilities force a person to change, and that the change is not always optimistic, other than it has to be embraced for a character to established, and that although there is a change it is most undoubtedly not an end, but rather a progression. This text has contributed a great deal to my understanding of change. It helps us to see how difficult it can be to change ones lifestyle and to change their view of the world when it is reinforced as being the accepted view of the world that we must adhere to, and sometimes it requires something as drastic as an imagined person to change that view. The other thing it has contributed is that there are many reasons for a person not to change, risk, too hard work or the loss of security in their new life, but once that change is made, the persons old lifestyle seems contemptibly inadequate. In Sky High by Hannah Roberts, it is not another person, which outlines a change in self of the persona, but an object (a clothesline) that triggers a memory from the personas youth. Personification of the clothesline, and its relation to the authors own change in self since her youth, is one technique incorporated by Roberts. When describing her and the clothesline in the first two paragraphs, we are given the phrases silver skeletal arms and smooth, sweat damp hands. Comparing this to age-warped washing line and hands, beginning to accumulatewrinkles one can see the dramatic realisation of the changed persona. Another representation of the changing influence of the clothesline is the descriptions of the hanging clothes. Where as in her youth the clothesline was festooned with socks and knickers and shirts like coloured flags in a secret code, Roberts now write(s) my own semaphore secrets in colourful t-shirts and mismatched sock. This suggests that as a child, the author thought that the clothes were hung out in secret code. Now as an adult she realises the ordinariness of the practice. The semaphore secrets that she writes as an adult expose to the reader the question if these are messages of unhappiness. The narrator utilizes an analogy to illustrate how responsibilities and social conventions limit a persons ability to follow urges. The writer wants to fly as she did when she was young, but she is concerned that the conventions of her modern life will not allow her to do so. Remembering the minute details of the garden develops a nostalgic mood. This is so as a person remembers details such as these if they treasure the memories Sky high has contributed to my understanding of change by showing that responsibilities force a person to change, and that the change is not always positive, but it has to be embraced for a character to mature, and that although there is a change it is most definitely not an end, but rather a process. On the surface Away by Michael Gow, may possibly appear like a simple narrative about three families who take off for a holiday. People are shown as going away, being pulled away, being washed away, walking away and so on. What is also stressed however is the act of recurring, regrowth and renewal that results from their away experience. Away presents the concept of change as self-recognition and renewal through the portrayal of the key characters who journey from fear, isolation and delusion to an understanding and acceptance of themselves and their relationships with others. Away is a short though direct play, which deals with many variations of change, each of which is a change of character or personality, which occurs as a realization as the events in the play, get through to them. A perfect example is Gwen, a middle-aged mother with the need to control. Her resistance to change is of an attitude as her family suddenly becomes separate in reaction to her behaviour. The family is on a holiday and what was meant to be enjoyable, becomes a conflict which causes her daughter Meg to isolate herself from her. Gwen depicts this resistance to change with the importance of it. Simply compare changing toothbrush to changing personality, which will have a resisting effect. Michael Gows play is very theatrical. While much of the dialogue is realistic, drawing on the idiom of the day, the storm and the appearance of the fairies break away from realism. Gow draws on the conventions of comedy and tragedy as the play moves from the comic to the tragic. Many of the characters appear as stereotypes found in comedy- the nagging wife, the henpecked husband, the pompous teacher, but as the play progresses these stereotypes are abandoned as the characters are confronted by the need for change. They become individuals capable of change. The composer exploit Language to provides a precious impending into the intelligences of the protagonists. Gwens continuous and tedious use of clichà ¯Ã‚ ¿Ã‚ ½s creates her the parody of a middle-class housewife with high-class aspirations. In the final act, mime plays a vital role. It is the explicit lack of language here that provides the audience with a perceptive of the high level of self-awareness and imminent that is now shared by the protagonists. Perhaps the two most significant characters in Away who experiences the most profound changes are Gwen and Coral. * Gwen is one of the most momentous protagonists in the play. She changes from being a stress ridden control freak of a mother and wife to coming to an understanding of life and the fact that humans are not in control. The plainest demonstration of this is the storm, which trashes her perfectly planned holiday. Note that in the stage directions, the fairies single Gwen out for particular attention in the storm. Gwen experiences an epiphany during the walk with Vic, presumably in reaction to the news that Tom is dying. She returns from the walk a changed woman, and it is she who stands and applauds Coral as she walks in Strange on the Shore. * Coral has lost her grip on reality. At the beginning she is a woman pervading grief at the death of her only son in the Vietnam War. In attempting to respond to her husband (Roys) plea that she behaves normally, she enters a relationship with a young recently married man named (Rick). She than adopts the persona of the artist on the beach, and it is Tom who recognises her as the headmasters wife. She achieves some kind of acceptance of life and loss through her performance in The Stranger on the Shore. (Im walking, Im walking represents a return to life). The walking becomes symbolic of Corals return to reality, her final acceptance of the death of her son who died in Vietnam. Tom is responsible for her healing. He determines Corals role in the play. In Act 5 scene 1 we see her reconciled with her husband Roy. These changes are represented dramatically in the play. Her situation in Away is symbolized by her role in the little play- when she walks at the end, she is retuning to life where she belongs. Opening on the last day of the school year in 1967 and closing on the first day of the next school year, the play spans only a few short weeks in the lives of its characters and yet their perspectives and understandings have changed radically over that time. Possibly the character who experiences the most philosophical change is Gwen. Through the intensity of the emotional conflict she encounters, she has had to acknowledge the inevitability of change in life and has adjusted her expectations accordingly. This change of perception over time can be contrasted to the reminiscing of Hannah Robert, in her story Sky High, Text 3 in the Board of Studies Changing Booklet. Where the older narrator looks back on a lighter, less burdened childhood. The rewarding repercussions of confronting change and of living for the present have been highlighted by the texts I have studied which in turn delineate the integral nature of change in the lives of people and their relationships.

Essay --

Testing is a way to measure what students have learned from their teachers. Standardized/High-Stakes testing is a tool used to measure the performance of students and the quality of teachers in public school systems. High-Stakes testing is an inaccurate measuring stick of teaching quality and thus is detrimental to the educational system. Pressure is being exerted on students to pass, and teachers to enable their students to pass the standardized tests being presented to them. This takes much classroom time that could be spent instructing students on what might be more valuable information, and instead study for the test by what some consider rote memorization (Silva). Experiments have been done seeing how much different teaching approaches were before and after the implementation of standardized testing (Desimone). These experiments demonstrated how vastly the difference between teaching to the test and teaching what the instructor believes is the most valuable knowledge and the best way to present this knowledge. If there is a disconnect between what America’s teachers believe is best to know, and what is on the examinations, then one of the two is flawed, and it is not likely to be what the teachers are teaching. Students simply do not care about their results on standardized tests. Many students either â€Å"Christmas Tree† (pick random answers, named because people sometimes make shapes) or just select one answer and continue with the same answer the entire way down (Tests that count). Student’s only incentive is that they might move on to the next grade, or that they have to pass to graduate. There are a significant number of students who simply drop out of high school. They can either get a GED or find a job that will sustain ... ...en if say, a parent had died within the past week. That would certainly be jarring enough to grant a pardon to a student. All a university would see, though, is a large F on the transcript. Teachers will neglect students that need the most help to help those who need a slight shove. This is known as â€Å"educational triage† (Booher-Jennings 231). Those on the threshold of passing the state mandated tests are significantly more likely to receive help from instructors than those that are significantly lower than their peers (233). This is to make the district look better as these children are far more likely to pass the test with the extra assistance. This still leaves the ones who were left behind essentially out to dry. If anything, it should be the opposite. The ones who are at the lowest levels should be receiving the most assistance on standardized test preparation.

Pupil’s educational success Essay

The education system is mostly controlled by white middle-class people. Those who share these characteristics may well be viewed more positively and be more likely to succeed in the tests and examinations created to assess their abilities. Many working class and ethnic minority pupils may feel undervalued and demotivated by an education system that does not recognise their qualities, class or ethnic culture. The Marxist idea of â€Å"Cultural Capital† (Bordieu) also determines a student’s ability to excel in the education system. Schools are middle-class institutions run by the middle-class. The forms of knowledge, values, ways of interacting and communicating ideas that middle-class children possess are developed further and rewarded by the education system. Working class and ethnic minority children may lack these qualities and so do not have the same chances to succeed. Studies have shown that middle-class parents are able to use their cultural capital to play the system so as to ensure that their children are accepted into the schools of their choice. However, ethnic minority parents are disadvantaged when trying to get their children into better schools. The parents, especially if born abroad, may not have much experience of the British education system and may not be able to, or confident enough about their English skills, to be able to negotiate the system. Some sociologists have argued that the curriculum disadvantages pupils, particularly the working class and ethnic minorities. The knowledge that they encounter at school does not connect with their own cultural experience. Working class experience is almost invisible in the school curriculum. History, for example, tends to deal with the ruling classes rather than with the vast majority of ordinary people. Coard (1971) showed how the content of education also ignored black people. The people who are acclaimed tend to be white, whilst black culture, music and art are largely ignored. Coard argued that this led to low self-esteem among black pupils. Since the 1970’s some effort has been made to make the curriculum â€Å"Multicultural†, but it is still criticised for only looking at â€Å"Saris and Samosas†. The National Curriculum has still been criticised today for being ethnocentric – emphasising white middle-class culture at the expense of other cultures – especially in its focus on British History and literature.

Enlish Methods Of Writing For Junior Cert Essay

Junior Cert English â€Å"Functional Writing† Introduction and Overview The Functional Writing section of Paper I asks the student, in as close as possible, to write in the style of somebody who either uses language for a living, or is conducting business or important matters through writing or speech. This part of Paper I strays away from fiction, but is not entirely devoid of opportunities to use language in a creative or dramatic fashion. In some cases the student may have to use their imagination to provide detail to make their work seem realistic and give it the authentic feel. The marks in Functional Writing are given for the knowledge of the style and tone required for the task, and for the understanding of the format required. Awareness of Audience and Task In all cases in this section, your choice of language, and your use of tone and register will be dictated to you by  · The intended recipient and/or audience.  · Your means of delivery. In short, you can either use a formal or informal style of address. You should take into account the age, status, and size of the audience you are dealing with. Your language should always be trying to create the appropriate impression of both who you are and what you’re trying to do. For example, you would use a formal style of address if you were writing a letter to your bank manager asking for a loan to start your own business. Your language would be confident, but not aggressive: informative, but not laboriously so: enthusiastic but not overzealous. The impression created on the bank manager is that you are reliable, competent and trustworthy, and your business will be a huge success. For your own entertainment you might want to write the worst possible letter of application for the same loan- you would be over-familiar, disrespectful, vague, repetitive, and riddled with inaccuracies about yourself and what you want to do. You can then guess what response this would get from the same bank manager going through their morning mail. This then is the key to Functional writing; awareness of the tone you are to take, and the choice of language to use to reinforce that tone. An example of a task that you would be asked to complete with an informal style is to imagine that you have been asked by a club that you are involved with to make a presentation to a class of twelve year old primary school children to encourage them to join. You would be presenting this verbally, so when you would prepare your material beforehand, you would stress key information on several occasions, to avoid having the same basic question repeated infinitely. As your audience would be unlikely to have firsthand experience of what you are taking about, you would use the simplest language possible, and use short, sequential, informative language. You would also use an informal tone, as you would want your audience to think your group would be welcoming and fun, not preoccupied with taking everything too seriously. Here is an example of a completely made-up extract from my very busy diary. Consider the language and tone I would use for each of the following tasks in just one day: 10:00 – Book holiday tickets over phone from travel agency. 11:00 – Complete and edit report for Boss on efficiency of new sys. 12:00 – Address fundraising lunch for Kidney Dialysis unit for Children’s Hospital. 2:00 – Write congratulations card for birth of secretary’s daughter’s first child. 3:00 – Deliver presentation to investors on Company performance. 4:00 – Talk to business journalist about new product range. 6:00 – Attend parent-teacher meeting at son’s new school. 8:00 – Coach under 12 team – introduce new training drills. 10:00 Convince very unsympathetic wife that I’ve had a long day. At both 12:00 and 3:00 I will be addressing a group of businesspeople. However, there are differences. People will not want to be overly serious at lunch, so I will be able to use a respectful but informal tone. I may even be able to use language that will influence my audience emotionally. However, at 3:00 I will have to be very formal and very structured in my use of language and terminology for the business meeting. Look at the way my 11:00 task is written. Will I get away with that use of shorthand and slang in the report itself? Of course not; what is acceptable as a note for your own use is not acceptable for a report for someone else’s reading. Will it be easier to present information to my 3:00 or 8:00 appointment? In the afternoon everybody will be fresh. Will they be as sharp in the evening? Should my card for my secretary’s daughter be written with the same tone and language as my report for my employer? All of these questions are central to the idea of functional writing. Make sure what you are doing is appropriate to your task and your audience. Reports. A report can be written for a newspaper, radio programme, or television broadcast. No matter whether it’s to be read or spoken, start with the most important details first. You should deal with the following sequence of facts; 1) what has happened; 2) how it happened; 3) why it happened. The first section, what, will also include where, who and when. A report doesn’t only have to include the facts, it can also include opinions, in the form of quotations from the relevant experts and authorities, and also some degree of speculation as to what will happen next, and what consequences there will be. Unlike a review, the writer is there to convey the truth and facts of the matter. They are to be unbiased, non-judgemental, and let the facts speak for themselves. A good reporter will trust their audience to make up its mind in the right way once it has all the facts. The Tabloid Unlike the Broadsheet, the Tabloid newspaper makes no bones about  choosing sides in a story, and actively tries to persuade its readers to share its opinion. They very much like to take a light hearted approach to news material if at all possible, and frequently use puns in headlines. They also avoid putting in too many views or opinions on any given subject. They like first-hand accounts from people involved in making the news, and will avoid analysis, as they prefer to be very direct in their focus on the story. The tabloid journalist likes to gain an emotional response from their reader, and will not shy away from showing where their sympathies lie in any given story. They will sometimes choose to present deliberately one-sided reports on what may sometimes be very complicated issues. They like stories that involve celebrities or famous people, and avoid serious treatment of political or economic issues as much as possible. They thrive on scandal, and what they believe is the public’s insatiable appetite to see what goes on behind closed doors. Tabloids pride themselves on their extremely in-depth sports coverage. The average reading age (age at which a reader would be expected to understand all contents without difficulty) for a Tabloid newspaper is just nine years. Tabloids like simple and short sentences. They use puns and wordplay to highlight and make memorable the key thrust of their story. They avoid using complicated terminology, and long sentences. They also highlight key-points by having several sub-captions to stories, and by using several illustrations to put across the message visually as well. Tabloids have always been traditionally strong on visual information and colour pictures. In recent years tabloids have abandoned over-reliance on the â€Å"page-three girl† feature as they are trying to encourage more women readers. The Broadsheet A broadsheet newspaper is characterised, not only by its large size, but by the attitude it takes towards journalism, and the presentation of news stories. Primarily, a broadsheet will focus on political, economic and lifestyle features. It will present its main stories in a very in-depth and detailed format. They will take a very serious tone with the reader, and will avoid anything that might seem to be trivialising an issue, for example, a pun in a headline. They prefer a serious, sombre, and often  complex approach to news-stories. Broadsheet newspapers examine not only what happened, but how it happened, why it happened, if it happens frequently, what can be done about it, and they will also mention when similar events occurred. They like to find many individuals related to the event, and experts to give quotations and opinions on what has happened. The broadsheet journalist likes to appear impartial and unbiased, and avoids any sense that their emotions might be affecting what they write in any way. They like to convey the impression that they give you the whole truth. Some broadsheet newspapers are physically huge. The average reading age (level of difficulty) for reading a broadsheet and understanding everything in it would be fourteen years, which means you would be able to follow everything. Broadsheets are only now beginning to embrace the possibilities for the use of colour in their papers. Traditionally they have been very black and white affairs, but are increasing the amount of photographs they publish. Reviews. The art of the reviewer is to give the reader just enough a suggestion of what it is you’re talking about, just enough to whet their appetite. If you check a Sunday newspaper, you can find reviews of motorcars, concerts, films, restaurants, even hotels! Nothing is too small, or too large to avoid being reviewed. You could be required to write a review of a favourite film of yours, or to write a blurb for the back of a novel. Unlike a report, which is essentially factual, a review gives you far more scope to let your opinions and feelings known. You can say what you liked or disliked about what you’re reviewing, and that is almost important as a factual description of what you’re reviewing. You can create either a very positive or negative impression on your reader by the tone and language you use. You should assume that your reader has a general interest in the area, but may not be familiar with exactly what you’re going to tell them about. It is easy to criticise something, and often after saying how bad something is, you will find yourself repeating your verdict without informing the reader of why, how or what was bad about it. If you are still looking to fill space, try constructive criticism. Any reviewer can pronounce whether something is good or bad; only the inspired reviewer can point out what was done well, and conversely, what opportunities were lost. For example, if you are reviewing the sitcom Friends, then you should fill in the background first for the reader. It is advisable to go into some detail about the characters, and then finally to attempt some analysis of why it is you like or dislike it. Interviews. Q: What’s the difference between an interview and writing dialogue? A: Interviews are essentially pieces of dialogue, but without the qualifying â€Å"he saids / she saids† at the end of each piece of speech. The different parts of the conversation can be put as question and answer exchanges (â€Å"Q:† and â€Å"A:†), or if it is a more informal interview which is very similar to a conversation, then you can call yourself â€Å"Interviewer†, but refer to your subject by their Surname. Keep your questions short, and let your interviewee expand on them. Q: What are the things I should try to do, and what are the most common problems? A: A bad question to ask is anything that would encourage your interviewee to give a monosyllabic answer, of the â€Å"yes/no† variety. A good question is one which gives the interviewee a chance to illustrate with examples from their life, work, or to ponder on events important to their work, lives, and past or future. A good interviewer gets to the point quickly, and their questions will never be longer than the answers they receive. I once interviewed Seamus Heaney while in college, and committed all of the above mistakes. The Sample Answer below I have had to invent to cover my embarrassment! As well as bearing in mind your interviewee, bear in mind the audience who will be reading this interview. You want something  that is informative, but not technical, and which allows the person or subject to come across well to the reader. There was a fashion recently in newspapers for interviews in which you discovered more about the interviewer than the interviewee, but thankfully, this has now passed. Q: So, I basically just make the entire thing up then? But how do I structure it? A: If you are stuck as to where to start, pick an example of an interviewee who would be appropriate, and write out the list of questions you would like to ask them. Then all you need to do is invent their answers, going by what you know of them. If you’re still stuck, then ask what they’re doing now, what they were doing previously, and what they hope to be doing in six months time. You can also ask if they have achieved all they want to do, or if they think other people’s impressions of them are important. Bear in mind though that your questions will ultimately depend on who the intended audience for the interview is. If they are your age, then ask questions you think your friends would like to know the answers to. Within reason, of course. Speech Writing The skill of speech writing could be relevant to Personal Writing or Functional Writing. How to write, deliver and appreciate a good speech. The key to writing and delivering a good speech is to remember at all times that the speaker is dealing with an audience. The writer/speaker must also bear in mind at what occasion the speech is to be delivered. A speech to be given at an EGM of a company faced with bankruptcy will be drastically different in its structure, tone, and technique than a speech to be given by the same speaker at a wedding later that week! How to write a speech. (For this section, we will consider a speech as that which a speaker would be called upon to prepare for a debate, or public speaking competition.) First, read your motion carefully. In the Junior Certificate, you will be invited to speak either for or against the topic. In deciding whether to speak for or against the motion, don’t necessarily choose the side of the motion which  you support; choose instead the side of the argument that will give you the most arguments to use in your speech. A good idea is to brainstorm all the possible arguments both for and against, and when you see which side gives you more avenues of thought to pursue, choose it. Second, having chosen your side of the debate, decide that the motion is a good or bad idea because†Ã‚ ¦This then will become the argument of your speech. The argument is the central theme which you will introduce, build upon and then summarise. Often it is best to have to have three reasons; Example For Capital Punishment is a good idea because†Ã‚ ¦ 1. It deters other criminals from committing serious crimes 2. It is cheap, efficient, and labour saving 3. It eliminates the possibility of repeat offences Against Capital Punishment is a bad idea because†Ã‚ ¦ 1. Miscarriages of justice cannot be rectified 2. It makes killing right for some yet wrong for others, thus introducing a double standard when there should be a simple statement that â€Å"murder is a crime† 3. Prisons should be for rehabilitating offenders, not for revenge All of the above statements should then be supported by example, but remember, in a debate, your argument is more important than your examples. A good speaker is always restating their argument; a bad speaker is always lost in a fog of example. This is how your argument becomes informative and clear. Third, decide on the structure and tone you want to use in your speech. Some speakers may like to start their speech with a story, anecdote or quotation that will then illustrate their arguments to follow. This gives the speaker a chance to make the speech unique, and make it more relevant than a theoretical discussion of some issue that has never had, or will never have any affect on the speaker. What tone are you going to use? Avoid making sweeping statements, such as â€Å"we all know what this is going to lead to.† Instead, pitch such ideas to the audience in the form of rhetorical questions: â€Å"Do we want our society to be like this?† Avoid the use of too much jargon, and if you are forced to, make sure to define the term immediately after you first mention it, so the audience will be informed for when they will next hear the term. Do not believe that your audience are already experts on this issue – you may need to fill them in on the basics  first. Do not do this in a patronising way, but instead say that you want to focus their attention on the key issues. In this way you will be more persuasive, and less arrogant. Too much arrogance and you will end up alienating your audience from your point of view. Opening comments. Depending on the occasion that the speech is to be delivered, start with the most important dignitaries present, and proceed through your list to the end, which is usually your fellow speakers. A standard opening for a school debate would be Chairperson, Principal, Honoured Guests, Ladies and Gentlemen, Fellow Students, Fellow Speakers, I have come before you today to speak on the motion that†Ã‚ ¦(insert motion here)†Ã‚ ¦ Continue to refer directly to the audience at intervals throughout your speech, and conclude with a summary of all your arguments, and by thanking the audience for their time and attention. Ladies and Gentlemen, having put forward the facts, I beg you to support/oppose this motion, that†Ã‚ ¦(insert motion here)†Ã‚ ¦ How do you know if you have written a good speech? Imagine you are listening to that speech from the audience. To a member of an audience, no matter where, a good speech will always have the following qualities. 1. It will be suited to the tone of the occasion, whether solemn, or celebratory. 2. It will be informative, but not so technical that it either confuses or loses you. 3. You will be clear at the end of the speech as to why the speaker feels in the way they do about the topic they have spoken on. 4. The speech will emphasise why the issue is important to everyday life, rather that some abstract worry that may never affect you. 5. You will have been given a definition of the issue, and more importantly, a series of suggestions or steps as to how this issue should be dealt with. 6. You will have developed a sympathy for both the speaker and the issue that they spoke upon.

400 Million Years of Shark Evolution

400 Million Years of Shark Evolution If you went back in time and looked at the first, unremarkable prehistoric sharks of the Ordovician periodabout 420 million years agoyou might never guess that their descendants would become such dominant creatures, holding their own against vicious marine reptiles like pliosaurs and mosasaurs and going on to become the apex predators of the worlds oceans. Today, few creatures in the world inspire as much fear as the Great White Shark, the closest nature has come to a pure killing machineif you exclude Megalodon, which was 10 times bigger. Before discussing shark evolution, though, its important to define what we mean by shark. Technically, sharks are a suborder of fish whose skeletons are made out of cartilage rather than bone; sharks are also distinguished by their streamlined, hydrodynamic shapes, sharp teeth, and sandpaper-like skin. Frustratingly for paleontologists, skeletons made of cartilage dont persist in the fossil record nearly as well as skeletons made of bonewhich is why so many prehistoric sharks are known primarily (if not exclusively) by their fossilized teeth. The First Sharks We dont have much in the way of direct evidence, except for a handful of fossilized scales, but the first sharks are believed to have evolved during the Ordovician period, about 420 million years ago (to put this into perspective, the first tetrapods didnt crawl up out of the sea until 400 million years ago). The most important genus that has left significant fossil evidence is the difficult-to-pronounce Cladoselache, numerous specimens of which have been found in the American midwest. As you might expect in such an early shark, Cladoselache was fairly small, and it had some odd, non-shark-like characteristicssuch as a paucity of scales (except for small areas around its mouth and eyes) and a complete lack of claspers, the sexual organ by which male sharks attach themselves (and transfer sperm to) the females. After Cladoselache, the most important prehistoric sharks of ancient times were Stethacanthus, Orthacanthus, and Xenacanthus. Stethacanthus measured only six feet from snout to tail but already boasted the full array  of shark features: scales, sharp teeth, a distinctive fin structure, and a sleek, hydrodynamic build. What set this genus apart were the bizarre, ironing-board-like structures atop the backs of males, which were probably somehow used during mating. The equally ancient Stethacanthus and Orthacanthus were both fresh-water sharks, distinguished by their small size, eel-like bodies, and odd spikes protruding from the tops of their heads (which may have delivered jabs of poison to bothersome predators). The Sharks of the Mesozoic Era Considering how common they were during the preceding geologic periods, sharks kept a relatively low profile during most of the Mesozoic Era,  because of intense competition from marine  reptiles like ichthyosaurs and plesiosaurs. By far the most successful genus was Hybodus, which was built for survival: this prehistoric shark had two types of teeth, sharp ones for eating fish and flat ones for grinding mollusks, as well as a sharp blade jutting out of its dorsal fin to keep other predators at bay. The cartilaginous skeleton of Hybodus was unusually tough and calcified, explaining this sharks persistence both in the fossil record and in the worlds oceans, which it prowled from the Triassic to the early Cretaceous periods. Prehistoric sharks really came into their own during the middle Cretaceous period, about 100 million years ago. Both Cretoxyrhina (about 25 feet long) and Squalicorax (about 15 feet long) would be recognizable as true sharks by a modern observer; in fact, theres direct tooth-mark evidence that Squalicorax preyed on dinosaurs that blundered into its habitat. Perhaps the most surprising shark from the Cretaceous period is the recently discovered Ptychodus, a 30-foot-long monster whose numerous, flat teeth were adapted to grinding up tiny mollusks, rather than large fish or aquatic reptiles. After the Mesozoic After the dinosaurs (and their aquatic cousins) went extinct 65 million years ago, prehistoric sharks were free to complete their slow evolution into the remorseless killing machines we know today. Frustratingly, the fossil evidence for the sharks of the Miocene epoch (for example) consists almost exclusively of teeththousands and thousands of teeth, so many that you can buy yourself one on the open market for a fairly modest price. The Great White-sized Otodus, for example, is known almost exclusively by its teeth, from which paleontologists have reconstructed this fearsome, 30-foot-long shark. By far the most famous prehistoric shark of the Cenozoic Era  was Megalodon, adult specimens of which measured 70 feet from head to tail and weighed as much as 50 tons. Megalodon was a true apex predator of the worlds oceans, feasting on everything from whales, dolphins, and seals to giant fish and (presumably) equally giant squids; for a few million years, it may even have preyed on the equally ginormous whale Leviathan. No one knows why this monster went extinct about two million years ago; the most likely candidates include climate change and the resulting disappearance of its usual prey.

Dna Technology Essay

Dna Technology Essay Dna Technology Essay 1. What is the definition of a clone? - A cell, group of cells, or organism that is produced asexually from and is genetically identical to a single ancestor. The cells of an individual plant or animal, except for gametes and some cells of the immune system, are clones because they all descend from a single fertilized cell and are genetically identical. 2. Restriction endonucleases are enzymes that recognize and cut DNA at specific nucleotide sequences. Recognition sequences for the restriction enzyme HindIII is '5-AAGCTT-3' on one strand. What would be the site of recognition on the complementary strand? 2. Vectors are generally termed carrier molecules. For a molecule to serve as a vector, there are certain properties that it must have. What are these properties? 3. The plasmid pUC18 carries a fragment of the lacZ gene that confers upon the appropriate host the ability to convert X-gal from a colorless to a blue-colored compound. A polylinker is inserted into this fragment. In the presence of X-gal in the medium, and transformation into an appropriate host strain, a plasmid that contains inserted DNA will produce which color colonies- blue or white? 4. Besides bacterial plasmids, what are some other molecules that can be used as cloning vectors? 5. The yeast artificial chromosomes have become an important tool in the cloning of eukaryotic genes. What are the factors that make these vectors an excellent cloning tool? 6. Plants or animals carrying a foreign gene are called ______________ organisms? 7. The polymerase chain reaction