...for blood, only for – well, something else;…’’ (ll. 58-61 P.2). forklar citatet Theme characterization support Firstly, it’s important to mention, that the theme ‘’Moral Duality’’ is supported several times in the main quote: ‘’ The knife struck beside her neck. He had missed – had he missed? – and we felt a sharp tug of disappointment, which changed at once to shame, deep shame, for we hadn’t come for blood, only for – well, something else;…’’ (ll. 58-61 P.2). Apart from the divided minds, the fact that the main persons are described in plural is really interesting. From the very beginning of the story, the narrator includes himself in a group of people, by using personal pronouns, such as ‘’we’’ and ‘’our’’: ‘’When we learned that Hensch the knife thrower was stopping at our town for a single performance on Saturday night, we hesitated, wonder what we felt.’’ (ll. 1-6...
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...that makes us want to do things that we know are wrong? Sometimes it is a guilty pleasure; we all have at least one. Sometimes, it can be lust and temptation. The Pultizer Prize-winning author, Steven Millhauser, invites us to experience a single performance act through eyes of an anonymous spectator. Hensch and his assistant host the act. Hensch is described through anonymous spectator’s eyes and rumoured stories about Hensch. Hensch is known to be bold, mysterious and a skilled knife thrower. Even though he goes over the line, the audience is tempted to stay and even volunteer. In general, the story is about a single performance act of the knife thrower and about people’s guilt for going to see this outrageous act. However, through a unique choice of narrator in his novel The Knife Thrower, Steven Millhauser creates empathy for Hensch within his readers. In addition to Millhauser’s use of symbols and colours, the story turns out to be more than a single performance act of a knife thrower. The choice of narrator, which is first person plural, is already introduced in first few lines of The Knife Thrower. “When we learned that Hensch, the knife thrower, was stopping at our town (…) we hesitated, wondering what we felt.” (ll.1-3) while using this type of narration, the readers can see things form the long-range perspective, the audience’s perspective. This way the readers get the feeling of participation in the show. This also gives...
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... very unlike the knife thrower’s act itself which is very mystical and sort of hidden in the shadows. “The Knife Thrower” - the name says it all, but at the same time it tells us nothing about the text. The story is very secretive and does a very good job capturing the reader. It seems as if once you have read a couple of lines, you are instantly drawn into the mystical and dark atmosphere in which the story is unfolding, and you simply cannot stop reading. To mention some of the themes in the story there are entertainment, moral responsibility and passivity. These three themes come together very nicely in the story and they play a big part in shaping the reader’s impression of the audience’s opinions towards Hensch and his performance. The knife thrower, Hensch, is the main character of the story, but throughout the text we gain very little knowledge of him. He is very mystical and doesn’t speak a word during his act, of course this is done to make him an anonymous, but still a central character for the story. “If rumors of this kind were disturbing to us, if they prevented us from celebrating Hensch’s arrival with innocent delight, we nevertheless acknowledged that without such dubious enticements we’d have been unlikely to attend the performance at all.(p. 1, ll. 17-19)” The use of “us” and “we” in this quotation tells us that there are more than one narrator, maybe even that the whole audience acts as narrators...
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...affect the individual. The story begins in medias res: “When we learned that Hensch, the knife thrower, was stopping at our town […]” It is told in the first person plural, which gives the reader an impression of a group speaking and thinking collectively. “[…] if we weren’t absolutely sure of him, then who were we[…]?” It seems that we only hear the opinion of one person, while hearing the opinion of the entire audience at the same time. This gives the effect that there only are two characters: the Knife Thrower and the audience. That also means that the responsibility of any act cannot be place on a single person, but on one of the ‘characters’/groups. There is only one deviation, the first volunteer Susan Parker. “And we knew her, Susan Parker, a high school girl, who might have been our daughter […]” Here Susan Parker is making a transformation from one character, the audience, to another, the Knife Thrower. This means that she doesn’t have any hidden desires, because she has chosen to act them out. The text is build upon the theme personal moral. Through the whole story the values and ethics of the audience are being tested. The text can be divided up into four parts. The first part (p. 1 l. 1 - p. 2 l. 50) is about how the audience admit to them selves that they only want to see the show because they are curious about all the rumours of the knife thrower and whether they are true or false and if Hensch can live up to his...
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...IMPORTANT VOTER INFORMATION VOTER REGISTRATION • WHEN TO RE-REGISTER: If you have moved since you last registered to vote, wish to change your party registration, or have changed your name, you need to re-register as soon as possible. You must register by October 22, 2012 to be able to vote in the November 6, 2012 Presidential General Election. WHERE TO OBTAIN A VOTER REGISTRATION FORM: Anyone who is eligible to register to vote in California can use the new California Online Voter Registration system. You can find the online process at the Registrar of Voters website at www.sdvote.com. Click on Register to Vote and follow the instructions. Voter registration cards are also available and can be found at Post Offices, Department of Motor Vehicles offices, Library buildings, various City Clerk offices, and the Registrar of Voters office. NOTE: You can check the status of your registration by visiting www.sdvote.com. Follow the prompts to verify your voter registration. VOTE BY MAIL BALLOT • • PERMANENT VOTE BY MAIL VOTER: If you are currently a vote by mail voter, you will automatically receive your mail ballot. To confirm your voting status and see your polling location, review the colored mailing label on the back cover of this pamphlet. If the label indicates you are a permanent mail ballot voter, please do not reapply --- we begin mailing the vote by mail ballots on October 9, 2012. If you do not receive th your ballot by October 18 , please call the Registrar...
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...The Journal of Neuroscience, March 24, 2010 • 30(12):4467– 4480 • 4467 Development/Plasticity/Repair Demonstration of a Neural Circuit Critical for Imprinting Behavior in Chicks Tomoharu Nakamori,1,3 Katsushige Sato,2,4 Yasuro Atoji,5 Tomoyuki Kanamatsu,6 Kohichi Tanaka,1 and Hiroko Ohki-Hamazaki1,3,7 1 Laboratory of Molecular Neuroscience, School of Biomedical Science and Medical Research Institute and 2Department of Physiology and Cell Biology, Faculty of Medicine, Graduate School, Tokyo Medical and Dental University, Bunkyo-ku, Tokyo 113-8519, Japan, 3Division of Biology, College of Liberal Arts and Sciences, Kitasato University, Sagamihara, Kanagawa 228-8555, Japan, 4Department of Health and Nutrition Sciences, Faculty of Human Health, Komazawa Women’s University, Inagi-shi, Tokyo 206-8511, Japan, 5Laboratory of Veterinary Anatomy, Faculty of Applied Biological Sciences, Gifu University, Gifu 501-1193, Japan, 6Department of Environmental Engineering for Symbiosis, Faculty of Engineering, Soka University, Hachioji, Tokyo 192-8577, Japan, and 7Recognition and Formation, Precursory Research for Embryonic Science and Technology, Japan Science and Technology Agency, Kawaguchi, Saitama 332-0012, Japan Imprinting behavior in birds is elicited by visual and/or auditory cues. It has been demonstrated previously that visual cues are recognized and processed in the visual Wulst (VW), and imprinting memory is stored in the intermediate medial mesopallium (IMM) of...
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...ASSIGNMENT 1: ENTREPRENEURIAL LEADERSHIP NAOMI R. BARNES DR. PHYLLIS PARISE BUS-508 CONTEMPORARY BUSINESS JULY 20, 2012 Five Guys philosophy of just staying with hamburgers and fries as the only thing they sold did set them apart from other fast-food chains because of the fact that all those sold was the hamburgers and fries. What the Murrells decided was to do things the way they wanted to do them. No matter what anyone else said they should sale they stuck to their plan of just hamburgers and fries. “What they decided in the beginning was that if they were going to make it, they were going to do it the way they wanted to do it, Murrell says. If we just cooked hamburgers and fries and can make it doing that, we'd be alright.” (QSR Magazine, 8/2011). “There was a lot of temptation along the way to do milkshakes and to advertise and to do a lot of things that we did not want to do, he says. Our philosophy was to stick within their own four walls and have the food do the talking for us.” (QSR Magazine, 8/2011). What sets Five Guys apart from other fast-food chains is the small menu they had of just hamburgers and fries and the other fast-food chains had all kinds of food on their menus from chicken to salads. They decided to do just the hamburgers and fries and nothing else. “Very early the Murrells realized that in order to compete with the fast-food chains, Five Guys would have to concentrate on food.” (Boone & Kuntz, p. 78). “ And for 16 years, that's...
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...Neuron Perspective Children, Wired: For Better and for Worse Daphne Bavelier,1,* C. Shawn Green,2 and Matthew W.G. Dye3 of Brain and Cognitive Sciences, University of Rochester, Rochester, NY 14627, USA of Psychology, Center for Cognitive Sciences, University of Minnesota, Minneapolis, MN 55455, USA 3Beckman Institute for Advanced Science and Technology, University of Illinois at Urbana-Champaign, Urbana, IL 61801, USA *Correspondence: daphne@bcs.rochester.edu DOI 10.1016/j.neuron.2010.08.035 2Department 1Department Children encounter technology constantly at home and in school. Television, DVDs, video games, the Internet, and smart phones all play a formative role in children’s development. The term ‘‘technology’’ subsumes a large variety of somewhat independent items, and it is no surprise that current research indicates causes for both optimism and concern depending upon the content of the technology, the context in which the technology immerses the user, and the user’s developmental stage. Furthermore, because the field is still in its infancy, results can be surprising: video games designed to be reasonably mindless result in widespread enhancements of various abilities, acting, we will argue, as exemplary learning tools. Counterintuitive outcomes like these, besides being practically relevant, challenge and eventually lead to refinement of theories concerning fundamental principles of brain plasticity and learning. Introduction It is Monday morning at 7:58 a.m....
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