...from the traditional Bram Stokers Dracula to more modern work as well-known as Twilight. Lucy in Dracula was portrayed as being “slender with large brown eyes and full lips”, she was considered a “damsel”. Her character became the stereotype for the females in novels that followed. In Buffy the Vampire Slayer the role of women changed. The female was no longer the “damsel” but now was the warrior. In the Anita Blake, Vampire Hunter, by Laurell K Hamilton, Anita is one thing the vampires fear most that is why she is called the “Executioner”. But there are many similarities in the women of classic and modern day literature and film as well. The role of women in the Victorian era were to be virginal and innocent, or else they were a mother and wife. If she was not either of these she was considered impure and dirty. Bram Stoker Dracula is a prime example of this system. In future writing women have gotten a chance at significant change. Now women can be the slayer, the persuader, and the enforcer. Women have grown in brains and brawn. The main female character in Dracula, found him in his sleep and during a period of time Dracula changes Lucy into an independent woman. According to one of the prevailing interpretations of the novel, Dracula acted as a catalyst for the female desire. Woman’s sex drive, as it was believed in the Victorian Era, could not exist on its own, it had to be awakened by a man and remain dependent on him (Janion, 208). Dracula can is considered the start of...
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...Dracula Essay There was no doubt that Dracula was written in the victorian age. 1897 to be exact. Back then and even in this present day women are seen to be weak and “helpless” meanwhile men are brave almost “heroic”, they are also seen to be more emotionally and physically stronger than women. There is a couple ways that this is portrayed in the book. For example the three women that were extremely beautiful but mainly used in the story for the sexual desire that they caused leading them to be seen as “evil”. The women in the story that were pure and chaste were seen as “strong, heroic, and steadfast in relationships”. Another example is how when the group of people go after dracula none of the girls are allowed to do anything strenuous in fear of causing them too much stress. This theme of women being less than men is very common in the gothic literature style, which is why it doesn't surprise many people when reading it. Chapter three is where...
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...“The role of women in the gothic genre is as victims, always subject to male authority.” Compare and contrast the extent to which this interpretation is relevant to your three chosen texts. “The wolf consumes red riding hood – what else can you expect if you talk to strange men, comments Perrault briskly. Let’s not bother our heads with the mysteries of sadomasochistic attraction” Angela Carter; Foreword to Perrault’s Short Stories. In much of today’s feminist writings, the Gothic era is frequently defined as a period in which the oppression of females was at its most intense. In response to fin de siècle anxieties of a social revolution in which gender stereotypes could be overhauled, gothic writers, it is claimed, sought to reassert cultural and gender norms – a reassertion which inevitably resulted in the oppression of women. In view of such contemporary analysis, it is thus all too tempting to offer a sweeping judgement of gothic literature as victimising, oppressive and misogynistic; Dracula’s “victims” are all “unambiguously women[1]”, Poe victimises through an “idealised and dehumanising image of women[2]”, while Carter is a “pseudo feminist” who merely “reinforces patriarchal views” with her “pornographic” writing[3]. Yet such views are largely artificial, and are primarily based on potted summaries of the above works, rather than a closer textual analysis. If one takes the definition of a victim as a being who is subject to the successful predatory actions of...
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...research on horror films, but looking at a specific part under ‘approaching the media’, which is genre and looking at three objectives to complete this: * How genre is represented * How the genre concept works in Teen Slasher films * The key genre conventions used in films. The three films that would help me conduct this research and meet my aims are Candyman, Friday the 13th and a nightmare on Elm Street. By looking at these films, I would be able to see whether all the elements that come under genre is applied e.g. iconography, setting etc. The creation of horror films was done to make people scared and frightened but also tap into our hidden fears. This could be done by looking at the most common thing that scare people. For example, The fly, David Cronenberg was based on the idea of people being scared to get sick/diseases. The word “genre” comes from the French word meaning type or category. Genres only began to develop due to getting inside help form studio the repeated patterns the audience tend to like. However, there is not just one type as there as hybrids. The stages of genre begins with primitive where the patterns are...
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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...Tourist Studies http://tou.sagepub.com/ Paris offscreen: Chinese tourists in cinematic Paris Yun-An Olivia Dung and Stijn Reijnders Tourist Studies 2013 13: 287 originally published online 30 August 2013 DOI: 10.1177/1468797613498164 The online version of this article can be found at: http://tou.sagepub.com/content/13/3/287 Published by: http://www.sagepublications.com Additional services and information for Tourist Studies can be found at: Email Alerts: http://tou.sagepub.com/cgi/alerts Subscriptions: http://tou.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://tou.sagepub.com/content/13/3/287.refs.html >> Version of Record - Nov 18, 2013 OnlineFirst Version of Record - Aug 30, 2013 What is This? Downloaded from tou.sagepub.com at The Hong Kong Polytechnic University on January 5, 2014 498164 2013 TOU13310.1177/1468797613498164Tourist StudiesDung and Reijnders ts Article Paris offscreen: Chinese tourists in cinematic Paris Yun-An Olivia Dung Stijn Reijnders Erasmus University Rotterdam, The Netherlands Tourist Studies 13(3) 287–303 © The Author(s) 2013 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1468797613498164 tou.sagepub.com Leiden University, The Netherlands Abstract This article examines from a European-Asian perspective the relationship between media representations and the tourist’s imagination...
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...Role of Emotional Intelligence in Effective Leadership OB PROJECT TERM I By: Anumeha Gupta (h11067) OB-II PROJECT (TERM II) Dwaipayan Gupta (h11075) Shesadri Biswas (h11110) Sreekanth S V (h11113) Vikrant Chaplot(h11118) GROUP B7 1 ACKNOWLEDGEMENTS We would like to express our gratitude towards Prof. Manish Singhal for giving us the opportunity to pursue this project in the course “Organizational Behaviour - II”. We want to thank him for his creative and thoughtful ideas that made our project work highly interesting and interactive. We would like to thank Mr Gaurav Marathe for taking out the time to answer our numerous queries and for his useful suggestions that went a long way in helping us improve our project. We would also like to thank Ms Dulcie Margaret Young for providing the necessary administrative support. We would like to thank the committee heads and secretaries at XLRI for their valuable inputs. We also want to thank the committee members (both senior and junior batches) for taking out the time to answer our questions regarding their respective committee heads. We would always be grateful to the esteemed pedagogy of XLRI and hope to apply the learnings from this project for effective management in our respective fields. 2 TABLE OF CONTENTS Abstract ............................................................................................................... 4 Introduction ...............................................................
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...animal Books by Elliot Aronson Theories of Cognitive Consistency (with R. Abelson et al.), 1968 Voices of Modern Psychology, 1969 The Social Animal, 1972, 1976, 1980, 1984, 1988, 1992, 1995, 1999, 2004; (with J. Aronson), 2008 Readings About the Social Animal, 1973, 1977, 1981, 1984, 1988, 1992, 1995, 1999, 2004; (with J. Aronson), 2008 Social Psychology (with R. Helmreich), 1973 Research Methods in Social Psychology (with J. M. Carlsmith & P. Ellsworth), 1976 The Jigsaw Classroom (with C. Stephan et al.), 1978 Burnout: From Tedium to Personal Growth (with A. Pines & D. Kafry), 1981 Energy Use: The Human Dimension (with P. C. Stern), 1984 The Handbook of Social Psychology (with G. Lindzey), 3rd ed., 1985 Career Burnout (with A. Pines), 1988 Methods of Research in Social Psychology (with P. Ellsworth, J. M. Carlsmith, & M. H. Gonzales), 1990 Age of Propaganda (with A. R. Pratkanis), 1992, 2000 Social Psychology, Vols. 1–3 (with A. R. Pratkanis), 1992 Social Psychology: The Heart and the Mind (with T. D. Wilson & R. M. Akert), 1994 Cooperation in the Classroom: The Jigsaw Method (with S. Patnoe), 1997 Nobody Left to Hate: Teaching Compassion After Columbine, 2000 Social Psychology: An Introduction (with T. D. Wilson & R. M. Akert), 2002, 2005, 2007 The Adventures of Ruthie and a Little Boy Named Grandpa (with R. Aronson), 2006 Mistakes Were Made (But Not By Me) (with C. Tavris), 2007 Books by Joshua Aronson Improving Academic Achievement, 2002 The Social Animal To...
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...AS English Language [pic] [pic] [pic] Fiction style models and tasks – 2012/2013 Style Model Workbook Style models are examples of a type of writing used to give you an idea of the features used when adapting a particular style and form. As you will be required to include a fiction and non-fiction annotated style model as part of your coursework folder we have compiled a selection of materials to give you a head start. The two booklets (one fiction, one non-fiction) will contain the type of extracts you should be looking for and the questions that accompany them will help you to annotate the materials appropriately. You will be given some of the extracts to study in class and some to complete as homework tasks. There may be some materials that you haven’t been directed to by your teachers, these will make very good additional preparation and you should look at these in your own time. All the resources, and some additional style models, can be found in the AS Language section of Moodle. AS LANGUAGE COURSEWORK You must keep all work during the production of the coursework in your folder. You will need all drafts and style models for part of your final grade. Criteria • Two pieces of your own writing • Each piece must have a different audience and purpose • You should write with a specific genre in mind • Pieces should be designed with a real publication in mind • Two...
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...VOLUME EDITOR S. WALLER is an Associate Professor of Philosophy at Montana State University Bozeman. Her areas of research are philosophy of neurology, philosophy of cognitive ethology (especially dolphins, wolves, and coyotes), and philosophy of mind, specifically the parts of the mind we disavow. SERIES EDITOR FRITZ ALLHOFF is an Assistant Professor in the Philosophy Department at Western Michigan University, as well as a Senior Research Fellow at the Australian National University’s Centre for Applied Philosophy and Public Ethics. In addition to editing the Philosophy for Everyone series, Allhoff is the volume editor or co-editor for several titles, including Wine & Philosophy (Wiley-Blackwell, 2007), Whiskey & Philosophy (with Marcus P. Adams, Wiley, 2009), and Food & Philosophy (with Dave Monroe,Wiley-Blackwell, 2007). P H I L O S O P H Y F O R E V E RYO N E Series editor: Fritz Allhoff Not so much a subject matter, philosophy is a way of thinking.Thinking not just about the Big Questions, but about little ones too.This series invites everyone to ponder things they care about, big or small, significant, serious … or just curious. Running & Philosophy: A Marathon for the Mind Edited by Michael W. Austin Wine & Philosophy: A Symposium on Thinking and Drinking Edited by Fritz Allhoff Food & Philosophy: Eat,Think and Be Merry Edited by Fritz Allhoff and Dave Monroe Beer & Philosophy: The Unexamined Beer Isn’t Worth Drinking Edited by Steven D. Hales Whiskey & Philosophy:...
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...23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources 104 108 Chapter 6 Chapter 7 109 Supporting Measures 7.1 Learning and Teaching Resource Materials 7.2 Professional Development 109 109 Appendix 1 Examples of Poetry Analysis 110 Appendix 2 Examples of...
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...TE AM FL Y Praise for Marketing Insights from A to Z “The bagwan of Marketing strikes again. Leave it to Phil Kotler to revisit all of our blocking and tackling at just the right time . . . and as all great marketers know: ‘timing is everything.’” —Watts Wacker Founder and CEO, FirstMatter Author, The Deviant Advantage: How Fringe Ideas Create Mass Markets “Wide-ranging, readable, pithy, and right on target, these insights not only are a great refresher for marketing managers but should be required reading for all nonmarketing executives.” —Christopher Lovelock Adjunct Professor, Yale School of Management Author, Services Marketing “Kotler tackles the formidable challenge of explaining the entire world of marketing in a single book, and, remarkably, pulls it off. This book is a chance for you to rummage through the marketing toolbox, with Kotler looking over your shoulder telling you how to use each tool. Useful for both pros and those just starting out.” —Sam Hill Author, Sixty Trends in Sixty Minutes “This storehouse of marketing wisdom is an effective antidote for those who have lost sight of the basics, and a valuable road map for those seeking a marketing mind-set.” —George Day Geoffrey T. Boisi Professor of Marketing, Wharton School of Business “Here is anything and everything you need to know about where marketing stands today and where it’s going tomorrow. You can plunge into this tour de force at any point from A to Z and always come up with remarkable insights and...
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...citing his name, the book title, and the relevant page numbers (but not in any way that suggests that the book Logical Reasoning or its author endorse you or your use of the work). (2) Noncommercial You may not use this work for commercial purposes (for example, by inserting passages into a book that is sold to students). (3) No Derivative Works You may not alter, transform, or build upon this work. An earlier version of the book was published by Wadsworth Publishing Company, Belmont, California USA in 1993 with ISBN number 0-534-17688-7. When Wadsworth decided no longer to print the book, they returned their publishing rights to the original author, Bradley Dowden. The current version has been significantly revised. If you would like to suggest changes to the text, the author would appreciate your writing to him at dowden@csus.edu. iv Praise Comments on the earlier 1993 edition, published by Wadsworth Publishing Company, which is owned by Cengage Learning: "There is a great deal of coherence. The chapters build on one another. The organization is sound and the author does a superior job of presenting the structure of arguments. " David M. Adams, California State Polytechnic University "These examples work quite well. Their diversity, literacy, ethnic...
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...THE PLAYER Good game design is player-centric. That means that above all else, the player and her desires are truly considered. Rather than demanding that she do something via the rules, the gameplay itself should inherently motivate the player in the direction the designer wants her to go. Telling players they must travel around the board or advance to the next level is one thing. If they don’t have a reason and a desire to do it, then it becomes torture. In creating a game, designers take a step back and think from the player’s viewpoint: What’s this game about? How do I play? How do I win? Why do I want to play? What things do I need to do? MEANINGFUL DECISIONS Distilled down to its essence, game design is about creating opportunities for players to make meaningful decisions that affect the outcome of the game. Consider a game like a boxing match. So many decisions lead up to the ultimate victory. How long will I train? Will I block or will I swing? What is my opponent going to do? Where is his weakness? Jab left or right? Even those few, brief questions don’t come close to the myriad decisions a fighter must make as he progresses through a match. Games invite players into similar mental spaces. Games like Tetris and Chess keep our minds busy by forcing us to consider which one of several possible moves we want to take next. In taking these paths, we know that we may be prolonging or completely screwing up our entire game. The Sims games and those in...
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...Frankenstein by Mary Shelley Key facts full title · Frankenstein: or, The Modern Prometheus author · Mary Wollstonecraft Shelley type of work · Novel genre · Gothic science fiction language · English time and place written · Switzerland, 1816, and London, 1816–1817 date of first publication · January 1, 1818 publisher · Lackington, Hughes, Harding, Mavor, & Jones narrator · The primary narrator is Robert Walton, who, in his letters, quotes Victor Frankenstein’s first-person narrative at length; Victor, in turn, quotes the monster’s first-person narrative; in addition, the lesser characters Elizabeth Lavenza and Alphonse Frankenstein narrate parts of the story through their letters to Victor. climax · The murder of Elizabeth Lavenza on the night of her wedding to Victor Frankenstein in Chapter 23 protagonist · Victor Frankenstein antagonist · Frankenstein’s monster setting (time) · Eighteenth century setting (place) · Geneva; the Swiss Alps; Ingolstadt; England and Scotland; the northern ice point of view · The point of view shifts with the narration, from Robert Walton to Victor Frankenstein to Frankenstein’s monster, then back to Walton, with a few digressions in the form of letters from Elizabeth Lavenza and Alphonse Frankenstein. falling action · After the murder of Elizabeth Lavenza, when Victor Frankenstein chases the monster to the northern ice, is rescued by Robert Walton, narrates his story, and dies tense · Past foreshadowing · Ubiquitous—throughout...
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