The Cask Of Amontillado, And A Rose For Emily - 1643 Words

Liberation from sort of oppressive force is a key theme in many forms of art, especially literature. It gives the audience a celebratory feeling of escapism when the hero succeeds that may be fulling to many readers. However, centering the entire story around theme of entrapment can also utilized as an obstacle for a protagonist to overcome. Very rarely do authors revolve their entire stories around this idea, often because it is difficult to make a crowd pleasing and optimistic piece of fiction surrounding such a downer subject. Sonny’s Blues, The Cask of Amontillado, and A Rose for Emily all use the theme of ensnarement by internal or external forces to express radically different concepts, which range from creative expression, to†¦show more content†¦Additionally, Sonny’s brother is an external force that seeks to manipulate the course of his life. He is consistently critical of the music he plays and is dismisses it as nothing more than â€Å"noise.† From Sonny’s perspective, his music represents an impassioned expression of the suffering that he has experienced in his life. His ability to play the music he likes, in this case jazz, is the one point in Sonny’s life in which he has complete autonomy. This parallels his passion for heroine when Sonny says: â€Å"It makes you feel like you’re- in control. Sometimes you’ve got to have that feeling.† (Baldwin Page 86) Fortunately, Sonny’s brother comes to the realization that his brother’s love of his music and the independence it gives him is ultimately beneficial to him rather than problematic. Moving on, The Cask of Amontillado centers almost entirely on the theme of imprisonment. The main thrust of the drama in the story involves a man being chained behind a wall as part of a macabre revenge plot. Poe outlines the goal of the protagonist from the beginning to inform the audience and heighten the suspense surrounding the act. Oppos ed to the other two stories, the theme of involuntary captivity is represented primarily in theShow MoreRelatedA Rose for Emily and a Cask of Amontillado1131 Words   |  5 Pages2 In the short story â€Å"A Rose for Emily,† by William Faulkner (79-84), Emily Grierson has no concept of time. She is living in the past and refuses to accept the death of her father. She lives in an isolated fantasy where she convinces herself that her father is still alive. Emily has no intentions of accepting reality. She refuses to acknowledge the death of her father and also the death of her lover, Homer. Her character could be perceived as psychotic because she has lost contact with realityRead MoreThe Cask Of Amontillado, By Edgar Allan Poe And A Rose For Emily1198 Words   |  5 Pagesâ€Å"The Cask of Amontillado† by Edgar Allan Poe and â€Å"A Rose for Emily† by William Faulkner can be brought together under one common of horror. This is due to the dark nature that is described in both these short stories. They can be compared and contrasted by their use of revenge, betrayal, irony, and societies’ view on how we treat each other as people. à ¢â‚¬Å"The Cask of Amontillado† and â€Å"A Rose for Emily† are compatible stories that are easy to compare and contrast each other, and with that the storiesRead MoreAnalysis of the Gothic Fiction Books, The Cask of Amontillado and A Rose for Emily1191 Words   |  5 Pages　　　　　　Analysis of â€Å"The cask of Amontillado† and â€Å"A Rose for Emily† 　　　 　　　In this paper, I choose the Gothic fictions â€Å"The Cask of Amontillado† and â€Å"A Rose for Emily† to compare. I like them as these two works are very exciting with suspense. Next I will compare them on three aspects. 　　　The first is the theme. A Rose for Emily, written by William Faulkner, is a short story about the life and death of Miss Emily Grierson. The reader is told the story in flashback. Its structure is broken downRead MoreComparison and Contrast: A Rose for Emily by William Faulkner and The Cask of Amontillado by Edgar Allan Poe929 Words   |  4 PagesPoe employ it to achieve distinctly Gothic effects. â€Å"A Rose for Emily† and â€Å"The Cask of Amontillado† are very different stories set in very different worlds, and the tone of the narration in each is equally different. Nonetheless, the stories both offer strong symbolism, and they each rely on how the short story amplifies the Gothic, or dark, by virtue of brief presentation. Poes â€Å"The Cask of Amontillado† and Faulkners â€Å"A Rose for Emily† both employ a narrator, if not of a similar kind. EachRead MoreMurder in the Novels, The Cask of Amontillado by Edgar Allan Poe and A Rose for Emily by William Faulkner733 Words   |  3 Pagesare in luck. The Cask of Amontillado by Edgar Allan Poes and William Faulkners A Rose for Emily are compelling murder stories, full of dynamic characters, vivid detail, and compelling points of view. These two stories encompass the elements of plot, character, setting and point of view among others. Although the elements of the central theme of murder are different, these stories share other elements that make these stories unique. In the short story â€Å"The cask of Amontillado† by Edgar Allan PoeRead MoreMurder Has Always Been A Fascinating Element In Fiction1102 Words   |  5 PagesThe unbalanced main characters in the two murder stories, The Cask of Amontillado and A Rose for Emily drive the plots of the stories. Montresor and Miss Emily, the murderers in each story, engage the readers, allowing them to have a different perspective on their actions and similar motives of murder. A close examination of the way Montresor, the narrator of The Cask of Amontillado, and Miss Emily, the protagonist of A Rose for Emily, commit the action of murder towards their victims demonstratesRead MoreAlliteration In Leda And The Swan By Ray Bradbury1852 Words   |  8 PagesMontag being â€Å"not happy† displays characterization of the character (Bradbury 9). Conflict: a literary element that involves a struggle between two opposing forces usually a protagonist and an antagonist (Literary Devices). Example: In â€Å"The Cask of Amontillado† Montresor states, â€Å"The thousand injuries of Fortunato I had borne as I best could; but when he ventured upon insult, I vowed revenge.† The â€Å"revenge† Montresor seeks against Fortunato displays a conflict between two characters (Poe 14). Consonance:Read MoreAnalysis Of A Rose For Emily By William Faulkner1407 Words   |  6 Pagesand discuss how the setting contributes to the central meaning of the story. In William Faulkner’s short story, A Rose for Emily, the southern town’s setting is a stark contrast to today’s society, where many elderly people live in poverty, receive little respect, and lose their family homes due to the inability to pay taxes. After the death of her father forty years earlier, Emily Grierson’s social and financial status plunged to the point where she was totally dependent on the good will of othersRead MoreA Good Man Is Hard, And The Cask Of Amontillado By Mary Flannery O Connor1945 Words   |  8 Pagesassigned many great stories to read while in this class. In this paper we will cover and analyze three different short stories and quickly compare and contrast things they have in common. This paper will analyze â€Å"A Rose for Emily†, â€Å"A Good Man is Hard to Find†, and â€Å"The Cask of Amontillado†. We will analyze the different symbolism throughout all the stories such as â€Å"the elusive definition of a good man† which comes from â€Å"A Good Man is Hard to Find†, also themes in the different stories like traditionsRead MoreANALIZ TEXT INTERPRETATION AND ANALYSIS28843 Words   |  116 Pagesthe middle. In still other cases, the chronology of plot may shift backward and forward in time, as for example in William Faulkner’s A Rose for Emily, where the author deliberately sets aside the chronological ordering of events and their cause/effect relationship in order to establish an atmosphere of unreality, build suspense and mystery, and underscore Emily Grierson’s own attempt to deny the passage of time itself. Perhaps the most frequently and conventionally used device of interrupting

Random Sampling Techniques Free Essays

There are many ways to select a random sample. Four of them are discussed below: Simple Random Sampling: In this sampling technique, each sample of the same size has the same probability of being selected. Such a sample is called a simple random sample. We will write a custom essay sample on Random Sampling Techniques or any similar topic only for you Order Now One way to select a simple random sample is by a lottery or drawing. For example, if we need to select 5 students from a class of 50, we write each of the 50 names on a separate piece of paper. Then, we place all 50 names in a hat and mix them thoroughly. Next, we draw 1 name randomly from the hat. We repeat this experiment four more times. The 5 drawn names make up a simple random sample. The second procedure to select a simple random sample is to use a table of random numbers, which has become an outdated procedure. In this age of technology, it is much easier to use a statistical package, such as Minitab, to select a simple random sample. Systematic Random Sampling: The simple random sampling procedure becomes very tedious if the size of the population is large. For example, if we need to select 150 households from a list of 45,000, it is very time consuming either to write the 45,000 names on pieces of paper or then select 150 households or to use a table of random numbers. In such cases, it is more convenient to use systematic random sampling. Stratified Random Sampling: Suppose we need to select a sample from the population of a city, and we want households with different income levels to be proportionately represented in the sample. In this case, instead of selecting a simple random sample or a systematic random sample, we may prefer to apply a different technique. First, we divide the whole population into different groups based on income levels. Thus, whenever we observe that a population differs widely in the possession of a characteristic, we may prefer to divide it into different strata and then select one sample from each stratum. We can divide the population on the basis of any characteristic, such as income, expenditure, sex, education, race, employment, or family size. Cluster Sampling: Sometimes the target population is scattered over a wide geographical area. Consequently, if a simple random sample is selected, it may be costly to contact each member of the sample. In such a case, we divide the population into different geographical groups or clusters and as a first step select a random sample of certain clusters from all clusters. We then take a random sample of certain elements from each selected cluster. For example, suppose we are to conduct a survey of households in the state f New York. First, we divide the whole state of New York into, say, 40 regions, which are called clusters or primary units. We make sure that all clusters are similar and, hence, representative of the population. We then select at random, say, 5 clusters from 40. Next, we randomly select certain households from each of these 5 clusters and conduct a survey of these selected households. This is called cluster sampling. Note that all clusters must be representative of the population. How to cite Random Sampling Techniques, Essay examples Random Sampling Techniques Free Essays There are many ways to select a random sample. Four of them are discussed below: Simple Random Sampling: In this sampling technique, each sample of the same size has the same probability of being selected. Such a sample is called a simple random sample. We will write a custom essay sample on Random Sampling Techniques or any similar topic only for you Order Now One way to select a simple random sample is by a lottery or drawing. For example, if we need to select 5 students from a class of 50, we write each of the 50 names on a separate piece of paper. Then, we place all 50 names in a hat and mix them thoroughly. Next, we draw 1 name randomly from the hat. We repeat this experiment four more times. The 5 drawn names make up a simple random sample. The second procedure to select a simple random sample is to use a table of random numbers, which has become an outdated procedure. In this age of technology, it is much easier to use a statistical package, such as Minitab, to select a simple random sample. Systematic Random Sampling: The simple random sampling procedure becomes very tedious if the size of the population is large. For example, if we need to select 150 households from a list of 45,000, it is very time consuming either to write the 45,000 names on pieces of paper or then select 150 households or to use a table of random numbers. In such cases, it is more convenient to use systematic random sampling. Stratified Random Sampling: Suppose we need to select a sample from the population of a city, and we want households with different income levels to be proportionately represented in the sample. In this case, instead of selecting a simple random sample or a systematic random sample, we may prefer to apply a different technique. First, we divide the whole population into different groups based on income levels. Thus, whenever we observe that a population differs widely in the possession of a characteristic, we may prefer to divide it into different strata and then select one sample from each stratum. We can divide the population on the basis of any characteristic, such as income, expenditure, sex, education, race, employment, or family size. Cluster Sampling: Sometimes the target population is scattered over a wide geographical area. Consequently, if a simple random sample is selected, it may be costly to contact each member of the sample. In such a case, we divide the population into different geographical groups or clusters and as a first step select a random sample of certain clusters from all clusters. We then take a random sample of certain elements from each selected cluster. For example, suppose we are to conduct a survey of households in the state f New York. First, we divide the whole state of New York into, say, 40 regions, which are called clusters or primary units. We make sure that all clusters are similar and, hence, representative of the population. We then select at random, say, 5 clusters from 40. Next, we randomly select certain households from each of these 5 clusters and conduct a survey of these selected households. This is called cluster sampling. Note that all clusters must be representative of the population. How to cite Random Sampling Techniques, Papers

Psychological Factors in Alcohol related Illness-Free-Samples

Question: Discuss about the Psychological Factors in Alcohol related Illness. Answer: The family plays a key part in both avoiding and prevailing with alcohol use and abuse both through including danger and supporting and promoting safety. The aim of this essay was to analyze how certain family related variables were associated to the use of alcohol on the basis of people. This essay psychologically examines a number of family involvements in young peoples taking up and later misusing substances. The use and exploitation of alcohol is widespread. Alcohol exploitation of any member of the family can result to harm for the individual and even for the entire community, as well as it can have a negative impact on rest of the family members. There are many words in the field that are frequently used confusingly. Recent data indicates that approximately 9% of the total population age 12 years or more and mainly 12% of age 12-17 are current users of illicit drugs (Becoa et al. 2013). This essay highlights the importance that seems liberalism and the necessity of considering family when providing control and affect, as father will influence male children and mother will influence female children. Different studies have found that the more liberal the families are towards drug use, the more likely it is that their family will drink alcohol. Alcoholism has become a major health concern in many societies. Alcohol is a drug that is deemed to cause major problems among the younger generations. It has been long recognized that alcoholism runs in the family. A family which has a history of alcoholism is a well established risk in terms developing alcoholism. Nonetheless majority people do not develop alcohol disorders. There is an actual variation among alcoholic children with regards with their alcohol use and current research has been aimed at explaining the variation. Research faces the challenge of expressing diverse alcohol-related behavior variety from easy alcohol experimentation to stern alcohol dependence. Different reason influence different facet of drinking and an assessment to stop drinking (Fang Schinke, 2013). The section is not intended as complete overview of psychological research, but instead focuses on the fact that has been conducted. Psychological reason of habit is peoples thought and beliefs. This is because of much the behaviors originate from the thoughts and the beliefs. Cause of addiction is a persons developmental maturity. Psychology has helped to understand while people while people find it so difficult to discontinue a healthy behavior like alcoholism. There are several illnesses due to alcohol they are cancer, brain damage, heart disease, Osteoporosis. Women are more vulnerable to the effects of alcohol than men and younger and older people tend to be more vulnerable than those who are middle aged In order to prevent the alcohol disease first the family should correct the perception that everybody drinks. Use interactive teaching techniques. Every family has to set the right path for their family members. Elite group of families thinks that by drinking they can overcome their stress. Some cultures openly express drinking alcohol as the reward of a successful feat. The impact that the alcohol use can have on the family is a lot. For some times practitioners and researchers has allocated a crucial function in the family in order to develop or in the avoidance of all antisocial behaviors. Adolescent alcohol abuse is encou raged by environmental factors such as the behavior of the influential role model, social support that encourage this and easy access to it (?ablov, Pazderkov Miovsk, 2014). The significance of overt peer pressure in alcohol use is neither proven nor reliable. Emphasizing the power of peers may lead to an underestimation of effect that parents have on their own. Study of combined information from longitudinal studies specify that poor level of parental participation and management of children have a well-built analytical authority for anti-social productive approach maybe to examine how these two forces interact. People who take pleasure in an extra optimistic relationship with their parents may be less prejudiced by drug-using friends and as a result be less concerned in alcohol using behavior (Stahre et.al, 2014). Premature drinking experience normally takes place inside the family surroundings and in this they may bring in appropriate behaviors concerning use. The family continu es to be a sensible influence all through the adolescence period although parental influence decreases as adolescents age increases and at particular stage of adolescent development. Drugs prevention has been sub-categorized into primary, secondary and tertiary prevention. More recently three new interventions have been identified as universal, selective and indicated interference with at risk collection with early proof of problems (Stautz Cooper, 2013). For some young people frivolous and experimental use in not usually represent a lengthy problem, for the person, their relatives or their group of people. However in some situations more sustained use, relatively partial exposure to meticulous substance can direct to troubles. A family quality has been found to interact with such uneven as emotional well-being, life stress and communal support in predicting universal anti-social behavior as well as abuse of alcohol. A lot of interference are based on the thought that families play a significant role in socializing children to bend to the burden and opportunities of the societal surroundings. The closeness of the family has been found to discourage drug use both directly and through its impact on choice on non-drug using friends. It also appears to have a bearing whether experimental alcohol use leads to a more serious pattern of alcohol involvement. An elevated family cooperation is a very important factor in the family climate variable. Exact personal self may support certain type of people to spend a certain amount of time with family and may perhaps at the similar time support the evasion of behavior like alcohol use (Castellanos?Ryan et.al. 2013). One source of the variation in the outcomes of alcoholic, i.e. whether they develop a character related problem, the familial alcoholism occurs in different forms. Scientists have identified subtypes of alcoholism that are characterized by the type and degree of psychopathology associated with the alcohol abuse, in particular antisocial, personality and mood disorder such as depression (Cooper Marshall, 2013). Recent studies suggest that the type of alcoholic syndrome present in the family influences the childs risk of having psychological characteristics associated with risk of alcoholism (Blanco et.al, 2013). Some theories suggest that early conduct problems which evolve according to the deviance proneness model into a broad set of behavior including alcoholism are related to the neuropsychological deficits in executive functioning (Suzanne Kril, 2014). A distinction is there between the properties of relational side of families on general alcohol use. Researchers have been examined family environment in an attempt to understand both the transmission of alcoholism from generation to generation and the causes of alcohol use and the misuse in the wider population. Recent data suggests that poor executive functioning predicts increases in alcohol consumption with a family history of alcoholism (Grant et.al, 2016). Most of alcoholics do not develop alcohol disorder dependence. Alcohol problems and their prevention cannot be viewed in isolation. Their complexity demands consideration not only of the health, welfare, moral, educational and economic aspects, but also of their combined implicati ons in the development of the individuals, in the community and at the international level. A wide variety of skills and interests are therefore required in the relevant planning and programs. It is not clear yet that correlation between families and alcohol involvement may be due to shared genetic influences. Although only a few studies of protective factors have looked specifically at alcoholic families, some broader studies have found evidence of risk buffers. Alcohol use and alcoholism can be best being studied within the context of psychosocial development throughout the life span and researched interest in applying a developmental perspective to alcohol problem is increasing. It suggests that early developmental to alcoholism can be seen even in preschool years in the form of deficits in self-regulation, emotional reactivity, and conduct problems (Grenard, Dent Stacy, 2013). For young adults, alcohol use is at the top in age related patterns and then declines after mid-20. To conclude this psychological factor in alcohol consumption and alcoholism encompasses a broad range of investigations, it is to be understood that it aimed at understanding how multiple, biological and psychological risk factors interact to influence alcohol related illness. The more recent studies for this age related decline drinking may reflect changes in social norms regarding the acceptability of using alcohol. Relational aspects of families may have a huge influence than other aspects on making alcohol associated behaviors. The key ideas in work planned to use in order to prevent the family from alcohol use and mishandling amongst the people and increasing family shielding factors of family and individual child flexibility. There is a high tendency that the children face some psychological problem in order to face something or hide their inner feelings. It also clear that although family issue are clear, yet the effect of psychological problems is vital. References: Becoa, E., Martnez, ., Calafat, A., Fernndez-Hermida, J. R., Juan, M., Sumnall, H., ... Gabrhelk, R. (2013). Parental permissiveness, control, and affect and drug use among adolescents.Psicothema,25(3). Becoa, I. E., del Elena, F., Amador, C., Ramn, F. H. J. (2014). Attachment and substance use in adolescence: a review of conceptual and methodological aspects.Adicciones,26(1). Blanco, C., Krueger, R. F., Hasin, D. S., Liu, S. M., Wang, S., Kerridge, B. T., ... Olfson, M. (2013). Mapping common psychiatric disorders: structure and predictive validity in the national epidemiologic survey on alcohol and related conditions.JAMA psychiatry,70(2), 199-207. ?ablov, L., Pazderkov, K., Miovsk, M. (2014). Parenting styles and alcohol use among children and adolescents: A systematic review.Drugs: education, prevention and policy,21(1), 1-13. Castellanos?Ryan, N., O'Leary?Barrett, M., Sully, L., Conrod, P. (2013). Sensitivity and specificity of a brief personality screening instrument in predicting future substance use, emotional, and behavioral problems: 18?month predictive validity of the substance use risk profile scale.Alcoholism: Clinical and Experimental Research,37(s1). Cooper, C. L., Marshall, J. (2013). Occupational sources of stress: A review of the literature relating to coronary heart disease and mental ill health. InFrom Stress to Wellbeing Volume 1(pp. 3-23). Palgrave Macmillan UK. Fang, L., Schinke, S. P. (2013). Two-year outcomes of a randomized, family-based substance use prevention trial for Asian American adolescent girls.Psychology of Addictive Behaviors,27(3), 788. Grant, B. F., Saha, T. D., Ruan, W. J., Goldstein, R. B., Chou, S. P., Jung, J., ... Hasin, D. S. (2016). Epidemiology of DSM-5 drug use disorder: results from the National Epidemiologic Survey on Alcohol and Related ConditionsIII.JAMA psychiatry,73(1), 39-47. Grenard, J. L., Dent, C. W., Stacy, A. W. (2013). Exposure to alcohol advertisements and teenage alcohol-related problems.Pediatrics, peds-2012. Stahre, M., Roeber, J., Kanny, D., Brewer, R. D., Zhang, X. (2014). Peer Reviewed: Contribution of Excessive Alcohol Consumption to Deaths and Years of Potential Life Lost in the United States.Preventing chronic disease,11. Stautz, K., Cooper, A. (2013). Impulsivity-related personality traits and adolescent alcohol use: a meta-analytic review.Clinical psychology review,33(4), 574-592. Suzanne, M., Kril, J. J. (2014). Human alcohol-related neuropathology.Acta neuropathologica,127(1), 71-90.

The Power of Pictures An Analysis of Anthony Brownes Picture Books

British children’s picture book author and illustrator Anthony Browne has established himself as an innovative force in the canon of children’s literature through such works as Gorilla and Piggybook. The author has published nearly 40 titles since the 1970s and enjoys international acclaim.Advertising We will write a custom critical writing sample on The Power of Pictures: An Analysis of Anthony Browne’s Picture Books specifically for you for only $16.05 $11/page Learn More Anthony Browne’s works have been hailed as penetrating social critiques that encourage the modern children’s picture book to expand its reach and touch upon uncomfortable social issues such as restrictive gender roles and narrow minded class limitations. Anthony Browne’s eccentric, provocative books are distinctive in the sense that each one refuses to condescend to its young readers, and his works consistently defy assumptions surrounding the suitable subject matter for children’s picture books that require them to be safe, staid and non confrontational. Anthony Browne regularly employs the children’s picture book as a tool to critically analyze and evaluate cultural assumptions in a playful yet trenchant way. This essay will analyze several of Anthony Browne’s works from the period between 1976 and 1986, with particular emphasis on how Anthony Browne portrays specific social issues in his works. These works include Anthony Browne’s first published work Through the Magic Mirror from 1976, Gorilla from 1983, Willy the Wimp from 1984, and Piggybook from 1986. From the educational standpoint, each of these picture books provide children with keen psychological insights into the often unspoken social rules and roles implicit in the world they are entering as they age and progress through higher levels of learning. The essay will also demonstrate the influence of post modern theory on Anthony Brow ne’s works, as well as the impact of postmodernism on children’s picture books in general. Anthony Browne’s frugal usage of text and language and the deeply layered symbolism of his children’s picture books combine finely wrought and keenly observed surrealistic features with an amusing and clever vision. Anthony Browne’s themes are consistently serious and cover the gamut of human experience and behavior.Advertising Looking for critical writing on education? Let's see if we can help you! Get your first paper with 15% OFF Learn More He is neither afraid to confront the failure of certain conventional interpersonal relationships, nor challenge the efficacy of the traditional nuclear family model of child rearing. Anthony Browne’s works also play with the distinction between fantasy, perception and reality. Artistically speaking Anthony Browne’s work tends toward surrealism and echoes the work of such surrealist giants as Salvador Dali, Edvard Munch, and Renà © Magritte. Anthony Browne’s works also frequently refer to these artists in a wry and self referential way. His books present his deeply personal and idiosyncratic visual approach through a seamless integration of the extraordinary with the mundane. Anthony Browne’s representational imagery remains simultaneously fantastic yet exact, with painstaking attention to detail and tremendous technical prowess. Anthony Browne’s trademark watercolor illustrations are noteworthy for their signature use of brash colors. Anthony Browne’s use of animals to represent humans, especially gorillas and chimpanzees, also imbues animals with human traits, emotions, fears, problems and concerns. His texts include elements from the fairy tale tradition, folk tales, allegories, and figurative warning tales as the underpinning structure for subtle yet powerful stories. A common plot line of Anthony Browne’s works sees his characters , both human and anthropomorphized animals, delve into their own internal pool of strength to overcome issues of solitude and social isolation, parental neglect, ennui, envy and resentment, bullying and social derision. As a rule Anthony Browne’s works contains strong messages to children to honor themselves above all, regardless of the social costs. In a recent Guardian interview, Flood (2009) drew attention to Anthony Browne’s â€Å"reputation as a sharp social observer. Several of his books skewer contemporary adult behavior†¦especially that of males†¦by showing how foolishness, cruelty, and self-absorption bring out the baseness of our animal natures. In 2000, he became the first UK children’s author to win the Hans Christian Andersen Medal, the highest international honour in children’s literature† (Flood, 2009: n.p.). In 2009 Anthony Browne achieved the prestigious honor of being named the children’s laureate in the United Ki ngdom, joining the ranks of such literary illuminati as Ted Hughes.Advertising We will write a custom critical writing sample on The Power of Pictures: An Analysis of Anthony Browne’s Picture Books specifically for you for only $16.05 $11/page Learn More Anthony Browne was quoted as saying â€Å"he would use his two-year stint as laureate to focus on the appreciation of picture books, and the reading of both pictures and words. Picture books are for everybody at any age, not books to be left behind as we grow older. The best ones leave a tantalising gap between the pictures and the words, a gap that is filled by the reader’s imagination, adding so much to the excitement of reading a book,† he said. â€Å"Sometimes I hear parents encouraging their children to read what they call proper books†¦books without pictures†¦at an earlier and earlier age. This makes me sad, as picture books are perfect for sharing, and not just wit h the youngest children† (Flood, 2009: n.p.). This brings up a valid point and highlights the driving force behind Anthony Browne’s work. Its enduring significance for educators remains Anthony Browne’s â€Å"desire to â€Å"make â€Å"Art,† with a capital A, more accessible to children. I believe we undervalue the visual as a society. Too often I see children’s education mean that they grow out of pictures – away from picture books into words – as though that’s part of the development of a child’s education [and the development of a child into an adult†¦I want children to realize that fine art doesn’t have to be serious and heavy or even part of the educational process. We can just lose ourselves and see ourselves in a painting that was painted 500 years ago† (Hateley, 2001: p. 324). The Power of Pictures Picture books represent one of the earliest and most important tools available to help children m ake sense of their environment, yet cultural and socio economic influences manifest extremely early in children, as Appleyard (1991) highlights in this description of two working class communities: â€Å"Both were in their own way literate communities where reading and writing functioned significantly in the daily lives of the people. But where families did not read to children, ask them the names of things in picture books, use printed stories to help them make sense of their environment, [and] encourage them to write†¦children had difficulty in school and as adult readers [did] not advance beyond magazines and newspapers, the Bible, and the literacy requirements of their work and social lives† (p. 198). The socio economic environment of the child mediates the essential learning value of the children’s picture books, and â€Å"the kinds and levels of literacy can be correlated with the social structure of the community, its history and traditions, the quality of its schools, and the economic opportunities of its people† (Appleyard, 1991: p. 198).Advertising Looking for critical writing on education? Let's see if we can help you! Get your first paper with 15% OFF Learn More Children’s picture books hold a deeper meaning when considered in the light of how we learn about ourselves in relation to others and this learning begins almost the instant children begin perceiving images. In fact Peter Hunt (1999) points to a common and somewhat dangerous misconception regarding the deeper impact of children’s picture books when he states that â€Å"picture books are commonly assumed to be the province of the very young, or pre-literate child, a simple form that is beneath serious critical notice† (p. 128). On the contrary, children’s picture books represent a core component in an extremely complex socialization process that begins at birth. Society begins to shape children the moment they are out of the womb. Picture books impart visual meaning to children well before they have developed the critical skills to accurately judge what they are being shown and how it is influencing them cognitively, psychologically, and emotionally. While this may seem an obvious deduction, the power of the picture in the social and psychological development of children simply cannot be overstated. In Hunt’s (1999) words, children’s picture books represent â€Å"one genuinely original contribution to literature in general; they are a polyphonic form that embodies many codes, styles, textual devices and intertextual references† (p. 128). At the risk of sounding cynical, picture books instill core social assumptions and biases about the multiple hidden strata of the culture to which a given picture book ascribes: gender roles, class distinctions, family make up, racial differences, and religious affiliations. As Nodelman (1999) states, children â€Å"must have a pre-existing knowledge of actual objects to understand which qualities of [visual] representations†¦resemble those of the represented objects and which†¦are merely features of the medium or style of representation and therefore to be ignoredâ₠¬  (p. 129) More importantly, â€Å"children must learn these prejudices before they can make sense of [a] picture† (Nodelman, 1999: p. 129). The gender stamp provides one example. Because children’s pictures books show partiality towards a particular point of view – the point of view of the viewer – they possess the power to circumscribe the child viewer into identifying exclusively with what can be seen from that limited perspective. Depending on the gender of the child viewer, he or she then takes on this imposed perspective in his or her subjective life, and begins to observe and value events and other people as the pictorial narrative presents them from this gender specific point of view. The power of visual images stays with us for our entire lives. We need only consider the impact of marketing to understand how swayed we are by pictorial representations of gender, beauty and racial differences in the wider media. The power of Anthony Browneâ€℠¢s picture books lies in their ability to illustrate the emotional discrepancy that many children feel. Anthony Browne’s works highlight the tacit understanding that many children learn very early in life – the sense that their parents are there in body only. As a teaching tool Anthony Browne’s work serves to offer children a means to make contact with an emotional reality that they do not yet have the cognitive skills to name. Post Modern Children’s Picture Books Post modern theory targets and calls attention to the essentially meaningless quality of representation that orders language, thought, and the social world that we humans inhabit, and argues that nothing in language truly â€Å"is† what it claims to represent. Words are merely symbols, and all printed books are black marks on a white page. As such, language resembles more of an agreement than an absolute, an implied understanding between literate folk that an arbitrary sound and image com bination embodies or â€Å"stands for† an equally arbitrary definition. Meaning then becomes socially conferred and as such, subject to infinite change. No representation enjoys purity of meaning. Barry (2009) refers to this concept as the absence of the real, and points out that â€Å"in contemporary life the pervasive images from film, TV, and advertising has led to a loss of distinction between real and imagined, reality and illusion, surface and depth† (p. 87). Barry (2009) explains the post modern era as an era wherein â€Å"a sign is not an index of an underlying reality, but merely [an indication] of other signs† (p. 87). The system of language and the ensuing assemblage of cognitive thought built upon that language then becomes a â€Å"simulacrum† that replaces the concept of the fixed representation of reality understood by previous eras, and â€Å"the sign reaches its present stage of emptiness† (Barry, 209: p. 87). Goldstone (2001) under stands the impact of postmodernism on children’s picture books as creating a generation of children’s picture books in the last 30 years that lack â€Å"clear, traditional, linear story structure [and] a sweet and innocent tone†¦[and that] mock†¦rather than model†¦oral tradition† (p. 362). Nonetheless, Goldstone (2001) quickly tempers this description by highlighting the fact that present day children’s picture books still â€Å"remain true to the classic definition of picture books. Picture books are categorized not by content but by format, which is an interdependence of the illustration and the text. The words and the art reflect and expand each other’s meaning† (p. 362). The aspect that has changed, according to Goldstone (2001), is â€Å"the underlying organization, which has created new linguistic codes. Traditional picture books are certainly not losing their appeal, and no one illustrative or writing style is better t han another. Rather, the boundaries of what is understood as a successful picture book are broadening† (Goldstone, 2001: p. 362). Postmodernism largely defines digital media culture, in that the theory underscores values of playfulness and interactivity. Swaggerty (2009) distinguishes the so-called digital native generation’s cultural make up as â€Å"characterized by connectivity, interactivity, nonlinearity, and instantaneous access to information and social networks† (p. 24). Digital natives tend to have higher standards for their media, as they â€Å"typically have the ability to control information flow, and they prefer to be in control of what they engage in†¦school is not the focal point of their lives; rather it is one of many† (Swaggerty, 2009: p. 24). Given that children gain access to digital media culture as infants, the essential nature of the post modern theory underscores their understanding of the world. Post modern children’s p icture books anticipate this by utilizing the same interactive tools and mischievous disregard for standard literary conventions integral to digital media. For example, post modern children’s picture books may â€Å"feature characters that speak directly to the reader. Some books require readers to make choices about how they will navigate the text by presenting multiple texts. Some children are drawn to the absurdity and humor often found in post modern picture books, or they may enjoy stories that poke fun at fairy tales with which they are familiar†¦post modern picture books are surfacing in bookstores and libraries and in the hands of children, justifying the attention of educators† (Swaggerty, 2009: p. 25). Anthony Browne’s picture books contain significant post modern elements, the most notable being the self referential nature of many of his works. Goldstone (2001) explains that Anthony Browne’s works can easily fit into the category of the â €Å"new breed of picture book has its own commonly held set of structural characteristics. These texts do not follow a linear pattern, are self-referential†¦the characters of a story may refer to the physical presence of the book or the process of making a book, are cynical or sarcastic in tone, and actively invite the reader to co-author the text†¦Not all of these characteristics are always found in one story, but the presence of even one will significantly change the reader/viewer’s way of interpreting the text† (p. 363). Post modern children’s picture books intentionally thwart the traditional book’s ability to enchant the reader. As Swaggerty notes, â€Å"many readers can relate to the feeling of inhabiting a book, or losing themselves in a story. When readers are really â€Å"into† a story, they sometimes forget that they are reading a book† (p. 25). Conversely, post modern children’s picture books consistently remind t he reader that the book is a book, therefore affirming the post modern understanding that meaning is not only a created fiction but also a shared one. Goldstone (2001) states that in post modern children’s picture books the â€Å"characters and the narrator may use the physical pages of the book for props or describe the book’s creation† (p. 366). This activity embodies the self-referential text (Goldstone, 2001: p. 366). Essentially the children’s picture book continually and playfully demands a response from the reader. In Goldstone’s (2001) words, the book â€Å"asks the reader, â€Å"What is real? The story? The page? The book itself?† (p. 366). Post modern texts like Anthony Browne’s implicate the reader in their construction. Anthony Browne’s love of surrealism and the presence of surrealist painters’ influences in his illustrations becomes a consistent post modern element in his children’s picture books, a visual motif that began with his first published book Through the Magic Mirror, in which the work of the eminent surrealist painter Renà © Magritte figures prominently (Browne, 1976). Anthony Browne’s visual citations of Magritte’s work highlight the magical element of Through the Magic Mirror, which depicts a young boy who suffers from ennui and premature world weariness until he gains access to an alternate universe via an enchanted mirror (Browne, 1976). As Hateley (2009) has shown, Anthony Browne’s illustrations present obvious references to the Surrealist master’s paintings, and although Through the Magic Mirror â€Å"offered the possibility of readerly recognition and acculturation, [the book] did not necessarily depend on such recognition in order for the texts to function† (p. 340). A successful post modern children’s picture book by definition must operate on both these levels simultaneously, as most young children will have no co ncept of painting, let alone individual and historically significant painters. The educational delight that Through the Magic Mirror offers harkens back to Anthony Browne’s desire to have art be a natural component of young children’s reading experience (Browne, 1976). In Hateley’s (2009) understanding, Anthony Browne’s self referential use of Magritte â€Å"describes Browne’s deployment of Magritte, but Browne is â€Å"marketing† cultural capital. In circulating Magritte as a collection of visual referents, Browne seems to be producing a Surrealist visual epistemology, but is actually offering up Surrealism as something to be consumed† by child readers (p. 324). Through the Magic Mirror established Anthony Browne as a purveyor of â€Å"high-quality, aesthetically and diegetically pleasurable picture books that often include citations of Magritte, but do not necessarily explicitly explain to readers why they should pay attention to s uch citations. The Surrealist flourishes of the other realm are in keeping with the book’s obvious thematic and titular homage to that favorite of the Surrealists, Carroll’s Alice’s Adventures in Wonderland. Browne makes direct visual references to the accoutrements of the bowler-hatted men found in several of Magritte’s works including Golconda (1953) and Decalcomania (1966); one of the illustrations reproduces Magritte’s well-known treatments of the mise-en-abyme effect combining easels bearing paintings with the environments such paintings are notionally reproducing, as in The Human Condition (1934) or Euclidean Walks (1955)† (Hateley, 2009: p. 325). Anthony Browne successfully employs the post modern self referential element within his work not only to poke fun at the institution of high art and its intrinsic sense of exclusivity, but also to provide children with a playful and imaginative introduction to some of the most pivotal and grou nd breaking surrealist painters and their works. Another example of Anthony Browne’s usage of post modern elements occurs in his later work Piggyback, published in 1986. Piggyback tells the story of the Piggott family, Mr. Piggott, Simon, Patrick, and Mrs. Piggott (Browne, 1986). The male Piggotts consistently left all of the housework for Mrs. Piggott to take care of and refused to clean up after themselves (Browne, 1986). This led to building resentment in Mrs. Piggott, until the day Mrs. Piggott vanishes from the Piggott household, leaving behind nothing but a note that says â€Å"You are pigs† (Browne, 1986). Then, Mr. Piggott and his sons actually do undergo a metamorphosis into pigs (Browne, 1986). With no conception of how to look after a home, the Piggott household degenerates into a literal pig sty at the hands of the remaining Piggotts (Browne, 1986).The story ends with the male Piggotts gaining appreciation for the work of Mrs. Piggott and when she returns t he family agrees to share the housework together (Browne, 1986). In Piggybook, Beckett (2001) shows how Anthony Browne often integrates explicit pre existing works of art into his children’s picture book illustrations as a simultaneous form of homage and post modern self referentiality (p. 180). An example of this occurs in Piggyback. Beckett (2001) calls attention to the â€Å"portrait hanging in the Piggots’ living room†¦an unmistakable rendition of Franz Hals’s The Laughing Cavalier. Although it is the Dutch master’s most famous painting, it is nonetheless unfamiliar to the majority of children and even many adult readers†¦.In Piggybook, the portrait hangs above Mr. Piggott, who is sprawled on the couch watching television with his two sons while Mrs. Piggott attends to all the domestic tasks by herself. Not only is there a suggestive resemblance between the cavalier and Mr. Piggott†¦notably the round shape of the head†¦but the fat her and one of the sons could easily pass as Dutch. For readers who are at all familiar with Hals’s work, the portrait will evoke guild-hall paintings of Dutch merchants engaged in endless communal banquets† Beckett, 2001: p. 180). In this example Anthony Browne’s illustration performs four functions simultaneously: it visually cites his own personal influences, affirms the post modern intention to parody the staunch â€Å"museum† representation of high art, pokes fun at his own characters, the male Piggotts, and offers children access to a master painter in a fun and playful manner. This example perfectly exemplifies the multi layered and multi tasking ability of effective post modern children’s picture books. Use of Primates Published in 1983, Anthony Browne’s Gorilla launched the author and illustrator into the forefront of children’s literature. Gorilla presents the dilemma of a neglected, despondent little girl let down by the rea lity of her father’s unresponsiveness. Atkinson (2006) calls Hannah’s dilemma â€Å"a recurring theme: two worlds existing together – the absurd and the ordinary. But by the end, a transformation has occurred and the world seems less frightening. It’s also an example of how emotionally powerful [Browne’s] stories can be when he uses primate characters instead of human† (Atkinson, 2006: n.p.) Gorilla recounts the story of Hannah, a lonely little girl whose father seems perennially preoccupied by his work (Browne, 1983). Hannah desperately wants to visit the zoo, yet her father continually puts her off, explaining that he is too busy (Browne, 1983). Instead, Hannah’s father buys her a toy gorilla (Browne, 1983). When the gorilla comes to life and takes Hannah to the zoo, she finally receives â€Å"the kind of companionship that has so far been unavailable from her unusually preoccupied father† (Silvey, 1995: p. 98). The theme of loneliness central to Gorilla repeats in many of Anthony Browne’s works. Indeed, Anthony Browne’s heroes and heroines often confront decidedly adult situations such as loneliness, abandonment, neglect and disappointment. In Silvey’s words, the illustrations in Gorilla set the standard for Anthony Browne’s later works through their â€Å"forceful, strongly narrative watercolors that blend near photographic realism with fantastical touches and that exert a strong emotional, often unconscious pull; the skillful use of color, pattern and background detail to convey mood and meaning; ingenious visual puns and surprises that frequently point to serious, often disturbing underlying themes; and an exquisite empathy for the concerns of lonely sensitive children† (Silvey, 1995: p. 98). Gorilla also cemented Anthony Browne’s use of primate characters in his books. For Anthony Browne, gorillas are regularly substituted for humans. In the author’s words, â€Å"I am fascinated by them and the contrast they represent – their huge strength and gentleness. They’re thought of as being very fierce creatures and they’re not† (Flood, 2006: n.p.) Anthony Browne’s protagonists, simian or human are often social outcasts that encounter neglect, or whose sensitive nature allows them an outsider’s glimpse of the social hierarchy, as exemplified by Willy the chimpanzee that appears in a series of works beginning with Willy the Wimp. Lewis (2001) points to the sparseness of Anthony Browne’s text and the deceivingly simple yet highly effective way that the author illustrates controversial content in Gorilla, namely child neglect and the failure of parenting (Lewis, 2001: p. 4). Anthony Browne’s text states simply that Hannah’s father â€Å"didn’t have time to take her† to the zoo, while the accompanying image â€Å"coolly [illustrates] a picture of Hannah’s father, separated from his daughter by the newspaper that he is holding up and reading at the breakfast table† (Lewis, 2001: p. 4). In Gorilla Anthony Browne tackles a difficult and painful subject for many children, namely the awareness that their parents may be indifferent to their emotional needs. Anthony Browne’s illustration essentially contradicts and disproves the narrative in a subtle yet forceful way. Hannah’s father is not â€Å"too busy† to take her to the zoo; Hannah’s father does not want to take his daughter to the zoo. He would rather read the paper. Hannah’s father represents the reality of many parent child relationships: the parental figure is physically present yet emotionally absent. Social Issues in Children’s Literature Children’s picture books form an integral element of very young children’s understanding of gender roles. Pre-verbal children nonetheless derive implicit meaning from how men and wome n appear in visual representations, what they wear, how they behave physically, their facial expressions, their spatial relationship to each other within the image, and the focal point within the image, typically the point of power, because it is the point of view. In Piggyback for example, Anthony Browne’s illustration that evokes Franz Hals’s The Laughing Cavalier shows Mr. Piggott in the position of power similar to the Dutch merchants it parodies. As Beckett (2001) states, â€Å"Piggott, who seems to be eating or thinking about eating when he is not at his â€Å"very important job,† is certainly a worthy modern descendant of that patriarchal society. The significance that Browne attaches to the portrait is made obvious by the fact that he has added other signs to assist the viewer in interpreting the parody. He humorously suggests the nationality of the Dutch master by choosing Holland’s characteristic symbol, the tulip, to decorate the room† ( p. 180) In Piggyback, Anthony Browne parodies the obvious gender inequities of the relationship between Mr. and Mrs. Piggott and the inherent favoritism shown to males in the Piggott’s world, a reference to male privilege (Browne, 1986). As Beckett (2001) states, â€Å"Piggott and his sons, who by now have been transparently identified as male chauvinist pigs, have been transformed into â€Å"real† pigs, and the metamorphosis is reflected in the painting, which replaces the laughing cavalier with a pig in the same dignified pose. The Laughing Pig is a parody â€Å"in the second degree,† to borrow Gà ©rard Genette’s term†¦because it parodies Browne’s earlier version of The Laughing Cavalier, itself an ironic recontextualization of the original masterpiece (p. 183). Spitz (1994) argues that â€Å"illustrations in picture books for young children frequently carry and challenge prevailing gender role paradigms† (p. 311). Gender itself can often assume a problematic stance in children’s picture books, given that it is â€Å"volatile and confusing even to adults† and adults often lack awareness of their own internalized sexism (p. 308). In Spitz’s mind, children’s picture books in general â€Å"assume†¦that children are influenced for better or worse by the surrounding culture as well as by their familial identifications† and for Spitz, it is imperative that parents and educators alike take an active role in deconstructing children’s literature, as children are â€Å"best served by being actively and selectively introduced to that culture by adults, rather than left to assimilate it on their own†¦particularly†¦[in] the field of gender† (p. 308). In Anthony Browne’s Willy the Wimp, Willy the chimpanzee begins the story as a somewhat emasculated male afraid to assert himself even against a fly (Browne, 1984). Anthony Browne believes that â€Å"child ren relate to Willy because often everyone and everything is bigger than they are and that their world is run by parents, teachers and older siblings† (Atkinson, 2006: n.p.). Anthony Browne’s Willy the Wimp highlights the struggle that young sensitive males encounter when attempting to find their place in the masculine construction of gender, characterized by physical power, might, aggression and violence (Browne, 1984). None of these qualities are inherent to Willy’s character, and he suffers bullying as a result (Browne, 1984). Spitz (1994) understands that the â€Å"operative agenda of many works is not to extend the range of possibility and give concrete form to vaguely subversive wishes but rather to promulgate and reinforce prevailing social codes that resist diversity†¦diversity especially in the arena of gender† (p. 311). Works such as Anthony Browne’s Willy the Wimp, Spitz contends, â€Å"curiously†¦often blends these opposing mo tives† (p. 311). Willy’s predicament is more or less solved by the appearance of a female, who effectively replaces him as the victim and allows Willy to reclaim some of his manhood (Browne, 1984). Spitz (1994) states that â€Å"in an uncanny repeat scene of the gorillas’ attack on Willy, the place of the helpless, victimized little boy is taken by a girl. Instead of Willy, little Milly is held now in a viselike grip by the gorilla gang leader who also grabs her purse. The visual equation is patent: the passive, helpless, vulnerable position is gendered feminine: wimp = girl† (p. 321). Traditional masculinity carries a heavy burden for sensitive little boys, and as Anthony Browne asserts, much of life as a young boy growing up, especially with older brothers, is characterized by competition (Atkinson, 2006: n.p.). As Spitz (1994) points out, â€Å"by being able to scare, Willy has changed from a wimp into a hero. Big, strong, and alarming now, he attracts the girl, and, on the next page, we see Milly cover his face with lipstick kisses in gratitude for her rescue† (p. 321). Here we see the reward for proper masculine behavior: male respect, and female affection. As Spitz (1994) astutely observes, â€Å"our culture continues to perpetuate the notion that to be worthwhile, lovable, and effective as a human being, a man must have prodigious physical strength and a frightening demeanor†¦ Although much depends on the way the book is read, its casual, even brazen presentation of wide-spread masculine stereotypes can scarcely be evaded. Little Willy, despite his concerted efforts, fails in the end to achieve this goal. His outside changed, but his inside did not. He is therefore portrayed as sympathetic but ridiculous† (p. 321). In conclusion, Anthony Browne’s children’s picture books bravely tackle difficult and thorny social issues with charm, compassion and wit. The works covered in this essay demonstrate that Anthony Browne’s playful approach to art and literature masks a penetrating and insightful critique of the social assumptions and biases implicit in the Western culture. References Appleyard, J. A. (1991).  Becoming a reader: The Experience of Fiction from Childhood to Adulthood. Cambridge, Cambridge University Press. Atkinson, F. (2006). Monkey business. The Age. Web. Barry, P. (2009).  Beginning Theory: An Introduction to Literary and Critical Theory. 3rd edition. Manchester, Manchester University Press. Beckett, Sandra. â€Å"Parodic Play with Paintings in Picture Books.† Children’s Literature 29 (2001): 175-195. Rpt. in Children’s Literature Review. Ed. Dana Ferguson. Vol. 156. Detroit: Gale, 2011. Literature Resource Center. Web. Brown, A. (1976).  Through the Magic Mirror. New York, Greenwillow Books. Brown, A. (1984).  Willy the Wimp. New York, Alfred A. Knopf. Brown, A. (1983).  Gorilla. London, Julia MacRae Books. Brown, A. (1986) .  Piggybook. New York, Alfred A. Knopf. Flood, A. (2009). Gorilla artist Anthony Browne becomes children’s laureate. Guardian.   Goldstone, B. P. (2001). Whaz up with our books? Changing picture book codes and teaching implications: children’s books change with the culture around them. Understanding postmodern picture books helps children make sense of a complex world. The Reading Teacher, 55 (4). Web. Hateley, E. (2009). Magritte and Cultural Capital: The Surreal World of Anthony Browne. Lion and the Unicorn,  33 (3). Web. Lewis, D. (2001).  Reading Contemporary Picturebooks: Picturing Text. London, Routledge Falmer. Nodelman, P. (1999). Decoding the images: how picture books works. In: Hunt, P. (ed) Understanding Children’s Literature. London, Routledge. p. 128-138. Silvey, A. (ed) (1995).  Children’s books and their creators. New York, Houghton Mifflin. Spitz, E. H. (1994). Good and naughty/boys and girls: reflections on the impact of cultur e on young minds. American Imago, 51 (3). Web. Swaggerty, E. A. (2009). Using Postmodern Picturebooks in the Classroom. In: Wooten, D. A. (ed) Children’s Literature in the Reading Program: An Invitation to Read. Washington, International Reading Association. This critical writing on The Power of Pictures: An Analysis of Anthony Browne’s Picture Books was written and submitted by user Damarion U. to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Free Essays on Anxiety And Panic Attacks

Anxiety and Panic Attacks THE EXTENT OF THE PROBLEMAnxiety is a very common problem in the community. It has been estimated that in general practice populations, as many as 27% of patients with psychiatric symptoms have anxiety state.WHAT IS ANXIETY?Anxiety disorders can vary enormously from severe generalised anxiety in which there is a feeling of constant dread with unpleasant bodily symptoms, to panic attacks, which may be a sudden onset of these symptoms, appearing to come out of the blue. Fear of having a panic attack can be very disabling, preventing people from going about normal work or social activities and leading to agoraphobia. Other fears, (phobias) may focus on specific situations or objects. Many sufferers of anxiety have experienced a mixture of these conditions, possibly over a long period of time.MOODWith anxiety, the mood is one of feeling keyed up and irritable.COGNITIONSThe thinking patterns characteristically focus on excessive worry about things. There may be thoughts about being vulner able or ineffective, or being threatened by events or other people. Often there is poor concentration.BIOLOGICAL FEATURESAn anxious person is in a state of high arousal: there may be increased heart rate, weating, shaking, nausea, dizziness, dry mouth and a range of other symptoms.BEHAVIOUR AND MOTIVATIONWith anxiety, the person may be uneasy, jumpy and restless, always on the lookout for possible danger or difficulty in an effort to avoid such situations. A sufferer may appear to have few distressing symptoms simply by avoiding situations in which they arise.CAUSESThere is no one cause for the onset of an anxiety disorder. There may be a family predisposition. Sometimes the onset coincides with a life event: bereavement, unemployment, childbirth etc., or with physical illness, or with a period of stress.TREATMENTIn the past, benzodiazepine medication has been prescribed, but the evidence of habituation and dependency has caused ... Free Essays on Anxiety And Panic Attacks Free Essays on Anxiety And Panic Attacks Anxiety and Panic Attacks THE EXTENT OF THE PROBLEMAnxiety is a very common problem in the community. It has been estimated that in general practice populations, as many as 27% of patients with psychiatric symptoms have anxiety state.WHAT IS ANXIETY?Anxiety disorders can vary enormously from severe generalised anxiety in which there is a feeling of constant dread with unpleasant bodily symptoms, to panic attacks, which may be a sudden onset of these symptoms, appearing to come out of the blue. Fear of having a panic attack can be very disabling, preventing people from going about normal work or social activities and leading to agoraphobia. Other fears, (phobias) may focus on specific situations or objects. Many sufferers of anxiety have experienced a mixture of these conditions, possibly over a long period of time.MOODWith anxiety, the mood is one of feeling keyed up and irritable.COGNITIONSThe thinking patterns characteristically focus on excessive worry about things. There may be thoughts about being vulner able or ineffective, or being threatened by events or other people. Often there is poor concentration.BIOLOGICAL FEATURESAn anxious person is in a state of high arousal: there may be increased heart rate, weating, shaking, nausea, dizziness, dry mouth and a range of other symptoms.BEHAVIOUR AND MOTIVATIONWith anxiety, the person may be uneasy, jumpy and restless, always on the lookout for possible danger or difficulty in an effort to avoid such situations. A sufferer may appear to have few distressing symptoms simply by avoiding situations in which they arise.CAUSESThere is no one cause for the onset of an anxiety disorder. There may be a family predisposition. Sometimes the onset coincides with a life event: bereavement, unemployment, childbirth etc., or with physical illness, or with a period of stress.TREATMENTIn the past, benzodiazepine medication has been prescribed, but the evidence of habituation and dependency has caused ...

How to Add Page Numbers in Microsoft Word

How to Add Page Numbers in Microsoft Word How to Add Page Numbers in Microsoft Word Adding page numbers to a Microsoft Word document is a fundamental element of formatting. This is particularly important in a longer piece of work, like a dissertation, since it prevents the pages from getting mixed up and helps your reader navigate the document. What many people don’t realize, however, is that Microsoft Word offers customized formatting options for page numbers, allowing you to apply different styles to different parts of a document. In today’s blog post, we run through how you can use page numbers to make your work look tidy and professional. Adding Page Numbers to a Document The basic process of adding page numbers to a document is simple. All you need to do is: Go to the â€Å"Insert† tab and click â€Å"Page Number† in the â€Å"Header Footer† section In the dropdown menu, select where you want your page numbers to appear (header, footer or margins) Finally, select the alignment for your page numbers (left, right or center) This will add page numbers throughout your document, making it easier to navigate between sections. Formatting Page Numbers The default page number style in Microsoft Word can be adjusted using the â€Å"Format Page Numbers† option in the dropdown menu. The pop-up menu that appears when you click on this gives you two main options: Number Format This allows you to control the style of numbering you apply in your document. The default is Arabic numerals, but you can use lettering or Roman numerals instead if you prefer. You can also add the chapter number to your page numbering by selecting â€Å"Include Chapter Number,† but this only works if you’ve applied appropriate â€Å"Heading† styles in your document. Page Numbering These options allow you to control the number at which your page numbering starts. Usually this will default to â€Å"1,† starting at the first page of your document. Sections Breaks and Page Numbering Microsoft Word can also apply different styles of page numbering in different parts of your document. This can be handy if, for instance, you want the page numbers to begin only after the cover page, or if you wanted to use Roman numerals for pages preceding the introduction. To do this, however, you’ll need to add section breaks to your document: Select where you want a section break to appear Go to â€Å"Page Layout† and click â€Å"Breaks† Select â€Å"Next Page† under â€Å"Section Breaks† in the dropdown menu To apply different page number styles before and after the break: Go to â€Å"Insert† and find the â€Å"Header Footer† section Select â€Å"Edit† under either â€Å"Header† or â€Å"Footer† Select the header/footer where you want to apply a particular numbering style In the â€Å"Design† tab, deselect â€Å"Link to Previous† Once this is done, changing the formatting style of the page numbers in one part of the document will leave preceding sections unchanged.

Humanities Paper Ella Minnow Pea Essay Example | Topics and Well Written Essays - 250 words

Humanities Paper Ella Minnow Pea - Essay Example Again, Orwell and Dunn speak about cruelty of a government in totalitarian country, so ban here comes from up-high authority. But nowadays we see a tendency of shorting words inside one language and high level of linguistic borrowing one culture from another not only because one culture influences and subdues another, but also because in one culture there’s more handy word to name a particular thing. Then borrowing’s reasonable and comes from people (usually from Internet), and globalization helps in making borrowed word popular. If language change comes from people, not from rulers, we don’t think it’s a sign of enslaving. People seem to have a silent agreement to make native languages more common, more like each other to simplify process of communication and understanding. How it can be a bad thing? Also, everything now is on a way of simplifying, and such changes come from all people’s silent agreement. We’re not forced to it, we will it. So can tendency be considered positive or negative depending on where it comes from, if it’s still the same tendency? If changes come from us we think that’s normal; the same change comes from government and we think it’s silly and brutal. But in fact, there’s just a tendency of simplifying things. And language, of course, is an important thing, but still just a part of a general