...In the article written in The Onion whose aim was to create a satirical article of the marketing world, I wrote a response in regards to the selling of “magnasoles”. In my rhetorical analysis, I did a well job at identifying SOAPTones. I connected the first five lines of the article which targeted the audience of people with sore feet more specifically hard working Americans. The use of targeting hard working Americans resulted in luring them in more with the use of the shoes only being $19.95. They emphasize the price of the shoe more by comparing it to thousands of dollars that would be spent for the same exact job as the “Magnasoles”. Another thing, I did well was noticing the credentials they use throughout the article to ensure...
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...The theater has allowed people to escape from their busy lives and enjoy the entertainment brought through the movies. In articles “Study Finds Movie Attendance Declining as More Americans Act out Films At Home” from The Onion and “Fewer Americans Go to the Movies” from The Wall Street Journal, they discuss how movie attendance has declined and ticket prices have increased. Although both pieces assert the same argument towards America’s movie-going audience, the satirical article from The Onion is more effective. Statistics show that movie attendance declines each year. This result could be from a variety of possible factors. The article from The Onion claims that Americans are choosing to act out films at home instead of seeing the movies at the theater. The piece states that“72 percent of respondents said they enjoyed the flexibility of home-acting versus watching movies in the theater (“Study Finds Movie Attendance Declining”).” This possibility may seem comical, but when thinking more in depth to why staying home would make issues disappear such as needing to use...
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...MagnaSoles- Rhetorical Analysis Essay In the article released by The Onion, a mock advertisement describing the original aspects of the shoe insoles, called MagnaSoles. The purpose of this advertisement is to critique the exaggerated nature of modern-day advertising. The author uses a sarcastic tone to create a humoristic appeal to the reader, along with weasel words and bandwagon effects. Throughout the advertisement, the author continues to describe the benefits of the Magnasoles by referring to detailed scientific facts that make the inserts so spectacular. The author applies humorous terminology to advocate the “healing power of crystals” and Dr. Arthur Bluni added that “the way it harnesses the power of magnetism to properly align the...
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...THE NOUN I. CLASSIFICATIONS 1. Common nouns and proper nouns 2. Concrete nouns and abstract nouns 3. Countable (count) nouns and uncountable (mass) nouns Uncountable nouns may be: a) material nouns, like air, milk, cotton, bread, pork, etc. b) abstract nouns, like biology, peace, music, etc. c) names of sports, like football, skating, swimming, etc. d) names of edible plants, when reference is made to the species itself, like maize, onion, tomato, potato, etc. e) names of towns, countries, months, etc., like London, England, February, etc. Obs: There are some words which are uncountable nouns in English, but which refer to things that are considered countable in other languages, like Romanian, for instance advice, luggage/ baggage, homework, money, knowledge, information, news, furniture, progress. Partitives Although uncountable nouns are seen as denoting an undifferentiated mass, quantity and thus countability may be achieved by means of partitive nouns. They may be: general partitives, which are not restricted to specific lexical items: piece, bit, item typical partitives, which are words restricted to certain lexical items and which form expressions with specific uncountable nouns: bar, lump, fit, grain, etc. measure partitives, which denote exact measurement: inch, gramme, mile, metre, yard, pound, etc. II. THE CATEGORY OF NUMBER A. Classification of nouns: variable and invariable VARIABLE NOUNS: one singular form and one plural form 1. Regular...
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...Copyright © 2013 by McGraw-Hill Education. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. ISBN: 978-0-07-180360-1 MHID: 0-07-180360-2 The material in this eBook also appears in the print version of this title: ISBN: 978-0-07-180359-5, MHID: 0-07180359-9. E-book conversion by Codemantra Version 1.0 All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill Education eBooks are available at special quantity discounts to use as premiums and sales promotions or for use in corporate training programs. To contact a representative please visit the Contact Us page at www.mhprofessional.com. Trademarks: McGraw-Hill Education, the McGraw-Hill Education logo, 5 Steps to a 5 and related trade dress are trademarks or registered trademarks of McGraw-Hill Education and/or its affiliates in the United States and other countries and may not be used without written permission. All other trademarks are the property...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...This text was adapted by The Saylor Foundation under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 License without attribution as requested by the work’s original creator or licensee. Saylor URL: http://www.saylor.org/books Saylor.org 1 Preface Writing is often a challenge. If you were ever challenged to express yourself via the written word, this book is for you. Writing for Success is a text that provides instruction in steps, builds writing, reading, and critical thinking, and combines comprehensive grammar review with an introduction to paragraph writing and composition. Beginning with the sentence and its essential elements, this book addresses each concept with clear, concise, and effective examples that are immediately reinforced with exercises and opportunities to demonstrate learning. Each chapter allows students to demonstrate mastery of the principles of quality writing. With its incremental approach, this book can address a range of writing levels and abilities, helping each student prepare for the next writing or university course. Constant reinforcement is provided through examples and exercises, and the text involves students in the learning process through reading, problem solving, practicing, listening, and experiencing the writing process. Each chapter also has integrated examples that unify the discussion and form a common, easy-tounderstand basis for discussion and exploration. This will put students at ease and allow for greater...
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...I. Introduction In his foreword to a collection of the radio scripts of comedians Bob Elliott and Ray Goulding, Kurt Vonnegut, Jr. endorses these entertainers as somehow new and different—and relevant—since they draw their humor from the plight of the (American) Common Man. In the process, Vonnegut offers us an insight into his own writing, and the philosophies that inform it. “They aren’t like most other comedians’ jokes these days,” Vonnegut writes, aren’t rooted in show business and the world of celebrities and news of the day. They feature Americans who are almost always fourth-rate or below, engaged in enterprises which, if not contemptible, are at least insane. And while other comedians show us persons tormented by bad luck and enemies and so on, Bob and Ray’s characters threaten to wreck themselves and their surroundings with their own stupidity. There is a refreshing and beautiful innocence in Bob’s and Ray’s humor. Man is not evil, they seem to say. He is simply too hilariously stupid to survive. And this I believe. Jerome Klinkowitz, in the introduction to his essay collection entitled Vonnegut in America, has used this quote—as he certainly should—to support his claim that Vonnegut’s humor has its roots in the comedic response to the Great Depression. But of course there is much more to it than that. The reader is left with a nagging question: Were humanity’s case really as Vonnegut describes it, and were this truly his belief, wouldn’t it seem that the...
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...literature PSYCHOANALYTIC interpretation PSYCHOANALYSIS & literature SEMIOTICS CHARACTERS & characteristics Abstract: This article examines the central element in the writings of Bobbie Ann Mason. Use of psychoanalytic semiotics in understanding the characters in the writings of Mason; Significance of the absence of sexual difference to psychoanalytic semiotics; Representation of normative male identity in the novels of Mason. Full Text Word Count: 7599 ISSN: 0038-4291 Accession Number: 15418214 Persistent link to this record (Permalink): http://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=15418214&site=ehost-live Cut and Paste: The Wounded King: Bobbie Ann Mason's "Shiloh" and Marginalized Male Subjectivity. Database: Humanities International Complete Several of Bobbie Ann Mason's works have been approached from the perspective of myth-ritual criticism--especially the Grail motif--with mixed results.(n1) Perhaps the most central element of the Grail motif is the king's wound, which is clearly sexual in nature, and critics who approach Mason's work from this perspective have pointed out how she develops central characters, most notably Emmett in In Country and Leroy in "Shiloh," who seem to play analogous roles to that of the wounded king in Grail legend. However, if we approach these characters--and most particularly their wounds--from the perspective of psychoanalytic semiotics rather than myth-ritual criticism, we arrive at some very different observations...
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...Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement of Sentence Members. Rhetorical Question. Types of Repetition. Parallel Constructions. Chiasmus. Inversion. Suspense, Detachment. Completeness of Sentence Structure. Ellipsis. One-Member Sentences. Apokoinu Constructions. Break. Types of Connection. Polysyndeton. Asyndeton. Attachment Lexico-Syntactical Stylistic Devices. Antithesis. Climax. Anticlimax. Simile. Litotes. Periphrasis....
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...Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement of Sentence Members. Rhetorical Question. Types of Repetition. Parallel Constructions. Chiasmus. Inversion. Suspense, Detachment. Completeness of Sentence Structure. Ellipsis. One-Member Sentences. Apokoinu Constructions. Break. Types of...
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...in the previous paragraphs. Not only those activities supposed to refine the mind are included in 'culture two', but also the ordinary and menial things in life: greeting, eating, showing or not showing feelings, keeping a certain physical distance from others, making love, or maintaining body hygiene. CULTURE It is the collective programming of the mind which distinguishes the members of one group or category of people from another. It is a collective phenomenon, because it is at least partly shared with people who live or lived within the same social environment, which is where it was learned. Culture is learned, not inherited. It derives from one's social environment, not from one's genes. Culture should be distinguished from human nature on one side, and from an individual's personality on the other: 1 Cultural relativism there are no scientific standards for considering one group as intrinsically superior or inferior to another. 'Cultural relativism affirms that one culture has no absolute criteria for judging the activities of another culture as "low" or "noble". Symbols, heroes, rituals, and values Cultural differences manifest themselves in several ways - symbols, heroes, rituals, and values. The ‘onion diagram’: Manifestations of culture at different levels...
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...in the previous paragraphs. Not only those activities supposed to refine the mind are included in 'culture two', but also the ordinary and menial things in life: greeting, eating, showing or not showing feelings, keeping a certain physical distance from others, making love, or maintaining body hygiene. CULTURE It is the collective programming of the mind which distinguishes the members of one group or category of people from another. It is a collective phenomenon, because it is at least partly shared with people who live or lived within the same social environment, which is where it was learned. Culture is learned, not inherited. It derives from one's social environment, not from one's genes. Culture should be distinguished from human nature on one side, and from an individual's personality on the other: 1 Cultural relativism there are no scientific standards for considering one group as intrinsically superior or inferior to another. 'Cultural relativism affirms that one culture has no absolute criteria for judging the activities of another culture as "low" or "noble". Symbols, heroes, rituals, and values Cultural differences manifest themselves in several ways - symbols, heroes, rituals, and values. The ‘onion diagram’: Manifestations of culture at different levels...
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...Economist readings 1. It pays to give Allowing consumers to set their own prices can be good for business; even better if the firms give some of it to charity http://www.economist.com/whichmba/it-pays-to-give?fsrc=nlw|mgt|01-12-2011|management_thinking [pic]IN OCTOBER 2007 Radiohead, a British rock group, released its first album in four years, “In Rainbows”, as a direct digital download. The move drew a fair bit of attention (including from this newspaper) not only because it represented a technological thumb in the eye to the traditional music industry, but also because the band allowed listeners to pay whatever they wished for it. Some 60% of those who seized the opportunity paid nothing at all, but the band seemed pleased with the result; one estimate had it earning nearly $3m from the experiment. One group outside the music industry taking an interest was a trio of professors then at the Rady School of Management at the University of California, San Diego: Ayelet Gneezy, Uri Gneezy and Leif Nelson (who is now at the Haas School of Business at the University of California, Berkeley). Inspired, they designed a series of experiments to gauge whether pay-what-you-want pricing would work for other businesses. Their most recent experiment, co-authored with Amber Brown of Disney Research and published in Science, also stirred in a new element: would it make any difference if firms donated some of the pay-what-you-want fee to charity? The authors set up their pricing experiment...
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...noticed that when it is time to begin a writing assignment, you suddenly develop an enormous desire to straighten your books, water your plants, or sharpen your pencils for the fifth time. If this situation sounds familiar, you may find it reassuring to know that many professionals undergo these same strange compulsions before they begin writing. Jean Kerr, author of Please Don’t Eat the Daisies, admits that she often finds herself in the kitchen reading soup-can labels—or anything—in order to prolong the moments before taking pen in hand. John C. Calhoun, vice president under Andrew Jackson, insisted he had to plow his fields before he could write, and Joseph Conrad, author of Lord Jim and other novels, is said to have cried on occasion from the sheer dread of sitting down to compose his stories. To spare you as much hand-wringing as possible, this chapter presents some practical suggestions on how to begin writing your short essay. Although all writers must find the methods that work best for them, you may find some of the following ideas helpful. But no matter how you actually begin putting words on paper, it is absolutely essential to maintain two basic ideas concerning your writing task. Before you write a single sentence, you should always remind yourself that 1. You have some valuable ideas to tell your reader, and 2. More than anything, you want to communicate those ideas to your reader. These reminders may seem obvious to you, but without a solid commitment to your own...
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