...conveys in the poem a theme where taking the risks in our lives is what the best choice is. Stafford's proves that taking risks is the best choice in eliminating censorship. He does this by using literary device to emphasize a tone of disappointment towards it. Stafford uses many literary language which causes him to develop the meaning on what the meaning of books mean. The very first stanza helps with describing what books are like and what they represent and mean in our world. In the next stanza, Stafford uses a metaphor to emphasis the negative aspects in our society and how they are like the books being burned, “more disturbing than book ashes are whole libraries that no one got around to writing----desolate towns, miles of unthought in cities, and the terrorized countryside where wild dogs.” (Stafford) Additionally in the very last stanza, “so I’ve burned books....
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...those elements, which make literature more understanding for a reader. However, sometimes the poet or writer presents those elements as irony and the reader may get confused about the true meaning of literature. Irony exists when a reader is led to expect things to happen but exactly the opposite happens. Ray Bradbury in Fahrenheit 451 familiarizes a reader with irony. His main character, the protagonist, Guy Montag is presented as a person whose life is full of irony. Through the irony of Montag’s life, Bradbury brings the reader into a better understanding of nature of language, of people understanding of their own life, and of the effect of technology. The first example of irony in the novel is the job of fireman. To readers, a fireman helps to put out fires. However, Bradbury presents the fireman, Guy Montag, as a person who starts the fires. Moreover, the symbol of hearth and salamander, in the first part of the novel, symbolizes a traditional home fireplace and the creature from mythology that could survive in the fire and not get harmed. However, Bradbury through that symbol presents irony. The reader discovers that Montag does not live unharmed by fire; but he realizes, how burning many books destroys his society. The symbolism presents irony, which will help the readers to go deeper into the true meaning of the book. It also will let them think about the main character’s behavior, and how that affects his life as well as the reader’s life. Secondly, Bradbury uses irony...
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...“the incineration of knowledge and wisdom” Fahrenheit 451 Kati Hernandez 10/28/14 AP English 12 Period 1 Three Questions 1. When the story starts, what are the forces acting on Montag? 2. Why would Montag read the poem “Dover Beach,” by Matthew Arnold to Mildred and her friends and how is it significant to the novel? 3. Once Montag becomes an insubordinate, why does the government capture an innocent man instead of tracking down Montag? Literary Criticism Ray Bradbury’s Fahrenheit 451 follows the protagonist Guy Montag, a fireman living in a dystopic society where books are illegal and burnt if found. Instead of reading citizens watch copious amounts of television . Conversations with pedestrians are unheard of until Montag meets Clarisse, “seventeen and insane”(Bradbury 7). She asks multiple questions about his life, one question which changes his outlook on his entire life, “Are you happy?”(Bradbury 10). After his conversation with Clarisse, Montag is conflicted with his job, his disposition, and his desire for knowledge and wisdom. Using a variety of literary elements throughout Fahrenheit 451, Ray Bradbury emphasizes that wisdom and knowledge are acquired through experience and critical thinking. Bradbury uses allegory and alliteration to develop the idea that the censorship and the distractions of society leads to the gradual decay of knowledge. While on the subway, Montag remembers his childhood memory of himself sitting on a yellow...
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...“Those who don't build must burn. It's as old as history and juvenile delinquents.”(Bradbury 89). In the novel Fahrenheit 451, the main idea centers around the importance of human connection. Bradbury stresses this idea by allowing fire to take away the idea of building relationships with others. In turn, the society begins to collapse and literally ends with the city in flames. He also illustrates how much the real world relates to the crumbling world in the novel through technology, their current events, and the way the people treat certain issues. In Fahrenheit 451, Ray Bradbury through his use of literary terms exposes how literature saves society from its inevitable demise by revealing today’s society’s weaknesses, challenges readers to connect the dystopian society in the book to reality, and demonstrates how human connections give people a reason to live and love. Even when Bradbury was a child he was interested in literature. In the article “Ray Bradbury: Martian...
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...In Ray Bradbury’s 1953 anti-utopian novel “Fahrenheit 451,” all works of literature are burned and all critical thinking is halted in order to not offend anyone. The Firemen in this society ironically but ablaze any houses suspected of hoarding books and the government expels those who attempt to think freely. Guy Montag is the main character who begins to question his job as a fireman and becomes curious about books. The inspiration for the censorship in this novel came from the effects of McCarthyism and the Cold War during Ray Bradbury’s time. Thousands of Americans were being falsely accused of treason against the U.S. or for being communists due to the escalated tensions caused by the Cold War. For Mr. Bradbury, this time represented one...
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...Fahrenheit 451 extra credit Fundamentals of communication 11- 09-15 Fahrenheit 451 1. Clarisse describes a past that Montag has never known: one with front porches, gardens, and rocking chairs. What do these items have in common, and how might their removal have encouraged Montag's repressive society? This was a very interesting scene that vividly depicted a picture with just a couple of simple words. The lines that she acted were superb. Clarisse sat out side during the dark when montage walked by and noticed that this girl figured out who he was before she saw him she announced that “I can smell the kerosene of you. So you must be a fireman! Not the ones that used to put fires out like in the past but ones that start them”. He responded with “well this is my job”. She then preceded and look up in the sky and wondered to herself and asked Montage if he ever noticed the green grass, aroma of the flowers, etc. She then abruptly said, “What about those cars? Do you think they ever look down and think about this stuff”? Do you think they even notice it? I mean these cars drive so fast that they even needed to make the billboards larger. She said. there use to be a time when they were only 25 feet long but now days they are a 100. She asks Montage, “Did you ever look down and notice this”? He replied “No not really”. The reason I depicted this scene is because it gives a lot of detail about the repressive society that is brainwashed to take pills, watch TV, and be anti-social...
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...In Fahrenheit 451 by Ray Bradbury, Guy Montag undergoes change due to Clarisse asking Montag if he is happy, witnessing an old woman burn to death to stand up for a cause she believes in, and the adjustment of the environment from a fast-paced city to the calmness of nature; Montag’s change develops a theme that even the most unlikely people are still capable of changing. A single character, such as can have a massive impact and initiate a drastic change on another character, which Clarisse demonstrates when she first meets Montag and causes him to rethink his entire life. Upon returning home after Clarisse asks if he is happy, Montag comes to the realization that “He was not happy… He wore his happiness like a mask and the girl had run off across the lawn with the mask and there was no way of...
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... Morgan Banks 1.)Introduction: How'd He Do That? Memory affects the reading of literature because it helps you make connections and recognize patterns. Patterns, in turn, can reveal hidden meanings and truths in the text- if something is mentioned repeatedly, thats a big clue that is of vital importance to fully understanding the piece of literature. Finally symbols show what text cannot and guide you to a more complete understanding of the underlying point. A complicated novel will often include many characters, one central plot, and numerous sub-plots. Pattern recognition allows us to see the relationships between character, actions, and ideas. A time when symbolism enhanced my understanding when reading a literary work, was when i was reading The Great Gatsby by F. Scott Fitzgerald. The symbol is the green light, which sits across the water from Gatsby's house. Gatsby stood at the end of his garden with arms outstretched, desperately trying to reach the green light. The green light symbolizes how desperately Gatsby want Daisy back in his life- however, his failure to reach the green light demonstrates how Daisy is ultimately gone from his life forever. 2.)Chapter 1: Every trip is a quest (Except when it's not) Story I have chosen is Percy Jackson and the Lightning Thief A.) Our questor: A young boy with dyslexia and ADHD who finds out he is a demigod and that his father is poseidon. B.) A place to go:...
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...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...
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...The Power of Logic The Power of Logic FOU RTH E DITION Frances Howard-Snyder Daniel Howard-Snyder Ryan Wasserman WESTERN WASHINGTON UNIVERSITY Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2009, 2005, 2002, 1999, by The McGraw-Hill Companies, Inc. All rights reserved. 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 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. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 0 DOC/DOC 0 9 8 ISBN: 978-0-07-340737-1 MHID: 0-07-340737-2 Editor in Chief: Michael Ryan Editorial Director: Beth Mejia Sponsoring Editor: Mark Georgiev Marketing Manager: Pamela Cooper Editorial Coordinator: Briana Porco Production Editors: Melissa Williams/Melanie Field, Strawberry Field Publishing Cover Designer: Ashley Bedell Cover Photo: © Dan Trist/Corbis Media Project Manager: Thomas Brierly Production Supervisor: Louis Swaim Composition: This text was set in 10.5/12.5 Goudy by Aptara, Inc. Printing: Printed on 45# New Era Matte by R.R. Donnelley & Sons, Inc. Credits: The credits section for this book is on page 647, following the Answer Key in the back of the book, and is considered an extension of the copyright page. ...
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...Physical Chemistry Understanding our Chemical World Physical Chemistry Understanding our Chemical World Paul Monk Manchester Metropolitan University, UK Copyright 2004 John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England Telephone (+44) 1243 779777 Email (for orders and customer service enquiries): cs-books@wiley.co.uk Visit our Home Page on www.wileyeurope.com or www.wiley.com All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except under the terms of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London W1T 4LP, UK, without the permission in writing of the Publisher. Requests to the Publisher should be addressed to the Permissions Department, John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England, or emailed to permreq@wiley.co.uk, or faxed to (+44) 1243 770620. This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold on the understanding that the Publisher is not engaged in rendering professional services. If professional advice or other expert assistance is required, the services of a competent professional should be sought. Other Wiley...
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...The Wealth of Networks The Wealth of Networks How Social Production Transforms Markets and Freedom Yochai Benkler Yale University Press New Haven and London Copyright _ 2006 by Yochai Benkler. All rights reserved. Subject to the exception immediately following, this book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. The author has made an online version of the book available under a Creative Commons Noncommercial Sharealike license; it can be accessed through the author’s website at http://www.benkler.org. Printed in the United States of America. Library of Congress Cataloging-in-Publication Data Benkler, Yochai. The wealth of networks : how social production transforms markets and freedom / Yochai Benkler. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-300-11056-2 (alk. paper) ISBN-10: 0-300-11056-1 (alk. paper) 1. Information society. 2. Information networks. 3. Computer networks—Social aspects. 4. Computer networks—Economic aspects. I. Title. HM851.B457 2006 303.48'33—dc22 2005028316 A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. 10 9 8 7 6 5 4 3 2 1...
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...Fourth Edition Reframing Organizations Artistry, Choice, and Leadership LEE G. BOLMAN TERRENCE E. DEAL B est- se l l i n g a u t h o rs of LEADING WITH SOUL FOURTH EDITION Reframing Organizations Artistry, Choice, and Leadership Lee G. Bolman • Terrence E. Deal Copyright © 2008 by John Wiley & Sons, Inc. All rights reserved. Published by Jossey-Bass A Wiley Imprint 989 Market Street, San Francisco, CA 94103-1741—www.josseybass.com No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-6468600, or on the Web at www.copyright.com. Requests to the publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201-7486011, fax 201-748-6008, or online at www.wiley.com/go/permissions. Credits are on page 528. Readers should be aware that Internet Web sites offered as citations and/or sources for further information may have changed or disappeared between the time this was written and when it is read. Limit of Liability/Disclaimer...
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...C h a p t e r 1 Prewriting GETTING STARTED (OR SOUP-CAN LABELS CAN BE FASCINATING) For many writers, getting started is the hardest part. You may have 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,...
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...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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