Language and thought

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BBI15 Introduction to psycholinguistics

Assignment topic Language and thought

1. Introduction

Language and thought, these are the two distinct abilities possessed by human . These two unique abilities had enabled man to be more superior than any other living things in this world.

Cheap Custom Essays on Language and thought

What actually are language and thought? Are they closely related?

Language does not exist in a vacuum. We use it for a variety of purpose and it is therefore molded by many factors. As it is used for transmitting ideas, its structures and function must reflect the ideas. Because it must be spoken and understood easily, its structure and function must be within the limitation of our

psychological and processing capacities.

As people from different social and cultural backgrounds are using language

for communication, these forces molds Its structure and function too. But once it is acquired and used, language wields a power of its own. As it is affected and molded by the above factors, so language affects and molds people's daily lives.

Language helps us to think about something and stops us from thinking of others.

To put this in simple terms, the whole argument is like two sides of the coins. Is it reality , that means the world and the whole experience of living, that gives us the words and the sentences that make up our language, or is it the words and the sentences that are in our language that maks us reality in the way we do? It is a question that is quite difficult to answer.

1

. What is language?

According to the Oxford Advanced Learner's Dictionary-

Ilanguage (of a country) is the speech and writing that is used by people of a particular country where as

iilanguage (of communication) is the device used by humans to communicate with each other. In other word, it is a system of sounds and words used for communicating and to encode and deliver thought and ideas.

iiiAccording to Sociolinguistics written by R.A Hudson 1, language is a body of knowledge or rules.

. What is thought?

iAccording to the Essential Activator, Longman, thought is something that you think.

IiAccording to the book ,Sociolinguistics written by R.A Hudson, 1, the term thought covers a number of different types of mental activity, and lies in the province of cognitive psychology.

4.Language and thought

It seems evident that there is a close relation between

language and thought . Everyday experience suggests that most of our thinking is facilitated by language.

Is there a clear identity between the two?

Is it possible to think without language?

Does language dictate the ways in which we are able to think?

A simple answer is certainly not possible but at least we can be clear about the main factors which may give rise to the complication.

4.1The relationships between language and thought

Many kinds of behavior have been referred to as thinking, but not all of them require us to posit a relationship with language.

The thinking which seems to involve language is the reasoned thinking which takes place as we as we work out problems, tell stories, plan strategies and others. It has been called "rational? "directed? or

"propositional?thinking. It involves elements that are both deductive and inductive.

For this kind of thinking, language seems to be very important. The formal properties of language, such as word order any sentence sequencing, constitute the medium in which our connected thoughts can be presented and organized.

Let us now turn to the question of LD (language determination).

To what extent, and in what ways, does language determine thought this question is normally answered with reference to the Sapir-Whorf hypothesis, according to which language determines thought to a very great extent and in many ways.

4.What the Sapir-Whorf hypothesis has to say about language and thought

The 'Sapir-Whorf?hypothesis combines two principles.

The linguistic determination (which states that language determines the way we think) and linguistic relativity (state that the distinctions encoded in one language are not found in any other language)

English speakers having one word for carrying things, in contrast with the malay language, where there are different words for carrying things-

i. junjung (carrying on the head)

ii. Bimbit/pegang(carry for example handphonein the hand)

iii. jinjing (carry for example handbag in the hand)

iv. pikul (carry on the shoulder)

v. tanggung (two person carrying one thing)

most famous quotation that whorf (140) had laid out, whorf is talking about how our thinking is affected by the grammar of our language.

In other words, the only kind of experience that influences our

thought processes is linguistic experience as implied by the phrase linguistic determinism.On the one hand, it claims that our grammar is the only things that influences our thinking---"…?the background linguistic system ……of each language is …… itself the sharper of ideas.?

Sapir and Whorf carried out a hypothesis, which is still alive but controversial over fifty years later. A research project was carried out in the 150's which involved a comparision of English with Navajo.

The general conclusion to which this research points then is that grammar does influence our thinking in ways that go beyond the use of language, but that it is only one of the things that does --- contrary to the extreme view of 'linguistic determinism?

Another more recent research project carried out by John Lucy (Lucy 1b) which supports the same view. The study was carried out over

a decade of work with a community in Mexico whose language is Yucatec Maya.

4

The purpose was to compare the cognitive effects of speaking this language with those of speaking English and specifically the work focused on a very general grammatical difference between the two languages, their treatment of number differences in nouns

In conclusions, it seems that there is good evidence that some

semantic contrasts which are expressed by grammar are also applied outside the strictly linguistic realm of language use.

Whether or not a person applies these contrasts concerned,

so it seems reasonable to assume that language is the cause and the thought-pattern is the effect. In short, language does affect thought

in ways that go beyond the rather obvious effects of specific lexical items .

5.Universals and Relativity

Let's now look at the argument that we had discussed in the introduction part of this assingment.

The two sides of the same argument whether it is the world and the whole experienmce of living , that gives us the words and sentences that make up our language OR is it the words and sentences that are in our language that makes us reality in the way that we do , are termed as linguistis universals and linguistics relativity.

If languages are molded in part by the propositions, physiological and processing capacities and social factors, then they should have certain common features . These are termed LINGUISTIC UNIVERSALS. There will no doubt be differnces from language to language due to different conditions.

5

At the apposite is LINGUISTIC RELATIVITY. If language molds people's lives, it is only logical to deduce that people who speak different languages will think differently. The garo is able to think about rice in more ways than any European simply because they have more words for rice. What Whorf claims (language influence thought, i.e. how you perceive and organize your reality ) is infact a very important statement about the relation between language and thought.

However, we just cannot consider linguistic relativity without condidering universals. If we were to describe three shirts, we can't do so without presupposing that they are made of cloth. We can talk about differences in colour, texture, sleeve length etc. Differences can only be described with respect to canstancies. The same is true for languages. As we have stated that the Garo has more words (nouns) for rice than European. But to state this presupposes that both languages have nouns. It would seem then that linguistic relativity presupposes linguistics universals.

Linguistics universals have a direct link to languages and is therefore worth further study. In a world that is getting smaller each day, language as a communication tool has taken immense importance. This is especially true for "global?language like English. It follows then that teaching and learning this language are important pursuits. Towards finding an efficient and effective way of teaching and learning languages, examining linguistics universals could shed some useful light. The differences in language definitely have obvious limits. Every human language, because it is used by humans living on earth, must

?be learned by children

?be spoken and understood by adults easily and efficiently

?contain the ideas people normally want to convey

?function as a communication system

6

From the points above, we may find that it is not difficult to list down the common features in all human languages. If we know what is common to all languages, it might be possible to describe what is inherent in human ability to speak, understand and acquire language. If these linguistic universals could be delineated, learning a foreign language may not be that difficult anymore as each of us would already have common , basic structures and processing capacities.

6.Conclusion

Whether language is influenced by thought or whether it is thought that is influenced by language, the debate is still going on. This debate has acquired greater significance in the world that we live in now due to the advances in technology in the world that has made global communication an everyday occurrence. No matter what it is, what is important is we know that learning more than one language is advantageous; consequently, second and foreign language pedagogy has received much focus. Knowing what underlines all languages would help greatly in their teaching. And perhaps , for individuals or students like us, we will be able to widen our horizons and be more successful in life..

REFERENCES

1.Aitchison, Jean. 18. The Articulate Mammal An Introduction to Psycholinguistics(Forth Edition). London Routledge

.Steinberg, Danny D. 1. An Introduction to Psycholinguistics. London

Longman.

.R.A. Hudson .1. Siciolinguistics(second edition), Cambridge University Press

4Sharifah Zainab Syed Abd. Rahman 001 The Module for BBI15 Introduction To Psycholinguistics. Universiti Putra Malaysia.

7

CONTENT PAGE

1.Introduction1

.What is language ?

.What is thought ?

4.Language and thought

4.1The relationship between language and thought

4.What the Sapir-Whorf hypothesis has to say about

language and thought

5.Universals and Relativity5

6.Conclusion7

BBI15 Introduction to psycholinguistics

Assignment topic Language and thought

1. Introduction

Language and thought, these are the two distinct abilities possessed by human . These two unique abilities had enabled man to be more superior than any other living things in this world.

What actually are language and thought? Are they closely related?

Language does not exist in a vacuum. We use it for a variety of purpose and it is therefore molded by many factors. As it is used for transmitting ideas, its structures and function must reflect the ideas. Because it must be spoken and understood easily, its structure and function must be within the limitation of our

psychological and processing capacities.

As people from different social and cultural backgrounds are using language

for communication, these forces molds Its structure and function too. But once it is acquired and used, language wields a power of its own. As it is affected and molded by the above factors, so language affects and molds people's daily lives.

Language helps us to think about something and stops us from thinking of others.

To put this in simple terms, the whole argument is like two sides of the coins. Is it reality , that means the world and the whole experience of living, that gives us the words and the sentences that make up our language, or is it the words and the sentences that are in our language that maks us reality in the way we do? It is a question that is quite difficult to answer.

1

. What is language?

According to the Oxford Advanced Learner's Dictionary-

Ilanguage (of a country) is the speech and writing that is used by people of a particular country where as

iilanguage (of communication) is the device used by humans to communicate with each other. In other word, it is a system of sounds and words used for communicating and to encode and deliver thought and ideas.

iiiAccording to Sociolinguistics written by R.A Hudson 1, language is a body of knowledge or rules.

. What is thought?

iAccording to the Essential Activator, Longman, thought is something that you think.

IiAccording to the book ,Sociolinguistics written by R.A Hudson, 1, the term thought covers a number of different types of mental activity, and lies in the province of cognitive psychology.

4.Language and thought

It seems evident that there is a close relation between

language and thought . Everyday experience suggests that most of our thinking is facilitated by language.

Is there a clear identity between the two?

Is it possible to think without language?

Does language dictate the ways in which we are able to think?

A simple answer is certainly not possible but at least we can be clear about the main factors which may give rise to the complication.

4.1The relationships between language and thought

Many kinds of behavior have been referred to as thinking, but not all of them require us to posit a relationship with language.

The thinking which seems to involve language is the reasoned thinking which takes place as we as we work out problems, tell stories, plan strategies and others. It has been called "rational? "directed? or

"propositional?thinking. It involves elements that are both deductive and inductive.

For this kind of thinking, language seems to be very important. The formal properties of language, such as word order any sentence sequencing, constitute the medium in which our connected thoughts can be presented and organized.

Let us now turn to the question of LD (language determination).

To what extent, and in what ways, does language determine thought this question is normally answered with reference to the Sapir-Whorf hypothesis, according to which language determines thought to a very great extent and in many ways.

4.What the Sapir-Whorf hypothesis has to say about language and thought

The 'Sapir-Whorf?hypothesis combines two principles.

The linguistic determination (which states that language determines the way we think) and linguistic relativity (state that the distinctions encoded in one language are not found in any other language)

English speakers having one word for carrying things, in contrast with the malay language, where there are different words for carrying things-

i. junjung (carrying on the head)

ii. Bimbit/pegang(carry for example handphonein the hand)

iii. jinjing (carry for example handbag in the hand)

iv. pikul (carry on the shoulder)

v. tanggung (two person carrying one thing)

most famous quotation that whorf (140) had laid out, whorf is talking about how our thinking is affected by the grammar of our language.

In other words, the only kind of experience that influences our

thought processes is linguistic experience as implied by the phrase linguistic determinism.On the one hand, it claims that our grammar is the only things that influences our thinking---"…?the background linguistic system ……of each language is …… itself the sharper of ideas.?

Sapir and Whorf carried out a hypothesis, which is still alive but controversial over fifty years later. A research project was carried out in the 150's which involved a comparision of English with Navajo.

The general conclusion to which this research points then is that grammar does influence our thinking in ways that go beyond the use of language, but that it is only one of the things that does --- contrary to the extreme view of 'linguistic determinism?

Another more recent research project carried out by John Lucy (Lucy 1b) which supports the same view. The study was carried out over

a decade of work with a community in Mexico whose language is Yucatec Maya.

4

The purpose was to compare the cognitive effects of speaking this language with those of speaking English and specifically the work focused on a very general grammatical difference between the two languages, their treatment of number differences in nouns

In conclusions, it seems that there is good evidence that some

semantic contrasts which are expressed by grammar are also applied outside the strictly linguistic realm of language use.

Whether or not a person applies these contrasts concerned,

so it seems reasonable to assume that language is the cause and the thought-pattern is the effect. In short, language does affect thought

in ways that go beyond the rather obvious effects of specific lexical items .

5.Universals and Relativity

Let's now look at the argument that we had discussed in the introduction part of this assingment.

The two sides of the same argument whether it is the world and the whole experienmce of living , that gives us the words and sentences that make up our language OR is it the words and sentences that are in our language that makes us reality in the way that we do , are termed as linguistis universals and linguistics relativity.

If languages are molded in part by the propositions, physiological and processing capacities and social factors, then they should have certain common features . These are termed LINGUISTIC UNIVERSALS. There will no doubt be differnces from language to language due to different conditions.

5

At the apposite is LINGUISTIC RELATIVITY. If language molds people's lives, it is only logical to deduce that people who speak different languages will think differently. The garo is able to think about rice in more ways than any European simply because they have more words for rice. What Whorf claims (language influence thought, i.e. how you perceive and organize your reality ) is infact a very important statement about the relation between language and thought.

However, we just cannot consider linguistic relativity without condidering universals. If we were to describe three shirts, we can't do so without presupposing that they are made of cloth. We can talk about differences in colour, texture, sleeve length etc. Differences can only be described with respect to canstancies. The same is true for languages. As we have stated that the Garo has more words (nouns) for rice than European. But to state this presupposes that both languages have nouns. It would seem then that linguistic relativity presupposes linguistics universals.

Linguistics universals have a direct link to languages and is therefore worth further study. In a world that is getting smaller each day, language as a communication tool has taken immense importance. This is especially true for "global?language like English. It follows then that teaching and learning this language are important pursuits. Towards finding an efficient and effective way of teaching and learning languages, examining linguistics universals could shed some useful light. The differences in language definitely have obvious limits. Every human language, because it is used by humans living on earth, must

?be learned by children

?be spoken and understood by adults easily and efficiently

?contain the ideas people normally want to convey

?function as a communication system

6

From the points above, we may find that it is not difficult to list down the common features in all human languages. If we know what is common to all languages, it might be possible to describe what is inherent in human ability to speak, understand and acquire language. If these linguistic universals could be delineated, learning a foreign language may not be that difficult anymore as each of us would already have common , basic structures and processing capacities.

6.Conclusion

Whether language is influenced by thought or whether it is thought that is influenced by language, the debate is still going on. This debate has acquired greater significance in the world that we live in now due to the advances in technology in the world that has made global communication an everyday occurrence. No matter what it is, what is important is we know that learning more than one language is advantageous; consequently, second and foreign language pedagogy has received much focus. Knowing what underlines all languages would help greatly in their teaching. And perhaps , for individuals or students like us, we will be able to widen our horizons and be more successful in life..

REFERENCES

1.Aitchison, Jean. 18. The Articulate Mammal An Introduction to Psycholinguistics(Forth Edition). London Routledge

.Steinberg, Danny D. 1. An Introduction to Psycholinguistics. London

Longman.

.R.A. Hudson .1. Siciolinguistics(second edition), Cambridge University Press

4Sharifah Zainab Syed Abd. Rahman 001 The Module for BBI15 Introduction To Psycholinguistics. Universiti Putra Malaysia.

7

CONTENT PAGE

1.Introduction1

.What is language ?

.What is thought ?

4.Language and thought

4.1The relationship between language and thought

4.What the Sapir-Whorf hypothesis has to say about

language and thought

5.Universals and Relativity5

6.Conclusion7

REFERENCES7

Please note that this sample paper on Language and thought is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Language and thought, we are here to assist you. Your cheap custom college paper on Language and thought will be written from scratch, so you do not have to worry about its originality.

Order your authentic assignment from and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

Sports

If you order your cheap custom essays from our custom writing service you will receive a perfectly written assignment on Sports. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality Sports paper right on time.

Out staff of freelance writers includes over 120 experts proficient in Sports, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your Sports paper at affordable prices !

Many children drop out of competitive sport in their teen years, never to return to the game again. On the other hand, teenagers who take up or remain in competitive sport go on to play sport throughout their lives. The main questions that needs to be asked is why teenagers, especially girls, drop out of sport and what can be done to fix this problem. Sport is an excellent way to spend your pastime, whilst keeping fit and meeting many new people. This report will investigate the issues which stop or limit teenage girls from playing sport and how the St Margaret Mary's sports program aims to address this.

Procedure

A survey was conducted at St Margaret Mary's College of girls in grade and grade 10. Fifty-six students in year were surveyed and a further forty-nine students in year 10 were surveyed. Results were then collaborated and presented in a series of graphs and tables. (See Results)

Results

Cheap College Papers on Sports

Below are a series of tables and graphs with the information gathered from the survey conducted.

Discussion

From the research conducted it has shown that an alarming rate of girls don't want to play or don't enjoy school sport. Thirty-one percent of girls enjoy sport at St. Margaret Mary's, eighteen percent do not enjoy sport at all and fifty-three percent only enjoy sport sometimes.

There were a number of components that the participants felt that the SMMC PE program should develop. 6% of those surveyed think the program should develop physical skills, 4% want to learn the rules of the games, 4% would like to learn various tactics, 65% believe fitness should be developed, 56% just to play the game, 64% want teamwork developed and 46% believe that the competitive factor should be enhanced.

Horse riding proved to be, overall, the most popular sport whilst skipping was the least popular in the SMMC PE program.

Many reasons were identified throughout the survey of why a large number of the participants don't partake in sport. students recorded that there weren't ample facilities available for school sport and a majority of students simply want to play sport for fun, not on such a competitive level.

Please note that this sample paper on Sports is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Sports, we are here to assist you. Your cheap research papers on Sports will be written from scratch, so you do not have to worry about its originality.

Order your authentic assignment from and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

Romeo And Juliet

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Out staff of freelance writers includes over 120 experts proficient in Romeo And Juliet, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your Romeo And Juliet paper at affordable prices !

Four hundred years ago, William Shakespeare wrote the tragedy of Romeo and Juliet, a popular play that continues to capture the imagination and emotions of people around the world. The drama portrays the passionate, violent and often desperate lives of the youth of Verona. Even today, the tragedy resembles a blueprint of the problems that the adolescents of the twentieth century must face each day.

In this play, Shakespeare explores the pitfalls of young love, and the consequences they receive from their actions. They explained their love to be true love and they knew that they had to be together, even though their families were enemies and it was truly forbidden for the two of them to marry. The whole idea of love in Romeos and Juliets thoughts was totally misunderstood, and they demonstrated in many sections of the play that they truly did not know what true love was.

In this play, Shakespeare shows that love can cause and finish anything, even love that is not honestly discovered. The influence of parents played a major part in the tragedy of Romeo and Juliet. To start with, the general situation is rather like a family conflict. The feud between the Capulets and the Montagues had been passed down through the generations, until the youngest child had been planted with the seeds of hate.

From the beginning of the play, it is learned that the Capulets held the decisive judgement of what Juliets future would have in store. Do my essay on Romeo And Juliet CHEAP !

"She hath not seen the change of fourteen years. Let two more summers wither in their pride Ere we may think her ripe to be a bride.

This demonstrates Capulets intent of choosing Juliets husband. Romeo and Juliet kept their relationship secret from the start, in fear that their love affair would be rejected by their feuding families.

That is what led to the death of both lovers. Had they held a more open relationship, eventually, both families would have accepted it. However, considering the circumstances, the street brawl and the later death of Tybalt, Romeo and Juliet felt that their parents would not have been able to understand the love between the two youths. In todays society, youth are constantly advocating the change from total dependence on family, to their own independence.

Young people often think they know better than their parents, often believing that instead of helping them, they are only punishing them. Romeo and Juliet found that they new better then their parents, but after realizing the wrong they caused when both committing suicide. Romeo was too young to realize that he had to take responsibility for his actions and he had to accept the consequences.

This is one of the pitfalls that Shakespere portrayed in his play for young love. Romeo did not understand the outcomes of his actions. He never realized this until the damage was done. He was too involved in his love for Juliet that he didnt devote himself to any other circumstances. Young love is often an ever-changing emotion that enthrals adolescents. When a boy sees a beautiful girl, he often thinks that he is in love. That is similar to the emotion Romeo experienced

To call hers, exquisite, in question more. These happy masks that kiss fair laidies brow, Being black, puts us in mind they hide the fair. He that is strucken blind cannot forget The precious treasure of his eyesight lost. Show me a mistress that is passing fair; What doth her beauty serve but as a note Where I may read who passed the passing fair?"

Here, Romeo is saying how much he loves Rosaline, and that he cannot forget about her. However, a couple of scenes later, his love quickly changes;

O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night As a rich jewel in an Ethiops ear"

Juliet, a little more cautious than Romeo was, refused to allow him to swear his love by the moon.

O, swear not by the moon, th inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise valuble.

Young love, can often distracting in the minds of young people. Romeo and Juliet found it unbearable to be without each other, and, to a young couple, the feelings can be mutual at times. Young love often ends up being ignorant, instead of passionate and true heart. Most of the time, the two youths are too fickle to understand or even feel what true love is, due to immaturity. Life in Verona seems to have seldom difference from todays situation.

Romeo portrayed himself to be too fickle to understand what actual love was. He thought that he was in love with Rosalin, and then fell in love with Juliet having no idea what true love really was other than the image in his thoughts.

Obviously, Romeo was not ready to commit himself and the reasons why the certain obscenities took place was because Romeo had to take the consequences for the actions he committed. Young people seem to face the same problems, make the same difficult choices and confront the same obstacles. Parental influence, young love and the revenge code still have an effect on youths, even after four hundred years, these problems are still present in the everyday lives of todays youth and for this reason, young love can cause or finish anything.

In conclusion, from the very beginning, the love of Romeo and Juliet was destined to be destroyed. It is tragic that both these people had to give their lives just so they could love each other. There were circumstances throughout the course of their lives that led up to their deaths. If their parents had not been feuding and if the Nurse had not betrayed Juliet, the outcome of this story would have been different, although fate could not be changed.

This was the most important factor in the lives of Romeo and Juliet. In my opinion the quote that accurately summarizes this play is, For never was there a story of more woe, than this of Juliet and her Romeo.

Love is the biggest thing that can happen in human life. It can make your life incredible or forgettable. In the case of Romeo and Juliet, it was both. They had something between them that would never be destroyed. Their determination to stay together through the tough times was incredible. Even when they knew that their relationship would never be normal, they never gave up.

It was a case of love at first sight when their eyes locked on each other. The story of Romeo and Juliet is more to do with love than hate. Nearly every scene of the text has love conveyed in some way in them. From the pain Romeo suffered from the rejection of Rosalyn, to the first scene where the two meet. The only scene in the whole story where love isnt conveyed is the very first scene where we see the first conflict between the Capulets and the Montagues. That just shows how much of an impact love has in Shakespeares story about two star-crossed lovers.

Romeo and Juliet had such a strong love that they would die for each other. This is what Shakespeare is trying to show us what love is all about and this is why he chose to write this story, not to show hate, but to show love. The love in the story is not only shown between Romeo and Juliet, It is also shown in the form of filial love between Romeo and Mercutio.

Romeo loved Mercutio as a friend so much that he would vow revenge on the person that brought upon his death. The friendship was everlasting and would always be treasured by Romeo, even after Mercutios death. Other love was shown between Juliet and the Nurse. Juliet grew up with the nurse by her side all the time. The nurse was more of a mother to Juliet than Lady Capulet ever was. Romeos parents cared for him much deeper than Juliets did for her. His mother was always worried or concerned about where he was and what he was doing, hoping he wouldnt get caught up in any trouble.

Shakespeare also shows paternal love to go along with the others in the text. I guess that you could say that their was a bit of love from Juliets parents towards her in that they only wanted what they thought was best for her as well as getting what they want at the same time. They imagine that Juliet would be happy living her life with Paris, although Lady Capulet was much more loving than her husband was. Romeo and Juliet is a story purely based on love.

The majority of the text makes references to love and how it effects those involved. Hate is only shown between the two families only when they are together, not when they are living their normal lives. Most of the hate comes from Tybalts mouth anyway, we hardly hear any words of hate from anyone elses mouth.

I have come to the conclusion that Romeo and Juliet is more to do with love than hate because of the style of language used and the way the characters express how they feel about one another. The story contains mostly references to love and therefore would conclude that the story was written about love. After all, love is something that everyone can relate with.

Romeo shows two different kinds of love depending on before and after he meets Juliet. Before Romeo falls in love with Juliet he lives a life of sadness. Even though he has many friends he still finds a way of putting his friends behind him and living a miserable life. He is very miserable because he has fallen in love with a woman by the name of Rosaline, but she can not love him back because she didnt even know about it. Romeo did not have the courage to tell her. His love is not true love, he is just in love with the the fact of being in love. He likes the feeling of being in love and will try to be together with anyone as long as he has the love feeling and enjoys the time being, not necesserily the girl he is being with.

He is feeling so full of sorrow that he cant take it so he locks himself in his room in darkness yet he doesnt even know if she loves him or not, because he is afraid to ask her. His love for Rosaline is great but yet she can not say the same and for that he will continue to be miserable. He has lots of support from his friends and lots of advice given to him but he doesnt take the time to think of the many opportunities he has to chose from, such as forget about Rosaline and find someone else, or tell Rosaline how he feels and see what happens.

After he meets Juliet his love for Rosaline disappears and a new and different love appears. As he see her for the first time he falls madly in love. He speaks to her and they both say they feel the same about each other. Even though they are forbidded to get married or even get together with each other, they do. Romeo shows a tremendous excitement knowing that he is loving and getting love back.

He gets in trouble because of the killing of Tybalt and the reasons he did this was revenge for Tybalt killing Mercuito, the part that I think sums up Mercuito is when he says;

"A Plague on Both Your Houses"

In a sense this really does happen because of the way the story ends. After killing Tybalt Romeo is banished from Verona. When Romeo must leave Juliet and move away neither Romeo nor Juliet can put up with the pain. They fight with all the power they have to try to stay together forever, till it comes to the point that the only solution to be together is by death. They tried everything else but they didnt succeed. He just cant bear to live a life without her. He thinks of his only choices and knows that either he forgets about her or leave town or he stays with her and is sent to a death penalty.

Even though he knows he has family and friends he chooses to die with her, to be together. So we see a big change in love here. At first he is in love with the idea of being in love and is too shy or ashamed to tell the woman how he feels, but then when he met Juliet and fell in love with her the love was mutual, now he does anything to be together with her. At first he is sad and every minute of his life is sad until he loves Juliet and he is then happy. Romeos love life to him was a lot more clear and happier even though, it meant having to die together. Romeo and Juliet is also a play, which is full of anger, passion, and death.

The secrecy of the marriage of Romeo and Juliet pointed out a form of dramatic irony. This is shown by Juliets double-edged phrases when Lady Capulet is denouncing Romeo. For example,

Ay madam, from the reach of these my hands would none but I might verge my cousins death.

Or when Juliet states in an awkward way,

Indeed I never shall be satisfied with Romeo till I behold him -dead-

Their dramatic ironies include when Romeo falls in love with Juliet, Mercutio imagines he is still in love with Rosaline.

Ah that same pale hard-hearted wench, that torments him so that he will sure run mad.

All the dramatic ironies caused a very lively presence throughout the play and have caught the eye of many readers. Last but not least, Shakespeare s writing style has also hypnotised people. Shakespeare had artistic power in his characterisation. He was often careless in the plot, such like Romeo and Juliet where he adds his imagination into the story. This really attracted people as they read the play.

Shakespeare reveals an underlying message that points to the contrasts between youth and age that are even apparent now today. The youth of society tend to question and then possibly disregard the rules that are important to their parents if they do not have good reason to believe in these rules. The rebellious actions of youth can eventually cause their own untimely destruction. We see today in the headlines many instances where teens have followed their own unguided course bringing about tragic results.

Shakespeare shows us in his play how these factors contributed to the tragedy of Romeo and Juliet. The youth of the society is quite different from the aged of society. Romeo and Juliet were brought up to despise other families because for centuries the Montagues and Capulets had been feuding. These two young people who found love at first sight could not find a problem with each other even though their parents felt that they were their enemies.

They were able to cross the barrier of hate that was put before them all their life. This was a remarkable leap because it defied the traditional code of ethics handed down from generation to generation. Romeo and Juliets parents would never even think of relating to an enemy of the family never the less falling in love with one. Juliet is caught by love that blinds her reason. She even goes as far as stating she will

…deny her name for only the name is an enemy not Romeo.

The older generation accepted traditional beliefs without question. This was their way of showing respect to their parents. On the other hand, Romeo and Juliet had the conviction and trust in themselves to formulate their ideas based on their own experience of love.

Throughout the play, Shakespeare purposely reveals an underlying theme that contrasts youth from age. The youth are the new radical generation who have revolutionized their traditional way of life. The youth overcome barriers and break traditional ideals. The youth of society can react at a much faster pace than people of older generations. Juliet, a young person, felt that the aged moved too slowly. Juliet exclaimed

The clock struck nine when I did send the nurse.

In half hour she promised to return… But old folks, many feign as they were dead… Unwieldy, slow, heavy, and pale as lead"

Juliet is an impulsive young woman who felt that she might have reacted too rashly.. Juliet weas frightened and uttered

It is too rash, too unadvisd, too sudden…Too like the lightening which doth cease to be… Ere one can say It lightens.

These examples contrast the speed of the youth and the sluggishness of the aged - the impulsive versus the more reasoned reaction. In modern day society, kids act at such an incredible pace that grownups cannot relate to. In todays high-tech world, kids question the authority of their parents because they believe they have a better way of doing it. The traditional code of ethics would have dictated that Romeo do what Lord Montague asked and not question why. Romeo abandoned everything and followed his heart.

This is applicable in todays modern day society. The issue of respect and authority of elders is questioned at every turn. The traditional way of behaving has changed dramatically. Now kids talk back to their parents and find no problem with it. In earlier times this was unheard of. Now parents no longer rule their children by a strict sense of morality or fear. This has resulted in a less strict society which tolerates more. The innocent love between Romeo and Juliet ended in a horrible tragedy due to their families intense hatred for one another. Both families understand how this extreme hate causes this tragedy. Prince Escalus says to the heads of the two households,

See what a scourge is laid upon your hate… That heaven finds means to kill your joys with love.

Society has needed an example of love in order to rectify hatred, and love is shown to have moral power. Also, in the play there is another level of interpretation. Love is triumphant over death, time, fate and especially hatred. Now the families can look back and wonder how the beautiful and innocent love between Romeo and Juliet turned into a horrible disaster because of ancient hatred. Members of the family start to question some of their own beliefs that they grew up learning. They do this to see if their code of ethics makes better sense than their parents! Four hundred years ago, William Shakespeare wrote The Tragedy of Romeo and Juliet, a popular play that continues to capture the imagination and emotions of people around the world.

The drama portrays the passionate, violent and often desperate lives of the youth of Verona. Even today, the tragedy resembles a blueprint of the problems that the adolescents of the twentieth century must face each day. In this play, Shakespeare explores the pitfalls of young love, and the consequences they receive from their actions. They explained their love to be true love and they knew that they had to be together, even though their families were enemies and it was truly forbidden for the two of them to marry.

The whole idea of love in Romeos and Juliets thoughts was totally misunderstood, and they demonstrated in many sections of the play that they truly did not know what true love was. In this play, Shakespeare shows that love can cause and finish anything, even love that is not honestly discovered. The influence of parents played a major part in the tragedy of Romeo and Juliet. To start with, the general situation is rather like a family conflict. The feud between the Capulets and the Montagues had been passed down through the generations, until the youngest child had been planted with the seeds of hate. From the beginning of the play, it is learned that the Capulets held the decisive judgement of what Juliets future would have in store.

But saying oer what I have said before. My child is yet a stranger in the world. She hath not seen the change of fourteen years. Let two more summers wither in their pride Ere we may think her ripe to be a bride.

This demonstrates Capulets intent of choosing Juliets husband. Romeo and Juliet kept their relationship secret from the start, in fear that their love affair would be rejected by their feuding families. That is what led to the death of both lovers. Had they held a more open relationship, eventually, both families would have accepted it. However, considering the circumstances, the street brawl and the later death of Tybalt, Romeo and Juliet felt that their parents would not have been able to understand the love between the two youths.

In todays society, youth are constantly advocating the change from total dependence on family, to their own independence. Young people often think they know better than their parents, often believing that instead of helping them, they are only punishing them. Romeo and juliet found that they new better then their parents, but after realizing the wrong they caused when both committing suicide. Romeo was too young to realize that he had to take responsibility for his actions and he had to accept the consequences. This is one of the pitfalls that Shakespere portrayed in his play for young love. Romeo did not understand the outcomes of his actions. He never realized this until the damage was done.

He was too involved in his love for Juliet that he didnt devote himself to any other circumstances. Young love is often an ever-changing emotion that enthrals adolescents. When a boy sees a beautiful girl, he often thinks that he is in love. That is similar to the emotion Romeo experienced

To call hers, exquisite, in question more. These happy masks that kiss fair laidies brow, Being black, puts us in mind they hide the fair. He that is strucken blind cannot forget The precious treasure of his eyesight lost. Show me a mistress that is passing fair; What doth her beauty serve but as a note Where I may read who passed the passing fair? Farewell. Thou canst not teach me to forget.

Here, Romeo is saying how much he loves Rosaline, and that he cannot forget about her. However, a couple of scenes later, his love quickly changes

O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night As a rich jewel in an Ethiops ear - Beauty too rich for use, for earth too dear. So shows a snowy dove trooping with crows As yonder lady oer her follow shows. The measure done, Ill watch her place of stand And, touching hers, make blessed my rude hand. Did my heart love till now? Forswear it, sight, For I neer saw true beauty till this night.

How quickly young love changes. Juliet, a little more cautious than Romeo was, refused to allow him to swear his love by the moon.

O, swear not by the moon, th inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise valuble.

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The neclase

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Character

Characters are the people in texts, and characteractization is the authors presentation and developmentment of characters.

Authors have two main methods of presenting us with character. Direct characterization usually consists of the narrator telling the reader about the characters. In addition, direct characterization can also involve other external details, such as names or other overt commentary. For example, The Misfit in A Good Man is Hard to Find by Flannery OConnor tells the reader directly that his name is significant and then reflects upon his life experiences. Other methods of direct characterization include having the narrator or author passing direct judgement on or even analyzing a character, or having other characters in the story give the reader information about the one being characterized. Direct characterization, in other words, tells the reader about the character.

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Indirect characterization involves the author letting the character reveal himself by what he says, does, or thinks within the story. It often involves the use of external details, such as dress, mannerisms, movements, speech and speech patterns, appearances, and so forth. In other instances, indirect characterization uses more internal details such as conveying the thoughts and feelings of a character; this is common in first person stories. Such works often rely on diction, or the choice of language, and employ the voice or expressive style of the character--if not dialogue--in developing characterization. An example of voice would be Jamaica Kincaids Girl, which depends on the choice of words, cadences, and repetion in the instructions to convey a sense of the characters involved.

Characters can be flat, stock (or typed), or round. A flat character is psychologically simple and easy to understand. If you can sum up characters with a phrase or two, they are probably a flat character. Authors often make minor characters relatively flat because they primarily serve to advance the plot. Flat characters may be described in detail and be present throughout a story, but the reader tends to learn little about them beyond their function in advancing the plot. Such is the case with fairy tales, where flat characters serve the plot and didactic interests of the tale. Works, especially postmodern fiction, may also use flat characters to draw attention to the text as text, to the constructed nature of the work. In any case, flat characters tend to be subordinate to other elements of fiction and particularly plot.

Stock characters are similar to flat characters in operation, although they may not occupy as much space. It may be useful to think of stock characters as assisting both the plot and setting of a text, or contributing to the background.. The stock or typed character is a familiar stereotype often serving to aid the plot (the cub reporter, the silent cowboy, a waiter, a secretary, and so forth.). Rather than viewing stock characters negatively, the reader should recognize that stock characters will often contribute to the setting/environment of the story. Sometimes, however, stock characters deliberately comment upon their stereotypical depictions, as in the extreme case of Robert Coovers Ghost Town, so reading such a character in context is necessary. Round characters, on the other hand, have psychological depth and complexity. They are more like real people--often difficult to predict and figure out; therefore, they tend to interest us and command our attention more than flat characters.

Characters can be either static or dynamic, depending on whether or not they change over the course of the story. A static character is one who remains essentially the same from beginning to end; a dynamic character undergoes change. In general, flat characters tend to be static and round characters tend to be dynamic. Be careful of this assumption in postmodern fiction, however, where the binary between static and movement is often at the core of the text.

One type of character with a particular function is the foil character--one who is similar in some ways to a main character, but is different enough so that the contrast reveals qualities about the main character.

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Plot

Plot is composed of the key ingredients and actions in a narrative arranged in a pattern. There are many different plots, but detailed below are three categories traditional, scenic, and oblique.

Traditional Many authors choose a traditional plot, often arranged in chronological order. Some authors choose to tell the entire story in flashback (informing us of what happened before opening scene of story). When a story begins and ends at roughly the same point in time, it is a framed story. A framed story might also construct a story-within-a-story, often to draw attention to a texts constructedness; this use tends to complicate the notion of a traditional plot. Many authors also choose to use foreshadowing (hints about what will happen later in a story). Stories can also begin in medias res--seemingly in the middle of some important action, without much exposition (the background information usually placed at the beginning of the story).

While almost all plots involved conflict of some sort, the conflict need not involve a physical struggle. A conflict can be any clash of actions, ideas, desires or wills. A conflict can be external or internal, or both; a conflict may be physical, intellectual, psychological, emotional, or moral, or a combination. Most conflicts fall into one of these broad categories

person against person

person against society (culture)

person against the environment (nature, technology)

person againt fate (god, spirit)

person against himself or herself

A storys climax is the moment of the conflicts outcome. When the outcome is predictable or telegraphed, it is often referred to as anticlimactic. The resolution or denouement (which means the untangling of a knot; unravelling) is the conclusion of a story. Both terms indicate the ending of the story, although denouement also implies a surprising twist (but not one that adds new information).

Conflict always involves a storys protagonist (the central character of a work). A protagonist is not necessarily a hero, since many protagonists are not at all heroic or admirable; many protagonists are antiheroes. The protagonist in Flannery OConnors A Good Man is Hard to Find (the grandmother) or Herman Melvilles Bartleby the Scrivener is a good example of a protagonist who is not only non-heroic, but whom most readers dont even like very much. Any force (not necessarily a character) that works against the protagonist functions as an antagonist.

In evaluating a traditional plot, one can say that it has artistic unity when the author includes nothing in the story with does not advance the central intention. If the story is given a turn which is unjustified by the situation or the characters, then the author can be accused of plot manipulation. When this sort of manipulation occurs near the end of a story to give it a cheap and easy resolution (like a pat happy ending, the so-called Disney ending), this sort of contrived ending is known as a deus ex machina (god from a machine)--a term which comes from Greek dramatists constructing resolutions that relied on the interference of the gods (a famous example is Medea). Unlike its accepted convention in Greek drama, however, deus ex machina tends to be viewed as a weak and poorly constructed conclusion in most modern and contemporary works.

Scenic Plot This focuses on many realistically observed details and actions in a series of incidents, drawing out the plots movement through time. Often these movements seem to operate outside of chronological order, even juxtaposing seemingly unrelated scenes.

Oblique Plot Unlike scenic plots, oblique plots are compressed in terms of time and offer a reader a slice of life. Oblique stories may seem to lack a plot action and conflict, in the traditional sense, are minimal, and there may be little exposition and no clear resolution. These are sometimes referred to as sketches. Many postmodern and/or minimalist authors use oblique plots.

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Point of View

Three questions determine point of view (who tells us the story and how it is told)

is the one telling the story a character in the story or not?

how much is this person allowed to know?

to what extent does the narrator look inside the characters and report their feelings and thoughts?

Points of view (also known as p.o.v. or narrative perspectives) fall under three broad categories first person (a character in the story), the infrequently used second person (addresses you), and third person (not a character in the story). P.o.v. can be classified into these categories

1) Omniscient (third person omniscient) the narrator can, and usually does, report the inner feelings and thoughts of characters. The narrator is usually not an actual character in story but an invisible storyteller who can see and report anything. This narrator can include judgments into the story (editorial omniscience), or just report characters thoughts, feelings, actions and words and let the reader come to his or her own judgments (neutral omniscience).

) Limited Omniscient (third person limited) the narrator tells the story in the third person, but tells it from the viewpoint of one (sometimes more) character(s) in the story. This unnamed narrator knows everything about the main character, but does not reveal the inner thoughts of other characters--the narrator has same limitations as the protagonist. This perspective approximates real life more closely than an omniscient point-of-view.

) First Person Central the narrator is also the protagonist of the story and tells the story from her perspective.

4) First Person Observer the narrator is a character in the story but not necessarily the main character--he tells the protagonists story, having witnessed most of it.

5) Objective the narrator is not a character, but displays no omniscience, reports no thoughts or feelings. This narrator is like a journalist or movie camera (though these viewpoints, too, have angles and biases) by strictly reporting externals and not explaining anything.

6) Stream-of-Consciousness the author gives us not only the viewpoint characters relevant thoughts or feelings, but imitates the whole flow of that characters mind. Sentence structure can become unconventional and transitions illogical as the author attempts to replicate free association.

7) Second Person the narrator uses you to create an identification with the reader and the text, drawing the reader into the work and even implicating the reader in the storys actions and outcome. This technique is rather rare in contemporary stories written in English and often used for didactic purposes. (Don DeLillos Videotape serves as an example.)

Very often, the reader can draw conclusions about a storys narrator based upon what is reported. The reader may conclude that a narrator is reliable and providing an honest and straightforward account. However, often a narrator, especially a first person narrator, can seem to be providing an interpretation that is different from the authors or which is obviously biased, in which case the narrator is viewed as unreliable. Sometimes a narrator is unreliable because she is unsophisticated (or too young, innocent, naive) and unable to fully understand the events that she describes, although the reader can usually see the significance of the events.

One final thing to keep in mind about narrative perspective is the impact that time has upon how the reader perceives events; while some stories are told as if the events have just happened, sometimes a narrator indicates that the events of the story took place long ago, in which case the story is a retrospective one.

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Setting

The concept of setting seems simple it is the time and/or place of a story. Yet these terms can include its geography, architecture, era, season or culture. A storys setting can perform a number of functions. It can

provide backgrounds for the action

act as an antagonist

create atmospheres or moods

reveal character(s)

reinforce themes

Often a writer will use a setting that he knows will evoke a certain response from the reader. For example, if a story opens in a large, dark city night filled with shadows and alleys with a lone shadowy figures walks through the streets and quickly ducks into a side building, most readers will immediately associate the scene with a dark story, perhaps a crime story or action adventure. The writer can then either reinforce that response (the next setting is a den of criminals), or subvert that response (the next setting is a bedroom, where the figure turns out to be young woman visiting the bedridden, developing a melodrama or sentimental tale).

Take note of what the writer establishes about the setting and try to consider why she either provides a lot of information about the setting or why the time or place of the story is somewhat vague and indeterminate.

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Style, Tone, and Irony

When a reader discusses a writers style, one refers to the particular way a writer has of using language. In terms of Style, a reader considers the writers diction (choice of words), syntax (grammar or sentence structure), and figurative language. Most good writers try to match their writing styles to their characters and/or subject matter. Think about how different a story like Shirley Jacksons The Lesson would have been had the style involved complex words, proper speech, and perfectly grammatical sentences. What would have happened had Ernest Hemingway avoided dialogue (direct speech) in Hills Like White Elephants or used a detailed description of the setting?

Tone can be defined as the value that style or gesture gives to words. Most often, a storys tone conveys the writers or the characters attitude toward something. Tone can be said to be serious, sarcastic, lighthearted, angry, or any number of other terms. A good example of integrating tone and content is Tim OBriens The Things They Carried.

Irony is the perception of incongruity or discrepancy. It can be between words and meanings, actions and reality, or appearances and reality. Irony creates a tension between what is and what is expected, desired, appears, or hopes for. There are four types of irony

1) Verbal irony is a figure of speech in which what is expressed is the opposite of the meaning implied by the speaker, and the speaker is conscious of this tension. Sarcasm is the most common example of verbal irony, but verbal irony is often more subtle and not designed to insult in the same manner as sarcasm.

An example of verbal irony is the statement We had a light snow for Michigan after our latest blizzard, and is an example of understatment (minimizing the nature of something). Another type of verbal irony is overstatement, exaggerating the nature of something, as when people say, In my day, I walked ten miles to school, in a blizzard, barefoot! An example of the exaggerated use of verbal irony known as sarcasm would be telling someone, Youre such a beautiful human being! to someone who has just treated someone else poorly; here the tension between what is said and what is meant is intended to be explicit to the listener/reader.

) Situational irony occurs when there is a discrepancy between appearance and reality, expectation and fulfillment, or between what is and what would seem appropriate. This term refers mostly to events in the story rather than words. For example, the bartender who is killed in an automobile accident by the drunk she had served beyond the legal limit.

) Attitudinal irony occurs when one characters expectations are disrupted, believing reality is one way when it is actually another. An example of this would be the idealistic student who believes his professor really loves the students writing only to find that his professor never actually reads the paper and just assigns a random grade (no truth to that, of course!).

4) Dramatic irony is created through the contrast between what a character believes or says and what the reader knows to be true. A famous example is in Romeo and Juliet. When Romeo kills himself because his love Juliet is dead, the readers/audience knows she is really alive, having faked her death to be with Romeo. In this case, his actions move the play not only to irony but tragedy. Another example would be the famous (although totally false) story of Marie Antoinette who, in response to her citizens demands for food, was to have said, Let them eat cake. This story demonstrates dramatic and not verbal irony because Marie Antoinette was not aware that people starved, so she was not being sarcastic in her comment but instead revealing her own innocence/ignorance.

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Theme

Theme is a central idea to a work, and is usually presented indirectly through the elements or strategies of fiction. A thematic statement is something the reader creates after the story, like a thesis statement in an essay. Themes are interpretive in nature; although an author may introduce a thematic element into a work, the response of the reader also contributes. Any given work will have multiple meanings. For example, Margaret Atwoods Happy Endings is a treatise about how one should savor the development of ones life, and move beyond its structure to focus on its meaning, or a treatise on how to write, or both--all depending upon ones reading of the work.

In working with theme, be aware of the following. Be careful to distinguish subjects from themes, a necessary skill much like the need to distinguish between topics and theses. A theme tells how the subject is developed within the work (in Atwood, not all of life, but savoring the development...). A theme is applicable outside the written work, not only with the world created by the narrative; it is a generalization. A work may contain several themes, or none that may be determined. The authors claim is not definitive and neither is the readers there may be many potential themes in a work. Finally, some themes may be descriptive rather than prescriptive, exposing problems rather than offering solutions.

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Symbolism

A symbol is a person, object or event that suggests more than its literal meaning. In other words, it isb something that has two levels of meaning on the literal level it is what it is (the actual necklace in The Necklace by Guy de Maupassant); on the non-literal level it would represent a more hidden meaning (the wifes vanity, the sacrifices the couple made, deceit, the life they could have been). Determining the meaning of a symbol (or if something is a symbol at all) is often a matter of close reading and interpretation--the reader must pick up on the contextual clues supplied by the writer.

Sometimes, of course, there is not much ambiguity involved, since we are surrounded by conventional symbols and natural symbols whose meanings are already basically predetermined. A conventional symbol is one that is very widely recognized by a society as a symbol; for example, a countrys flag is a symbol of that country itself as well as the characteristics associated with that symbol. (Our flag not only represents the United States but, to some, also represents life, liberty, and the pursuit of happiness.) A natural symbol, as its name implies, is a generally recognized symbol that is connected to nature itself; for example, the season of fall and the sunset are generally associated with dying,while spring and sunrise often are associated with birth or new life. However, many difficulties in reading symbols exists with literary symbols, where the author determines what the symbol will stand for.

When a story revolves around or focuses on a single symbolic object, as in the case of The Necklace, the object operates as a central symbol. Unlike allegory, where the reader encounters universal symbols with traditional meanings, it is not possible to reduce the necklace to a single meaning. In some stories, symbolism comes from symbolic gesture (a repeated gesture or act) as in D.H. Lawrences The Rocking Horse Winner. In other works, the symbol is a place or environent, as in Frank Baums Oz books (symbolic environments). If there does not seem to be a literal level for a storys symbol--if it seems to be one extended set of symbols, a universal meaning, or represents general truths or abstract concepts about the human condition--the story is termed an allegory (found in Kafka s or Marquezs works).

Why do authors use symbols? Usually because they are subtle, non-intrusive ways of getting meaning across--most readers hate being whacked over the head with obvious messages,and symbols are ways of telling a reader something without having to come right out and state it directly. Symbols work in conveying meaning because our unconscious minds are used to dealing with them--when we dream, we dream in symbols, according to modern psychology. Symbols also pervade our spiritual lives, so most of us grow accustomed to seeing them from an early age.

Information on this pages is considered common knowledge within literary studies. Individuals seeking more information may find it helpful to consult one of the following books (a short list among many) A Contemporary Reader for Creative Writers, Writing Essays about Literature, The Story and Its Writer

Please note that this sample paper on the neclase is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on the neclase, we are here to assist you. Your essay on the neclase will be written from scratch, so you do not have to worry about its originality.

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Conflicts

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There are several types of conflicts that may erupt as the combination of different individuals come together to form a team. Although negative thoughts come to mind when mentioning the word conflict, the situation can be possible as well.

You have A-type conflict and C-type conflict.

A-type conflict also known as Emotional or affective conflict (Guetzkow & Gyre,154) is described as one that is personal, defensive, and resentful. It is the result of someone that expresses personal friction and anger. This type of conflict provides personality clashes and egos to come abroad causing much tension amongst the team.

A-type conflict is very distractive within a team. I t may cause the teammates to lose focus on their objective. So much energy is being diverted to reducing the threats

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And trying to build unity instead of working on the actual task to be performed.

The effectiveness of the team is now in question. Due to the emotional strain the affective conflict causes, the team's productivity dwindles and the unit does not perform up to their potential.

Besides all the negative things conflicts can cause, lets discuss some of the benefits of a conflict within a learning team. We've discussed how harmful A-type conflicts can harm a team. Things are a bit different when it comes to characteristics of a C-type conflict.

C- Type conflict also known as cognitive conflict can have a positive impact on the team.

It is usually the results of disputes about the different ideas, plans and projects.

This usually brings out the best among the team members. For example, when an individual disagrees with the idea of another teammate, it usually stimulates more communication within the team. Unlike with A-type, this forces the teammates to consider each others ideas. When in disagreement, this causes the teammates to really sit and come up with a solution that everyone is comfortable with.

One of the advantages of a cognitive conflict is that brings out constructive criticism.

Cognitive conflicts usually help the decision making process by encouraging the team to be more productive and provide a very respectful decision. In contrast, this process increases the quality of the decisions made. It enhances the teams functioning capabilities.

A cognitive conflict usually is the result of a healthy environment.

Reference

DuBrin ,Andrew, 00 Fundamentals of Organizational Behavior

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Frank o'hara and james dean

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Frank O'Hara His Movie Poems and the Effects They Have

On Society and Pop Culture

In a world where people are judged not just by what they say but how they say it, American poet Francis (Frank) Russell O'Hara has been judged many times over the past fifty years. He has been ridiculed by such literary greats Jack Kerouac, who once said, "you're ruining American Poetry, O'Hara" (Lehman 6), to critics like Marjorie Perloff (who wrote a biography of O'Hara in 177 titled Frank O'Hara Poet Among Painters), who readily admits in her revised introduction to this biography in 17 that she misjudged O'Hara's poetry the first time around, but she now sees that O'Hara's "poetic has come of age" (xiv). Continuing with the criticism (both good and bad) that O'Hara had to deal with during his short life and the many critiques of his life and works after his tragic death, one must ask himself, who is Frank O'Hara and what is his poetry about? Does his poetry transcend the 150s' New York Poet mentality, or is he (as Perloff warns us against doing) a "mere representation of fifties' queer sensibility" (xiv)? These questions can be difficult to answer, especially when one takes into consideration the "camp" label that has been placed upon O'Hara's poetry. But, is he "campy," and if he is, does his "campiness" make his poetry any less important or take away from the astute observations of the human condition that O'Hara was addressing?

The Answer No.

Help with essay on frank o'hara and james dean

Walt Whitman once wrote

The question, O me!, so sad recurring what good amid these, O me, O life?

Answer.

That you are here that life exists, and identity;

That the powerful play goes on, and you will contribute a verse. ( )

The last two lines clearly establish what O'Hara did with his poetry in regard the question that Whitman posed, he "contribute[d] a verse," a verse that is finally being read and listened to by more and more people, a verse that changed the structure, style and content of poetry forever, a verse that is slowly establishing O'Hara as one of the most influential and insightful poets of all times. Although he has often been referred to as a writer of "camp" poems, O'Hara's honesty, sincerity and unwavering stance in his beliefs allow for people to look past the "camp" to see the serious side that is O'Hara. During his lifetime, O'Hara spent all of his time involved with the world around him and used what he saw to inform us of and critique the way we live. So, in order to prove the strength of O'Hara's words, in regard to his "campiness," one need not look any further than his movie poems. Within these poems, one can easily see O'Hara's infatuation with pop culture, but by looking below the surface, one will see that O'Hara was not just talking about actors and actresses he was talking about the human condition and revealing it to us in the only way he believed we could understand or relate to his words he did it through our own love and fascination with the silver screen.

O'Hara once wrote, in a piece titled " Teens Quiz A Critic "What's With Modern Art?" that

Pop art is not a reaction, necessarily, but at best a response to what we see in America around us, both on billboards, on theater marquees, in newspapers and on TV….it gives you the artist's interpretation of what we all see in daily life, rather than the non-objective artist's interpretation of what we all see in daily life. (O'Hara )

O'Hara believed in these words and practiced them within the poems he wrote. He wanted his audiences to relate with what he was saying because they had been there or experienced the same/similar event. O'Hara disliked many confessional poets of his time, primarily Robert Lowell, because he felt their "declarations of agony were transparently confessions [their] own moral superiority" (Lehman 4). O'Hara saw poets like Lowell as being "animated by the impulse to preach and to mourn" (48), but O'Hara understood that poetry was meant to praise the things in the world that reward one's regard" (48); simply put, O'Hara said, "It's my duty to be attentive" (48).

Joe Lesueur, O'Hara's friend and long time roommate, said, in regard to O'Hara's need to use Hollywood in his works, that the "Golden Age roughly the period from 10 to 145, which corresponds with the childhood, adolescence, and early youth of Frank's…generation…entangl[ed] [his] formative years with Hollywood's golden years" (7), showing that an entire generation gained its ideals, morals and general attitudes about life from movies. So, it is easy to see why O'Hara relied on film in so many of his poems films were his common bond to all people, not just his intimate group of friends.

However, before delving into O'Hara's movie poems and showing the importance they had to the people of the 50s and 60s as well as today's society, one must first have a strong understanding of what is meant by O'Hara's poems being considered "camp," and if that label can be seen as a positive, or if the label is solely negative, forcing one to prove that O'Hara's movie poems may contain elements of "camp" but, overall, they should in no one fall into that category.

"Camp," as defined by Susan Sontag, in her essay "Notes on 'Camp,'" is the "love of the unnatural of artifice and exaggeration" (75). She also says that prior to her essay, "camp" had never truly been discussed because talking about it and defining it in regards to works of art is the act of betraying it. (75) But how can something like O'Hara's poems be defined as "campy" if it cannot be discussed without destroying the term that is being created to describe his poems? Simple. Sontag writes, "if the betrayal can be defended, it will be for the edification it provides, or the dignity of the conflict it resolves" (75-6). So, if discussing O'Hara's poems as "camp" leads to a "moral or spiritual improvement," the term may be used.

However, this explanation of "camp" comes across a bit abstract and hard to grasp; therefore, by looking deeper into Sontag's essay, one finds that she provides a clearer, more applicable definition by saying that "camp" can be see as "one way of seeing the world as an aesthetic phenomenon…in terms of the degree of the artifice, of stylization" (77). Sontag goes on to say that "camp is a vision of the world in terms of style but a particular kind of style…. love of the exaggerated…of things-being-what-they-are-not" (7). Taking this definition, one can start to see what the word means when applied to the arts camp is the overblown, the theatrical; camp is the piece that relies upon artificial concepts, manmade objects that are brought to life and elevated above the natural; camp is our undying affection for films like Flash Gordon and Space Balls; camp is the Stephen King type novels that continually bring in millions of dollars to their authors. Camp is unnatural, or as Sontag puts it, "Nothing in nature can be campy" (7).

Okay, so if camp is unnatural, O'Hara's movie poems (because they deal with film (unnatural or fictitious events played out before our eyes by actors (people portrayed to be someone/something he/she is not))) O' Hara's poems should naturally be viewed as campy. But placing this label upon one's work cannot be as simple as that.

So, in moving forward, Sontag argues that camp is the "triumph of the epicene style" and that "life is not stylish. Neither is nature…. [and] today's Camp taste effaces nature, or else contradicts it outright" (80). Taking this argument into consideration and applying it to O'Hara's movie poems would mean that these works deal with a sexless style that wants to wipe out or eradicate nature all together. Camp is also defined as resting on "innocence," as being based on seriousness, but a "seriousness that fails;" as being the "spirit of extravagance;" as attempting to do "something extraordinary;" as proposing itself "seriously, but [that] cannot be taken altogether seriously because it is too much" (8-4). Listening to Sontag and applying all these qualities to O'Hara's poetry when labeling it as camp completely contradicts what he is trying to do when he wrote in "Personism" that "you just go on your nerve" ( ), doing what one feels is right the most natural act a person could take part in. There is no "extravagance" in those words, there is no "innocence," there is no attempt to disavow nature. What there is in those words is a Whitmanesque or Thoreaunian sense of return to nature, return to oneself, find one's true nature.

O'Hara's movie poems might have a bit of camp to them by being a "glorification of 'character'" or containing an "aesthetic experience of the world" ( ), but O'Hara's poems are a lot deeper than the labeling that is often placed upon them. And as Sontag admits, "Not only is Camp not necessarily bad art, but are which…merits the most serious admiration and study" ( ), but the "canon of Camp can change" ( ). Say based on this notion, I will now argue that Frank O'Hara's movie poems, although containing some Camp elements and possibly being seen as campy for the time period in which they were written, have transcended the "camp" definition and should no longer be discussed in that light.

Robert Duncan wrote in "The Homosexual in Society" that "almost co-incident with the first declaration for homosexual rights was the growth of a cult of homosexual superiority to the human race; the cultivation of a secret language, the camp" (0). Duncan establishes here that the term "camp" was created to give homosexuals a voice "loaded with contempt for the human" (0). If Camp is a word used to separate homosexuals from other people, to give them their own unique language, why does O'Hara's movie poems not have this "I am gay, I am better than you because I have a greater insight into the world around me" attitude? Easy. His poems are not "camp."

David Lehman, author of the Last Avant-Garde and chronicler of much of O'Hara's life and poetry, argues in favor of O'Hara having a "camp sensibility" and that being a positive. Lehman bases this "compliment" on O'Hara's use of Lana Turner in his poem "Steps" and his unnamed work that beings with the line "Lana Turner has collapsed because he believes these poems show O'Hara's passion for movies in regard to Sontag's view that camp writers see the world "not in terms of beauty, but in terms of the degree of artifice, of stylization" ( ).

Lehman continues quoting Sontag and includes that "homosexuals, by and large, constitute the vanguard and the most articulate audience of camp…and movie criticism…is probably the greatest popularizer of Camp taste today, because most people still go to the movies in a high-spirit and unpretentious way" ( ). So bases upon this argument, because O'Hara is gay, loves movies and writes poems, he is automatically campy. Why can it not be that O'Hara shared John Updike's view of Lana Turner in the fact that she with Hedy Lamarr were "considered the two most beautiful women in movies that is to say, in all America" and through this "natural" beauty, O'Hara viewed her as holding traits that were uncharacteristic in most people traits that he deemed good and pure, and being someone who should represent more to the American public than just an actress.

In O'Hara's untitled poem (written about Turner), he refers to a headline that read, "LANA TURNER HAS COLLAPSED!" (44). Now, this line can convey multiple meanings the first and most literal being that Turner has fallen down. She could have tripped on a red carpet outside of a movie premier, fallen down the steps of her home and been injured, but looking at the line in this way shows the campy feel that people attribute to O'Hara. They see him as being solely interested in the lives of these "gods and goddesses of the silver screen." But if this were the case, wouldn't O'Hara focus a bit more on where she collapsed, why and what happened to her in his poem one would have to think so. However, O'Hara does not delve more deeply into Turner's "collapse;" so he must be making reference to this incident on a deeper level.

O'Hara is using Turner in this poem as a representation of the larger part of society, which can be seen in the poem's last line "oh Lana Turner we love you get up" ( ). The first aspect of this line that shows O'Hara is not attempting to be campy is his choice to not capitalize the word 'oh.' If he had capitalized this word, it would have made the sentence more dramatic showing that unnecessary emphasis that camp writers use, but O'Hara chooses to keep out the capitalization as well as all natural punctuation, allowing the line to carry a more somber tone, one that evokes the futility that O'Hara sees in society, for he knows that Turner will not get up. O'Hara has chosen to use Turner's collapse to symbolize the fall of humankind a fall that does not effect only those who act "perfectly disgraceful," but a fall that catches up with those that are full of grace as well as idolized and revered by those around them. Turner's collapse solidifies for O'Hara the terminal condition our society is in when even our heroes and icon began to fade away.

Another way that this poem can be viewed revolves around the fact that the poem was composed as an "antithetical response to [Lowell's] 'Skunk Hour'" ( ). If O'Hara felt that Lowell's poem was too self involved, too full of "didacticism, symbolism, and grandiose egoism who likens the welfare of the body politic to the state of his psyche" (Lehman 48) and wanted to attack Lowell's "moral superiority" and show the human condition is larger than one man's life, how can this poem be Camp? Yes, the poem deals with Hollywood and a beautiful actress as its backdrop, but the poem, as a whole, should not be written off as the "familiar O'Hara persona, the old-fashioned, mercurial, and sometimes bitchy camp" (50), because, while this poem might be "bitchy" in reference to Lowell, O'Hara is making a stand and a statement against poets like Lowell that use their singular experiences to represent all of the world, rather than using the world or objects and people the world can actually relate too, to represent the world.

In O'Hara's other poem that mentions Lana Turner, "Steps," he uses the "where's Lana Turner/ she's out eating," but the poem doesn't focus on her like the previous one. This poem focuses on the state of New York, which is established by the line, "How funny you are New York" (70), showing that he noticing something out of the ordinary about his city. From this point, O'Hara moves into a bit of a personal narrative about his day writing, "I go by to check a slide and I say/ that painting's not so blue," which equates the color of the painting to his current mood as well as the mood of New York. O'Hara, himself not being too blue, shows that although life is not perfect, like the "Pittsburgh Pirates," we are "all winning/ we're alive" ( ).

With this poem, O'Hara makes references to the Pirates winning and Lana Turner eating out somewhere (again the where is not important) to show that life continues to go on. "All those liars have left the UN" and a "gay couple/…moved to the country for fun" ( ), and that is where we find ourselves sitting on the "little box…out on the sidewalk" ( ), drinking beer and waiting to be knocked down. O'Hara says that life may not be fair, but "oh god it's wonderful" ( ) and he gets his point across to his readers in terms they can understand, using typical, everyday American vernacular and grounding his example in actresses, sports, politics and people's sexual orientations all issues that society deals with on a daily basis. O'Hara is not trying to do anything "extraordinary" here, he is making a valid point about the fact that our lives are not always filled with excitement or loneliness, and people could see this point if they would refrain from seeing this poem as comical and overly campy.

Another group of O'Hara's poems that have been widely criticized for their "campy" material are his James Dean poems. Critics like Sam Astrachan, of The New Republic, attacked O'Hara for implying that Hollywood or society at large was responsible for the untimely death" ( ) of Dean. There were even ordinary people like Turner Cassity, who wrote a letter to Life magazine, that stated that "the James Dean necrophilia has penetrated even the upper levels of culture" ( ), implying that O'Hara's admiration for Dean was a morbid and sick act that Cassity believed people of "high culture" should be above. In spite of these attacks, O'Hara's fondness for Dean shows that (although he might be highly excited and one of 150s high-minded intellectuals, who knew about the arts) he must have seen something in Dean, his life and his works that people like Paul Goodman (who said, "What does [O'Hara] think he's doing, writing poems about dead movie stars) obviously could not see.

According to Joe Lesueur, O'Hara was "crazy about [Dean], like his looks, moody personality, overwrought style of acting plus, of course, the pathos he elicited" ( ). Lesueur goes on to say that it was during the time that O'Hara started writing the Dean poems that most of O'Hara's poems became full of "camp and gay overtones" ( ). But the view of the Dean poems being primarily "gay" and "campy" truly misses Dean's deeper, more point that he's trying to get across.

To many people who disliked Dean, mainly Elia Kazan the man who directed Dean in East of Eden, the young actor was seen as "'self-pitying, self-dramatizing and good-for-nothing,' just like the teenage heroes he played in his films" ( ). Many people of the time period (many the older generation) felt that Dean's films promoted the "mistaken idea that parents are the enemy and that kids are all sensitive and misunderstood" ( ), but O'Hara saw Dean and his films differently. Just like Dean's character Cal, in East of Eden, who had a "father he could never please," Dean "too had such a father" ( ), and O'Hara could relate to this type of relationship by "identifying with James Dean's Cal, whose confusion seemed more that of an incipient gay adolescent than a straight kid growing up problems" ( ). O'Hara used his Dean poems to praise someone whom he believed fought against all social norms. Dean was known for hating "phonies and studio bosses and the Hollywood game" ( ) much the way O'Hara disliked artists and poets who were untrue to themselves and the world around them.

In "For James Dean," O'Hara begins with the lines"Welcome me, if you will,/ as the ambassador of a hatred/ who knows its cause" ( ). Here O'Hara is not being campy, he is clearly stating that he, like Dean and many others, have been misunderstood and hated for the way in which they have chosen to live and act basically, hated for being true to their natural selves. O'Hara goes on to attack God, the "creator" of this society of hate, stating

He has banged into your wall

of air, your hubris, racing

toward your heights and you

have cut him from your table

which is built, how unfairly

for us! Not on trees but on clouds. ( )

These lines are very reminiscent of Emily Dickinson's "Victory comes late" when she writes, "Was God so economical?/ His table's spread too high for us/ Unless we dine on tip-toe" ( ). By addressing God, or the beliefs that society holds to be true in regard to religion, O'Hara criticizes the way that we are supposedly created in "God's image" but we are not allowed to be like him or sit with him. God's Table is "unfairly" constructed for "us," making it difficult to ever truly be god-like in the way one lives or acts in life. O'Hara sees the mentality of judging people for being different as a tremendous problem within our world, especially in the newly grounded religious 150s America that had finally returned to God after the depression and World War II.

O'Hara also uses his poem to mock those of us who believe we are better than those around us. Those who consider themselves the "high art" crowd who would never put themselves in a theatre to watch a Dean Film. O'Hara writes, "is it true that you high ones, celebrated among amorous flies, hated the prodigy and invention of [Dean's] nerves" ( )? O'Hara wants to know if these people hated Dean simply because he was different and lived his life the way that felt right, not the way that society advised. In regard to the way Dean lived, it was once said that he "threw himself on the world like a starved animal," meeting those around him "with the same urgent probing curiosity 'Here I am. Here are you'" ( ), which is much the same way O'Hara approached those around him to share the many poems he carried stuffed into his pockets.

O'Hara believed that Dean, as the rebel struggling against society and parents that did not fully understand him, represented the larger portion of society. We are all at times misunderstood and taken for granted, but O'Hara wanted to wake us up to that fact. He could have addressed this issue without the use of James Dean, but as mentioned previously, O'Hara relied on actors and Hollywood in his poems because film is the common equalizer of all people. We all go to the movies; we know the names of actors and actresses (both past and present), so by O'Hara incorporating the world of the silver screen into his writing make his writing campy? No. What it does is show O'Hara's intelligence in knowing how to get and hold our attention and tap into what we know. Like O'Hara says in the final stanza of "For James Dean," "I am the dead man's voice,/ stammering, a little in the earth" ( ). O'Hara's placing of himself "in the earth" makes himself one with all life, "stammering," but still speaking the words that we need to hear. And to reiterate Sontag, "Nothing in nature can be campy," and so, by O'Hara grounding himself in the earth the source of all nature he cannot be seen as campy.

Andrew Epstein writes in his article "'I Want to be at least as Alive as the Vulgar' Frank O'Hara's Poetry and Cinema" that O'Hara "neither wholeheartedly embraces 'low' art nor does he…mock pop culture's vulgarity, but rather conveys a complex mixture of ambivalent feelings toward cinema" demanding "our attention because of its combination of beauty and baseness, motion and permanence, illusion and 'reality'" ( ). One can see in these words that O'Hara's movie poems are not about praising films and discussing how wonderful they are, he is merely using films as his platform to address the world around him. In the movie poems, O'Hara "suggests that perhaps the true 'myths' of contemporary life are actually figures like James Dean and Lana Turner" ( ), because like all of us, they to have normal, everyday problems. Why should people turn to ancient mythology when discussing life, especially when many people are not familiar with this form of mythology and the gods of ancient myth are not real? Poetry should have to be grounded in ancient myth unless it wants to be "high art" and unattainable to the majority and that is what O'Hara is doing with his movie poems; he is showing the world that the people in Hollywood, the ones we see everyday, are just like us. They have flaws and, for that reason (and because their names are as common in American households as 'milk,' O'Hara feels a sense of duty to incorporate these names into his works.

One of his most famous and widely anthologized poems dealing with Hollywood is "To the Film Industry in Crisis." This poem has been read by many as his campiest poem off all because of the excessive references to actors and actresses. The poem, to many, is seen as a catalogue of memories that O'Hara has about movies he knows and that all he is doing is showing the impact that film has had on his life. But, this poem is so much more.

As Epstein states, "the cinematic world provides a temporary, albeit illusory alternative to the realm of suffering, transience, and dying. The very human and fragile universe O'Hara's poetry so often confronts" ( ). O'Hara believes that Hollywood gives tremendous insight into our world and its many ills. During the 150s, the big screen was threatened by the small screen (television) and many believed that TV was "robbing the film industries of its audiences" ( ). If TV consumed the movie world, O'Hara saw that we would be losing a large part of what helped in molding our outlooks on life the silver screen. So, in "To the Film Industry in Crisis," O'Hara tells of how "in times of crisis, we must all decide again whom we love." This line, because of the fact that O'Hara's getting at our love of the film industry appears a bit campy, but when one looks at film as being the one constant, the one aspect of life all people have knowledge of, the campiness wanes. We cannot all turn to the "Catholic Church" or religion in general.

Please note that this sample paper on frank o'hara and james dean is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on frank o'hara and james dean, we are here to assist you. Your cheap custom college paper on frank o'hara and james dean will be written from scratch, so you do not have to worry about its originality.

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Ankgor Wat

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When you live and work overseas, it is sometimes really hard to tell where home is. Am I from Nakama or am I from Melbourne? Its even harder telling people you are from somewhere if you dont fit a certain image.

When you see me for the first time you would probably mistake me for being Japanese because I definitely do not fit the image of an Australian, blonde hair blue eyes. Yet if you close your eyes and listen to me talk you would probably see a different person standing in front of you. What you see is not necessary what you get. When I was in Korea I was a Korean, when I went to Hong Kong I was Chinese, when I was in Malaysia I was a Malaysian. The great thing about Australia is that it is made up of many different people, so the fun is in not knowing where someone is from rather than seeing everybody as the same. What makes Australia an interesting place is the diversity of its people. People from Asia, Africa, Europe all call the place home.

In Japan it is slightly different. The first month in Nakama, I decided to ride around town on my bike, and not knowing my way around I happened to get myself lost. I was in the rice farms of Katsuki and I wondered if Id ever find my way back to my apartment since I had no Japanese and I was sure people in the inaka could not speak English. I stumbled into the first house I could find and started talking with difficulty with one of the farmers. He was obviously shocked I could not speak Japanese since I have an Asian appearance. I think he was even more surprised that I could speak perfect English. The conversation with the farmer was not going anywhere fast, so he went inside to call his brother who happened to be a former English teacher. We had a brief conversation where I told him I was from Australia, which surprised him because you are not white he told me. I went on to explain that I was from Australia, but my origins are in Cambodia and that my father is Chinese.

When I was in Malaysia, a friend asked me, What are you? You work in Japan, you are from Australia, your father is Chinese but you where born in Cambodia? My answer was I am EVERYTHING.

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