Topic4 Essay Example | Topics and Well Written Essays - 1000 words

Topic4 - Essay Example At first, Sam without mentioning details of how the launch was going to be made, merely quoted @$75 per head for 100 delegates and a venue fee of $ 2500 thus totaling the contract amount as $10,000. Dean was unimpressed and hence declined Sam's offer. It was only after this; Sam mentioned that a famous Chef Yahoo Nim would attend the event and that a special promotional invitation on Oh My Manor's letter head would be prepared and sent by Sam to the 100 delegates three weeks before launch date. Besides, he also promised to use his own influence to ensure attendance. Dean was apparently induced by these statements of Sam and agreed to Sam's price quoted following which he paid an advance $ 3,000 and received the receipt from Sam mentioning only the price and how total sum was arrived at. Hence successful performance of the contract means that the celebrity Chef Yahoo Nim should have prepared the food and attended the function, Sam should have sent the invitation as stipulated and 100 people should have attended by Sam's influence. But none of these happened resulting in poor attendance of 35 people since only 45 invitations were sent. These can not therefore be a mere parol evidence. These are express terms and hence should be taken as collateral contract though made orally. The collateral contract concept is a device to circumvent the Parol Evidence Rule but also as a means of holding that a statement which is not a term of the main contract can be enforced as a collateral contract i.e. collateral warranty. Some of the cases which can be cited in support of this are ESSO PETROLEUM V MARDEN (1976), DE LASALLE V GUILDFORD (1901), RECORD V BELL (1991) and COMMISSION FOR THE NEW TOWNS V COOPER (CA) (1995) (TheLawsite). Hence Sam is bound by these terms and is liable for damages for breach of contract. Dean is not required to pay the balance amount of $7,000 and he can proceed against Sam for damages for his breach of contract since pressure of work is no excuse. Qn 2 Zander mad it known to Puffy his exact requirements to which Puffy also agreed. Hence the software supplied by Puffy is not in accordance with the terms agreed upon prior to signing of contract Zander signed the contract only on being assured that the software would meet with all the current Government regulatory requirements. But for this he would not have signed the contract. But there is a point against Zander. What Puffy was making was only an opinion and not a condition or representation. She offered him three packages and Zander chose one. It was open to him to verify and then make a purchase. Even though before signing of the contract, Zander insisted, he chose the package at his own risk. If the software package had been a defective one, it would have been a different issue. Hence Puffy is in not breach of contract and consequently Zander is not entitled to refund of the money paid. Qn No 3 In this case, even though Zander did not read the clause No 53 which avoided any liability whatsoever, he is deemed to have read it due to the explicitly mentioned clause on the website. This is an exclusion clause binding on the acceptor. In its absence, the offeror would have been liable for the non-performance or defective performance. In

Energy Drinks Essay Example for Free

Energy Drinks Essay Introduction Sir Isaac Newton was right when he saidâ€Å"what goes up must come down† . This rings true when talking about energy drinks. These products promise to provide heightened awareness, more energy, more endurance some even reference to the consumer you will have wings. So when consuming these products what are you really drinking? Do they provide the energy boost they promise? Are they harmful? Should the FDA do more investigating into the safety of these so-called energy drinks? These are questions I had going into this as a consumer of energy drinks myself, I was interested in how harmful they are too the consumer. In this paper I hope to provide a better insight to a product that is popular and in demand; but little is known about. What Are You Drinking? Energy drinks contain most of the same major ingredients caffeine, taurine, glucronolactone, niacin and panax ginseng just to list a few. Let’s start with caffeine it is a central nervous system stimulant that has the effect of temporarily warding off drowsiness and restoring alertness. As of studies done by (Lovett, Richard) 90% of adults consume caffeine daily in different ways. Most of the energy from these drinks comes from the sugar and caffeine not the unnecessary extras (Suzanne Farrell MS, RD). Taurine another main ingredient is actually an amino acid that is found in the human body it is a natural substance that our bodily systems encounter every day. However in these energy drinks it is a synthetic element. Then there is Ginseng is known as an adaptogen, which means it increases resistance to physical, chemical, and biological stress and builds energy and general vitality. These are just a couple of the things in what seems to be in a lot of the energy drinks. The rest of the scientific sounding ingredients came up to be not relevant to the effects these drinks promise. |Beverage (250 ml) |Caffeine content | |Cocaine energy drink |280mg | |Full Throttle |144mg | |Monster |160mg | |Impulse |88 mg | |Red Bull |80 mg | |Naughty Boy |80mg | |V |78 mg | |Coca-Cola |48. 75 mg | Do These Drinks Provide The Effects They Promise? Most drinks provide some combination of B vitamins (which help convert sugar to energy and help regulate red blood cells, which deliver oxygen), amino acids (e. g. , taurine), antioxidants(milk thisle, vitamin C), and stimulants, ranging from the reliable (caffeine, guarana) to the alleged (horny goat weed). Yes, they do. Smit and colleagues found that energy drinks, as compared to placebo, had energizing effects among 18 to 55 year old participants, with effects being strongest 30 to 60 minutes after consumption and sustained at least 90 minutes. Caffeine was found to be the primary constituent responsible for these effects. Although there is no human requirement for caffeine, even low doses of caffeine (12. 5 to 100 mg) improve cognitive performance and mood (Smit HJ). Because this is still such an understudied topic it is hard to say that these drinks provide the effect they promise. The fact is caffeine affects everyone different due to age, size, tolerance, consumption and lack of sleep all these things contribute to how these drinks will affect you. Are They Harmful? This question was the one I was most interested in there is so much controversy around this question. Many energy drinks have a very high percentage of carbohydrates that can make it more difficult for food and nutrients to be absorbed into the bloodstream from the intestines. In some cases, gastrointestinal problems and distress are a possibility. When an energy drink has a high sugar content, it can have a laxative effect, as well as causing a sudden crash when the sugar leaves the bloodstream and the energy high disappears. Researchers found that within four hours of drinking various energy drinks, the 15 participants blood pressure rates increased approximately 10 percent for the systolic rate, 8 percent for the diastolic rate and heart rates increased 11 percent (Wayne state university study). When given to test rats in an experimental laboratory, it was found that the taurine caused anxiety, irritability, high sensitivity to noise, and self-mutilations. However, this data does not mean that the same effects will occur in humans the differences between rats and people are obviously substantial. That to me seems sort of scary. The Australian Consumers Association advises that while energy drinks may be scientifically safe, young people especially need to be aware of their contents. Research shows that children and young people who consume energy drinks may suffer sleep problems, bed-wetting and anxiety. Children who consume two or more cans of energy drinks a day may become irritable and anxious. Women who are pregnant are advised to avoid energy drinks (especially during the first three months of pregnancy), as high amounts of caffeine can increase the risk of miscarriage, difficult birth and delivery of low-weight babies. (Australian Consumers Association) Drinking these drinks while consuming alcohol can also be very harmful there have been reports of young people dying, possibly as a result of mixing of alcohol and energy drinks. Also Since the absorption of nutrients is slower; there is a large chance that the fluid absorption rate of the body is also slower. Difficulty in natural re-hydration of the body during workouts can cause danger to the person’s health. Athletes, who lose great quantities of fluids during games and practices, should be aware of this circumstance for they are one of the target markets of energy drinks. Should The FDA Do More Investigating As To The Safety Of Energy Drinks? Regulation of foods and drugs in the United States falls under the guidance of the Food and Drug Administration under the Federal Food, Drug, and Cosmetic Act (FDCA). Functional foods, like energy drinks, may be regulated as foods, dietary supplements, drugs, medical foods or food for special dietary use. Though energy drinks have many of the same qualities as soft drinks, which are regulated as foods, they are regulated differently because the functional beverage industry is part of the trend of â€Å"nutraceutical foods† that occupies the gray area between food and dietary supplements. Dietary supplements are generally characterized as foods, despite their drug-like properties and their lack of testing on the market. The U. S. Food and Drug Administration have not conducted any serious investigations into the safety of energy drinks. As dietary supplements, energy drinks are subject to much less stringent regulations than other foodstuffs. However certain nations limit the locations that can sell energy drinks. Other countries require warning labels on individual cans of energy drinks. Still other countries have issued national statements regarding their safety. Some countries, such as Canada, have not yet approved certain energy drinks for sale. So shouldn’t the FDA take a closer look as to how these drinks are labeled and marketed and shouldn’t there be more investigating as to its effects on their consumer. Conclusion As a consumer of at least two if not more monster energy drinks a day I found the information was good to know. I do think that the FDA needs to make it where they do inform the consumer of the risks on the label especially because these drinks are very popular in teens. After all that I found I find it interesting that the public is so misinformed about all the ingredients in these drinks because really the caffeine is what is giving them the boost not all the scientific sounding ingredients. I think that it is most important for consumers to know that when taking in such high levels of caffeine you will go up but you must come down. Bibliography Lovett, Richard (24 September 2005). Coffee: The demon drink? (Fee required). New Scientist (2518). http://www. newscientist. com/article. ns? id=mg18725181. 700. Retrieved 2009-08-03. Suzanne Farrell, MS, RD, a spokeswoman for the American Dietetic Association. Webmd. com Smit HJ, Rogers PJ: Effects of low doses of caffeine on cognitive performance, mood and thirst in low and higher caffeine consumers. Psychopharmacology 2000, 152:167-173. William J. McGuire, the Communication-Persuasion Model and Health-Risk Labeling, in Product Labeling and Health Risks Bichler A, Swenson A, Harris MA: A combination of caffeine and taurine has no effect on short term memory but induces changes in heart rate and mean arterial blood pressure. Amino Acids 2006 http://www. naturalhealthontheweb. com Australian Drug Foundations Druginfo Clearinghouse. http://www. redbull. com/faq/index. html. http://www. safefoodonline. com/news/n_190302. asp. Monster energy [http://www. monsterenergy. com/product/energy. php www. fda. gov wellnessandnutrition. com edrinks. net Smit HJ, Rogers PJ: Effects of low doses of caffeine on cognitive performance, mood and thirst in low and higher caffeine consumers. Psychopharmacology 2000, 152:167-173. http://www. naturalhealthontheweb. com Australian Drug Foundations Druginfo Clearinghouse. http://www. redbull. com/faq/index. html. http://www. safefoodonline. com/news/n_190302. asp Monster energy [http://www. monsterenergy. com/product/energy. php] www. fda. gov.

Wordplay Functions In Literature And Literary Theory English Language Essay

Wordplay Functions In Literature And Literary Theory English Language Essay Abstract: Wordplay occupies a significant position in several important conceptions and theories of literature, principally because it has both a performative and a critical function in relation to language and cognition. This article describes the various uses and understandings of wordplay and their origins in its (Whose?) unique flexibility, which involves an interaction between a semiotic deficit and a semantic surplus. Furthermore, the article illustrates different methods of incorporating theories of wordplay into literature and literary theory, and finally, it demonstrates the ways in which the use of wordplay often leads to the use of metaphors and figurative language. Introduction Puns and wordplay occupy a significant position in literature as well as in various ways of reflecting on and conceptualizing literature. They can be used to produce and perform a poetic function with language and they can be used critically, which entails considering them from a distance(?) as utterances that undermine meaning and sense and that ultimately accomplish a deconstructive performance. A dictionary definition of the word pun illustrates that both homonymy (when two words with unrelated meanings have the same form) and polysemy (when one word form has two or more, related, meanings) can properly be used to form puns: a play on words, sometimes on different senses of the same word and sometimes on the similar sense or sound of different words (American Heritage College Dictionary 1997, Third Edition). However, this definition could also be extended to embrace the term wordplay, mainly because pun seems to cover only single words.  [1]  So a more precise definition of pu n might be a play on words, sometimes on different senses of the same expression and sometimes on the similar senses or sounds of different words (This is between inverted commas. Where is the citation?). The various uses and understandings of wordplay originate from a flexibility which this article attempts to identify and describe from both a historical and a contemporary perspective. Wordplay involves an interaction between a semiotic deficit and a semantic surplus and is therefore primarily understood and used in two different ways in literature and literary theory. Literary scholar Geoffrey Hartman succinctly articulated this interaction in an essay titled The Voice of the Shuttle: Language from the Point of View of Literature (1970) I dont know which system of citation the author is using. If it is APA, this citation is wrong: You can define a pun as two meanings competing for the same phonemic space or as one sound bringing forth semantic twins, but, however you look at it, its a crowded situation (1970: 347). The semiotic deficit is caused by one sign or expression signifying at least two meanings. The semantic surplus, on the other hand, refers to the cognitive event happenin g in the individual (in literature, the reader) experiencing the play on words. The article describes these two features of wordplay with the help of a few examples of wordplay in literature and literary theory, and it also demonstrates that the use of puns and wordplay often leads to the use of metaphor and figurative language or a semantic surplus like Hartmans twins. Furthermore, the article presents an argument for distinguishing between exploring the intention behind the use of wordplay and exploring wordplay itself. In the previous paragraph, the author talked about an essay by Hartman. Is he/she still referring to that essay when he/she talks about the article? Paranomasia and traductio In the beginning was the pun (1957: 65), writes Samuel Beckett in his novel Murphy from 1938 The citation is wrong, according to APA standards, but although puns and wordplay as such may have been with us from the very beginning (of what?) Beckett is paraphrasing the Bible), actual descriptions of wordplay do not appear until the rhetorical studies of Cicero and Quintilian. Parts of Platos Cratylus do; however, bear a superficial resemblance to wordplay because Socrates makes fun of etymological argumentation, showing the reader how language can lead to sophistic blind alleys and dead ends, which can be deceptive to those who are not familiar with the well-known schism between the world of ideas and the world of phenomena. Moreover, in Phaedrus, Socrates argues that in the written word there is necessarily much which is not serious (277E) It wasnt written by Socrates, but by Plato. It is this argumentation which Jacques Derrida later criticizes in Platos Pharmacy (1998) the system of citation does not seem to be consistent. Names of books are alternatively written in bold type, without inverted commas, or in normal type, with inverted commas, in which Derrida attempts to demonstrate the erosion of Platos argumentation through the two-sidedness and ambiguity of the word pharmakon and through the way Plato plays on the multiple meanings of this word. Writing is both a remedy and a poison, producing both science and magic. Platos antidote to sophism is episteme, or, in Derridas view, mental or epistemological repression. Derridas text demonstrates an interesting and intimate connection between writing, wordplay, oblivion and memory, but since this is a perspective a bit outside the framework of this article I will carry on a more historical view..  [2]   Over time, wordplay has been linked to the rhetorical terms of traductio and adnominatio. The anonymous Rhetoric to Herennius (Rhetorica ad Herennium), written in the period 86-82 BC and ascribed to Cicero until the fifteenth century, states that [t]ransplacement [traductio] makes it possible for the same word to be frequently reintroduced, not only without offence to good taste, but even so as to render the style more elegant (1954: 279) The work of Derrida was not cited like this. Traductio is classified below figures of diction and is compared to other figures of repetition. Common to these figures is an elegance which the ear can distinguish more easily than words can explain. (1954: 281). Identifying wordplay as traductio, however, may not entirely correspond with the understanding we have of wordplay today, although the lack of explanatory words within this rhetorical figure is comparable to the above-mentioned thesis. Today, we would perhaps rather characterize wordplay as adn ominatio [called paranomasia in the English translation]. The Rhetoric to Herennius states that wordplays should be used in moderation because they reveal the speakers labour and compromise his ethos: Such endeavours, indeed, seem more suitable for a speech of entertainment that for use in an actual cause. Hence the speakers credibility, impressiveness, and seriousness are lessened by crowding these figures together. Furthermore, apart from destroying the speakers authority, such a style gives offence because these figures have grace and elegance, but not impressiveness and beauty. (1954: 309) I have indented this, according to APA norms. Wordplay must therefore be used economically so as not to seem childish or to monopolize the listeners attention. In addition, the author of the Rhetoric points to the fact that one very quickly becomes too clever by half if the frequency of paronomasia is too high. In Quintilians treatise on rhetoric, The Orators Education (Institutio Oratoria), wordplay is reckoned among figures of speech (9.13). Another style of citation. Quintilian divides these into two types, the first of which concerns innovations in language, while the second concerns the arrangement of the words. The first type is, according to Quintilian, more grammatically based, while the latter is more rhetorically based, but with indistinct limits. At the same time, the first one protects the speaker against stereotypical language. Wordplay belongs to what Quintilian refers to as figures which depend on their sound; other figures depend on alteration, addition, subtraction or succession. Quintilian treats wordplay immediately following the chapter on addition and subtraction, thereby suggesting its status as something which neither subtracts nor adds. Otherwise his conception of wordplay is similar to that of the Rhetorica ad Herennium: wordplay should be used with cautiousness and only if it to some extent strengthens a point, in which case it can have a convincing effect.  [3]   What we can learn by reading these passages on wordplay in Quintillian and the Rhetorica ad Herennium is that ever since the beginning of literary studies our understanding of wordplay has oscillated between at least two different extremes: traductio and adnominatio / paranomasia, or, one could say, between an outer understanding concerned with the context and an inner understanding mostly concerned with language itself. This could also be one of the main reasons why literary theory has tended to describe puns and wordplay in two ways: either as magical (iconic) language use or as critical language use. Magical language use has much in common with wordplay as a rhetorical figure, and thus also with the way wordplay was used in antiquity and in the romantic era, between which periods the literature of Shakespeare creates an important link. For instance, it is quite remarkable that at first Shakespeare was admonished for his plays on words. In Germany, the Enlightenment poet and transl ator of Shakespeare, C.M. Wieland citation?, also complains about the wisecracks. He calls them albern (silly) and ekelhaft (disgusting). When A.W. Schlegel citation?, on the other hand, gets hold of Shakespeares texts, he is much more attentive to and respectful of the latters excesses in language. Schlegel is in debt to Herder citation?, who is one of the first in Germany to appreciate the poetry in Shakespeares works (their rhythm, melody and other more formal qualities) (cf. Larson (1989)). We cant carry out this comparison, because the works have not been properly cited. By using the rather odd term magical language, this article aims to carry on colloquial a German tradition of treating wordplay as Sprachmagie. Walter Benjamin, for instance, construes language as magical or self-endorsing citation?.  [4]  Critical language use, however, is more comparable to the use of wordplay and the discussion of wit in the Age of Enlightenment, and thus more generally to humour, including, for instance, the joke and the anecdote (whereas in relation to magical language use, wordplay should be regarded as akin to the riddle, the rebus and the mystery). Much literary theory may therefore have adopted these two ways of dealing with and understanding wordplay: it is treated as exceptionally poetic and almost magical precisely because it is untranslatable, or as something which can be used in a general critique of language in which this untranslatableness is used as an argument for the arbitrariness of the relationship between signifià © and signifiant .citation ?The words were not coined by the author of this paper. Wordplay as part of language criticism The work of the linguist Ferdinand de Saussure citation may be seen as a prism for the two understandings of wordplay throughout the twentieth century. On the one hand, there is the scholar Saussure, who later became famous for his hypothesis of the arbitrary relationship between signifià © and signifiant and for his statement that language only contains differences without positive terms. On the other hand, there is the other Saussure, who, besides his more official scholarship, occupies himself with anagrams in Latin texts (cf. Starobinski 1979). In his private scholarship Saussure considers the sign highly motivated, which stands in contrast to his thesis of the arbitrariness of the sign in his official scholarship. Saussures remarkable occupation with language alternates between an almost desperate confidence in language and a growing distrust of its epistemological value. The discussion in the last part of this article will be based on this distrust, orienting it toward Nietzsc he and Freud, since they represent two of the most predominant views on language and thus wordplay in several important literary theories of the twentieth century, not least Russian Formalism and deconstruction. Franz Fà ¼rst (1979) wrongly cited, according to APA norms mentions that wordplay changes character during the nineteenth century. First, the romantic age idealizes it, changing its characteristics. Wordplay is not only connected to wit, but also to in my free translation from Bernhardis Sprachlehre (1801-1803) citation the eternal consonance of the universe through its heterogeneous homogeneity.  [5]  The coherence between sound and meaning was therefore at first considered deeper than might be expected, but the coherence, as the future would show, also had another side displaying a quite different function of wordplay. Fà ¼rst explains: Aus einer à ¤hnlichen Bemà ¼hung um die Wiederherstellung der engen Wort-Ding-Beziehung, jedoch mit karikaturistischer Absicht, entstand eine neue Technik des Wortspiels, die von Brentano und ihm folgend von Heine und Nietzsche verwendet wurde. Diese Technik verzichtet auf das Urwort und begnà ¼gt sich mit der Wortentstellung, der Karikatur eines ehemals organisch-sinnvollen Wortes zur Bezeichnung einer entstellten Wirklichkeit. (1979: 49) We need a translation of this. In Fà ¼rsts view, from pointing out a deeper coherence, wordplay now stands at the service of a distorted reality. It becomes an example of the play of falseness and designates a disfigured reality, especially concerning epistemological questions. The connection with this deeper coherence is therefore eliminated from language and discarded. For example, wordplay and other rhetorical figures which build upon likeness, like the metaphor, are denigrated in Nietzsches work from 1873, On Truth and Lie in an Extra-Moral Sense citation , when he proclaims that the truth is only [a] mobile army of metaphors, metonyms, and anthropomorphisms in short, a sum of human relations which have been enhanced, transposed, and embellished poetically and rhetorically (1982: 46-47). Martin Stingelin points out that Nietzsches wordplay gewinnt (à ¢Ã¢â€š ¬Ã‚ ¦) seine reflexive Qualità ¤t gerade durch Entstellung (1988: 348) Translation, citation. Precisely because everything is rhetoric anyway, we must turn the sting of language against itself. In this connection, wordplay is the least convincing example of false resemblances made by language and can therefore participate reflectively and ironically in such an Enstellung (distortion). The failure to convince should indicate, and thereby ironically convince us, that there is something inherently wrong with language and the epistemological cognition it attends to for us. Besides Nietzsches critique, we also find Freuds general distrust of language in the beginning of the twentieth century. Most relevant to wordplay is his work The Joke and Its Relation to the Unconscious. Date, citation.With this as a starting point, it is possible to make some more general remarks about the fundamental importance of the relationship between wordplay and metaphor in the different ways in which wordplay is understood and used in twentieth-century literary theory. Freud believes that play on words is nothing but condensation without substitute-formation; condensation is still the overriding category. A tendency to parsimony predominates in all these techniques. Everything seems to be a matter of economy, as Hamlet says (Thrift, thrift, Horatio!) Speech marks (2003: 32). Freuds interest in wordplay therefore goes by way of the joke, which is primarily characterized by economization and condensation.  [6]  A substitution is omitted; in other words, wordplay is not a translation of something unconscious, but a translation which more precisely takes place in language. This is also one of the definitions that Walter Redfern arrives at (1997: 265). Redferns study of wordplay is without doubt the most comprehensive yet in a literary context, but the many metaphorical classifications for instance, ubiquity, equality, fissiparity, double-talk, intoxication (2000: 4) or bastard, a melting-pot, a hotchpotch, a potlatch, potluck (2000: 217) are char acteristic of the relationship between wordplay and metaphor. Wordplay therefore has to do with something fundamentally poetic in language, or as Roman Jakobson puts it, poetry is precisely characterized by being untranslatable: In poetry, verbal equations become a constructive principle of the text. Syntactic and morphological categories, roots, and affixes, phonemes and their components (distinctive features) in short, any constituents of the verbal code are confronted, juxtaposed, brought into contiguous relation according to the principle of similarity and contrast and carry their own autonomous signification. Phonemic similarity is sensed as semantic relationship. The pun, or to use a more erudite and perhaps more precise term paronomasia, reigns over poetic art, and whether its rule is absolute or limited, poetry by definition is untranslatable. (1987: 434) If wordplay may be characterized as a translation in language, metaphor may be considered a translation with language, and each time this inner translation or untranslatability of a pun or wordplay is translated, words for this translation are lacking. Arguably, this is exactly where metaphor helps, like a Band-Aid for a small wound. For this lack or deficit of words produces a poetic surplus which is precisely able to express itself in metaphors and figurative language in general. The latter is an attempt to explain the translation or translate it to something more comprehensible. Whereas the metaphor gives the sense of an effective blend between two semantic fields which together create a third one, wordplay gives a very different impression. The third place which the wordplay creates in its expression is not intellectually comprehensible, but rather inscribed in the form of its own manifestation, a distinctive blend of sound and sense. The incomprehensibleness is an argument for both of its general understandings, partly according to a view which considers language something which can reveal the nonsense of a truth (language criticism) and partly according to a certain kind of nonsensical truth, the idea that language contains m ore than we are aware of (magical language use). Consequently, it is not so odd that metaphor is useful for describing wordplay: metaphor creates a convergence between several semantic fields by covering up the differences between them and in so doing often makes poetry happen. Wordplay, on the other hand, fixes the difference in the mind, thus maintaining the convergence in its very expression. Take, for instance, the literary example of Shakespeares Sonnet CXXXII: THINE eyes I love, and they, as pitying me, Knowing thy heart torment me with disdain, Have put on black and loving mourners be, Looking with pretty ruth upon my pain. And truly not the morning sun of heaven Better becomes the grey cheeks of the east, Nor that full star that ushers in the even, Doth half that glory to the sober west, As those two mourning eyes become thy face: O! let it then as well beseem thy heart To mourn for me since mourning doth thee grace, And suit thy pity like in every part.   Ã‚  Ã‚  Ã‚  Then will I swear beauty herself is black,   Ã‚  Ã‚  Ã‚  And all they foul that thy complexion lack. The sonnet is replete with wordplay and puns, especially on the words I and eye, and morning and mourning no inverted commas here?, but also and perhaps less importantly on the words ruth and truth. Appropriately, the sonnet contains two instances of the word I, punningly mirroring the two eyes. But an expression and a metaphor like the grey cheeks of the east would simply not emerge without the existence of the pun between morning and mourning. The poem develops and invents a vocabulary and uses expressions which would simply not exist or appear without the puns and plays on words. It actually manages to connect blackness with beauty because of the pun between mourning and morning which also connects the sun with the full star and in this manner with the night. Hence, everything that the I in the sonnet lays eyes on is polluted by a look of mourning and pity. The connection mentioned above causes most scholars to describe wordplay as a potential metaphor; even Freud (especially read in the perspective of Jacques Lacan citation  [7]  ) indicates that we should understand wordplay this way. However, no one has shown that metaphor is a potential wordplay. The question must be whether the connection goes both ways or if wordplay simply is a more initial metaphor? In any case, following Lakoff and Johnsons now classic theory (1980), it is easy to suspect that so-called dead metaphors can be played on more easily than other words for example, the word leg, which is used in connection with chairs, tables and human beings, or words like root or rose, which function in countless contexts. The ambiguity is most severe in connection with some of the key examples provided by Lakoff and Johnson, such as our value-laden and metaphorical organization of space in up and down, in and out, and so forth. The reason for this is probably not that these e xpressions are metaphorical, but rather that they belong to the trite vocabulary which often activates wordplay makes it alert, as Redfern citation writes. In other words, a revitalizing process in language takes place between wordplay and metaphor. Wordplay is not more original than metaphor, nor is the reverse true, for that matter. Experience has shown that wordplay has a tendency to generate metaphors when we attempt describe what they exactly mean and that dead metaphors have a tendency to generate wordplay. Regarding the latter, the same applies to dead language in general, such as hackneyed proverbs, phrases and clichà ©s. Along with the dead metaphors, these expressions make up an un-sensed language which often activates wordplay. The more remarkable of these two relations is without doubt the first one, which I will therefore focus on. The relation between wordplay and metaphor outlined above corresponds with the one that Maureen Quilligan (1992) identifies between wordplay and allegory. Below, we will examine Quilligans understanding of their connection. Wordplay and allegory Quilligan tries to redefine allegory as a genre in which wordplay plays a central part due to its ambiguousness, or as Quilligan writes, [a] sensitivity to the polysemy in words is the basic component of the genre of allegory (1992: 33). Quilligan sees wordplay as initiating the unfolding of the relationship of the text to itself. The text comments on itself, not discursively, but narratively. In this way an author does the same thing with allegory as the literary critic, but the difference is that the author makes commentary on that is, enacts an allegoresis of his own text, which is due to the fact that language is self-reflexive. But this self-reflexivity is only brought about through the reader, who therefore constantly plays an important role in Quilligans reading and re-evaluation of allegory. Self-reflexivity is, however, potentially inscribed in the text through certain traces, especially through polysemy, which expresses itself on the most fundamental literal level specif ically, in the sounds of the words and it is in this respect that wordplay enters the picture alongside allegory. Quilligan uses Quintilian to differentiate between allegory and allegoresis. Allegoresis is literary interpretation or critique of a text, and it was this concept that Quintilian was referring to when he wrote that allegory means one thing at the linguistic level and another at the semantic level; in other words, as a figure, allegory could retain a separation between several semantic levels for a long time for example, between a literal and a figurative level. However, the other which the word allegory points towards with its allos is not someone floating somewhere above the text, but the possibility of an otherness, a polysemy, says Quilligan, on the page and in the text. The allegory designates the fact that language can mean numerous things at once. This very redefinition causes Quilligan to turn towards wordplay. Besides, Quilligan wants to escape from a vertical understanding of allegory such as it has been inherited from Dante, who organized his Divine Comedy according to the Bible, which he believed had four layers of meaning. Quilligan suggests that allegory works horizontally, so that the meaning is increased serially by connecting the verbal surface before moving to another level for example, beyond or above the literal level. And this other level which she refers to has to be located in the reader, who will gradually become aware of the way he or she creates the meaning of the text. Out of this awareness comes a consciousness, not just of how the text is read, but also of the human response to the narrative. Self-reflexivity occurs, and, finally, out of this a relation is established to the other (allos) towards which the allegory leads its reader through the allegoresis. This sensation of the real meaning can be called sacred. Quilligan aims to grasp allegory in its pure form before it becomes allegoresis. Through her readings, she tries to identify a more undetermined conception of allegory on a linguistic level before it gets determined by and in the reader. Quilligan could have used Quintilians definition of allegory as a continued metaphor (III, 2001, 8:6: 44) to establish a relation between allegory, metaphor and wordplay. In my view she thus misses something essential in the contiguous relationship between wordplay, allegory and allegoresis, and this is the making of metaphors. The relation between wordplay and metaphor constitutes a more intimate bond than that between wordplay and allegory, or, as James Brown puts it: The pun is the first step away from the transparent word, the first step towards the achievement of symbolic metaphor (1956:18). But this does not mean that wordplay is some sort of metaphor, as Brown seems to suggest. More accurately, it would be reasonable to suggest that wordplay gives rise to creative language usage, including metaphors and figurative language use in general. This very use is an attempt to translate the relative untranslatability of wordplay, and thereby to satisfy a natural human desire for understanding. Russian formalism vs. deconstruction By treating the text as described above, Quilligan can read several texts in a new and constructive manner inspired by the way that early literary works such as The Faerie Queene way of writing titles deal with language. But it is principally Quilligans starting point and to a lesser degree her treatment of the text that I aim to pinpoint with my focus on wordplay. This article does not claim that the twentieth century should only be understood in the light of wordplay, but rather that in some periods wordplay was used with very specific intentions, and that it offers an understanding of language which several literary theories benefit from. Wordplay stands out particularly in two twentieth-century literary theories namely, Russian formalism and literary deconstruction in the wake of Jacques Derrida citation but it is used in very different ways in these theories. In Russian formalism, wordplay involves a revitalization of language,  [8]  parallel to the concept of skaz,  [9]  which refers to an illusion of a kind of orality or even realism in literary language. In contrast, in deconstruction, wordplay is often tied to writings influence on language in general to a grammatology, to borrow Derridas term. From a deconstructive perspective, wordplay deals with the inadvertent or unintended in the intended (cf. Gordon C.F. Bearn 1995a: 2), or with absence in presence; the exact opposite is true in Russian formalism, which deals with puns and wordplay as a form of oral presence in writing, likening this to a kind of absence. Here, as in other cases, wordplay is involved in a fundamental shift in perspective between a semiotic deficit and a semantic surplus in what may be called a constructive and deconstructive construction of meaning. An example of this problematic is a book by Howard Felperin citation problems with the symptomatic title Beyond Deconstruction. The Uses and Abuses of Literary Theory. In this book, Felperin differentiates between what he calls the enactment and counter-enactment of wordplay, emphasizing counter-enactment at the expense of enactment: If the figures of enactment, of speaking in effect in Shakespeares phrase, work cumulatively to integrate the jigsaw puzzle of language into concrete replica of the sensory world, the pun is precisely that piece of language which will fit into several positions in the puzzle and thereby confound attempts to reconstruct the puzzle into a map or picture with any unique or privileged reliability or fidelity of reference. Whereas metaphor and onamatopeia attempt to bridge the precipitate fissures between signs and their meaning, paronomasia [or wordplay; Felperin does not make a distinction] effectively destabilizes further whatever conventional stability the relation between sign and meaning may be thought to possess. (1985: 185) (My addition) In Felperins view, wordplay turns our understanding of things upside down in respect to both language in general and certain overall views of life and so forth. This is the reason why wordplay has been disliked for so many years. Felperin analyses Shakespeare and finds that wordplay is at the disposal of language in various ways in Shakespeares work, precisely in the form of a counter-enactment. However, what he seems to forget is that not only does wordplay oppose similarities, but it also conveys likeness for instance, in the wordplay between eye and I, which may underlie a much deeper understanding of the sonnets and of subjectivity in Shakespeares works in general (cf. Fineman 1988). Arguing against the theory of enactment, Felperin criticizes, among other things, Russian formalism as a theory founded on metaphor (which from Felperins deconstructive perspective is the wrong foundation when it comes to an ontology of language): The Russian formalists, for example, like the Elizabethans, see language as aboriginally poetic, and similarly identify its performative potential in the storehouse of metaphor that lies buried within it (1985: 180). Only Shakespeare escapes this sort of criticism, which appears typical of the period and untenable. Metaphor almost seems like a dark, anthropomorphic enemy in such a deconstructive point of view. Furthermore, Felperin of course makes considerable efforts to define wordplay as a matter

The Women’s Army Corps of the Vietnam War :: Vietnam War Essays

The Women’s Army Corps of the Vietnam War We went to a foreign country in service of our country . . . we gave aid and encouragement to a whole segment of our brothers and sisters . . . we survived a war . . . we are noble . . . we are brave . . . we are adventurous . . . we are an active part of world history . . . we are interesting . . . we have lived such exciting lives . . . we have gone far beyond the boundaries allowed to most of our sisters . . . we did it together . . . and we still have each other. Patricia â€Å"Mama-san† Brimeyer, Army Service Clubs, Vietnam 1968.[1] Introduction Male soldiers have a distinct voice when they speak of war. Jonathan Shay, M.D., Ph.D., author of Achilles in Vietnam, can best explain the voice of a male soldier. Dr. Shay creates a system that explains how and why male soldiers react to war in the ways they do. Dr. Shay’s system is based on the story of Achilles in Homer’s epic The Iliad. The focus of the system is to compare the reactions of Achilles’ soldiers to war, with the American male soldiers’ reactions to the Vietnam War. Dr. Shay’s system is based on eleven stages:  ·Betrayal of â€Å"what’s right†  ·The shrinkage of the social and moral horizon  ·Grief at the death of a special comrade  ·Guilt and wrongful substitution  ·The berserk  ·Dishonoring the enemy  ·What Homer left out (other obvious similarities)  ·The soldiers’ luck and God’s will  ·Reclaiming the Iliad’s gods as a metaphor of social power  ·The breaking points of moral existence  ·Healing and tragedy During stage one, the betrayal of â€Å"what’s right†, the soldier’s moral world is violated by a commanding officer’s betrayal of the soldier’s moral order.[2] During the Vietnam War American soldiers experienced the betrayal of â€Å"what’s right† when those who held all of the power and responsibility broke the trust of the soldiers. Stage two, the shrinkage of the social and moral horizon, refers to the breaking of a soldier’s family, civilian, and military ties. The social bonds of a soldier are lost once war begins, sometimes culminating in the complete alienation of the soldier from any bonds, social or military. Grief at the death of a special comrade, stage three, is when a fellow soldier is killed and his fellow troop members are overwhelmed by the sadness his death. The Women’s Army Corps of the Vietnam War :: Vietnam War Essays The Women’s Army Corps of the Vietnam War We went to a foreign country in service of our country . . . we gave aid and encouragement to a whole segment of our brothers and sisters . . . we survived a war . . . we are noble . . . we are brave . . . we are adventurous . . . we are an active part of world history . . . we are interesting . . . we have lived such exciting lives . . . we have gone far beyond the boundaries allowed to most of our sisters . . . we did it together . . . and we still have each other. Patricia â€Å"Mama-san† Brimeyer, Army Service Clubs, Vietnam 1968.[1] Introduction Male soldiers have a distinct voice when they speak of war. Jonathan Shay, M.D., Ph.D., author of Achilles in Vietnam, can best explain the voice of a male soldier. Dr. Shay creates a system that explains how and why male soldiers react to war in the ways they do. Dr. Shay’s system is based on the story of Achilles in Homer’s epic The Iliad. The focus of the system is to compare the reactions of Achilles’ soldiers to war, with the American male soldiers’ reactions to the Vietnam War. Dr. Shay’s system is based on eleven stages:  ·Betrayal of â€Å"what’s right†  ·The shrinkage of the social and moral horizon  ·Grief at the death of a special comrade  ·Guilt and wrongful substitution  ·The berserk  ·Dishonoring the enemy  ·What Homer left out (other obvious similarities)  ·The soldiers’ luck and God’s will  ·Reclaiming the Iliad’s gods as a metaphor of social power  ·The breaking points of moral existence  ·Healing and tragedy During stage one, the betrayal of â€Å"what’s right†, the soldier’s moral world is violated by a commanding officer’s betrayal of the soldier’s moral order.[2] During the Vietnam War American soldiers experienced the betrayal of â€Å"what’s right† when those who held all of the power and responsibility broke the trust of the soldiers. Stage two, the shrinkage of the social and moral horizon, refers to the breaking of a soldier’s family, civilian, and military ties. The social bonds of a soldier are lost once war begins, sometimes culminating in the complete alienation of the soldier from any bonds, social or military. Grief at the death of a special comrade, stage three, is when a fellow soldier is killed and his fellow troop members are overwhelmed by the sadness his death.

Home Depot Case Essay

1. On the basis of Home Depot’s response to environmentalist issues, describe the attributes (power, legitimacy, urgency) of this stakeholder. Using the Reactive Defensive-Accommodative-Proactive Scale in Chapter 2, assess the company’s strategy and performance with environmental and employee stakeholders. In 1990 Home Depot began to work off a basis of environmental principles. People in the community pushed for the company to become more eco-friendly. These principles help to guide a number of different programs to help minimize the company’s and shopper’s impact on the environment. 2. As a publicly traded corporation, how can Home Depot justify budgeting so much money for philanthropy? What areas other than the environment, disaster relief, affordable housing, and at-risk youth might be appropriate for strategic philanthropy by Home Depot? Home Depot volunteers many hours to help the needy. They contribute money and help with disaster relief efforts. They also contribute money to charities to help the less fortunate. Home Depot can justify budgeting so much money because they do not see it as a loss. They believe they are placing money back into the local community and back into the economy. These actions build trust with customers and stakeholders. 3. Is Home Depot’s recessionary strategy of eliminating debt and halting growth a wise one? What would you recommend to the CEO? In 2007, Home Depot foresaw an economic recession coming. This recession made them pull back money from opening new stores. The basis for pulling their money back was to ensure they would be able to pay their bills without having to borrow money from the government. I wouldn’t recommend the CEO to do anything because I believe they are doing what they can to be economically responsibly for their stakeholders.

Power In Death And The Maiden English Literature Essay

Power is defined as a ownership of control, authorization or influence over others. Power unfairnesss have been in being throughout the history of humanity and the ways of manifestation evolved from utmost to subtle, subjugation. This thought can be seen in the dramas Lysistrata by Aristophanes and in Death and the Maiden by Ariel Dorfman. In Lysistrata, the supporter, Lysistrata, does n't desire to see Greece rupture itself apart while in Death and the Maiden the supporter Paulina wishes to take retaliation on person she believes tortured her many old ages ago. Both Lysistrata and Paulina find themselves experiencing powerless within a society which sees them as something to be conquered. Through the usage of gender, both adult females are able to derive power and utilize it to asseverate themselves within society nevertheless, whether or non they reach their ends is dependent on what issue characters wish to work out, an issue with society or an issue with themselves. Both Paulina and Lysistrata believed that they required power to make their ends, ends that could ne'er be achieved in their former place in society, a 2nd category citizen. In Death and the Maiden, Paulina wishes to penalize who she thinks tortured her, Roberto. She required power in order to pull strings her hubby, Gerardo, to play along with her â€Å" game † and she believed that the power to instil fright in Roberto would convey her strength to penalize him and convey closing to her life. However, Roberto keeps seeking to state her that killing him will ne'er convey the closing that she wanted. The deductions from slaying him will farther attest the job and the emotions that come with it. Paulina responds be stating â€Å" And why does it ever have to be people like me who have to give, why we are ever the 1s who have to do grants when something has to be conceded [ aˆÂ ¦ ] † ( Dorfman 66 ) . She keeps inquiring the inquiry â€Å" why? † and this shows the audience all the emotions that have been bottled up over the old ages are rupturing her apart. This is a major turning point for her as a character, whether she will forgive Roberto, kill him, or allow him travel. Either manner she understands that with or without her power, no affair what she tries to make she will ne'er hold a piece of head. On the other manus Lysistrata is able to accomplish her end through the usage of her gained power. After the dialogues she declared â€Å" Well gentlemen, so it ‘s all merrily settled. [ †¦ ] And allow us for the hereafter all endeavour Not to reiterate our mistakes, ne'er of all time! † ( Aristophanes 191 ) . Lysistrata was successful at making her ends utilizing the power she had gained because she had the support of all the adult females in Greece while Paulina merely had herself. Lysistrata ‘s declaration is anticlimactic and unlike Paulina ‘s duologue. Although Lysistrata reached her end of doing peace, s he simply falls back into her function of being a adult female nevertheless throughout the drama Lysistrata used a more serious tone than the other adult females and is portrayed as being smarter than the other adult females. Unlike in Death and the Maiden, Paulina is portrayed as weak, baffled, and interrupt up emotionally. Paulina ‘s bravery seen in the drama stemmed from choler. This simply created an semblance of a strong and powerful individual. Whether the adult females reached their ends or non, the dramas shows the reader that power to command and pull strings others will ne'er be able to work out struggle and hurting from within oneself nevertheless power to assist a big group in society will decidedly hold an ageless impact. Both Paulina and Lysistrata are able to derive power and utilize it to asseverate themselves within society nevertheless, Paulina was non able to make her end because power can non wipe out memories and emotions that everlastingly changed us. However, Lysistrata wants to assist society as a whole and this allows her to derive support from the adult females of Greece. Paulina was merely a tattered individual seeking the terminal a chapter of her life that she will ne'er bury while Lysistrata wanted to stop a war that had no terminal in sight and taken countless lives. By understanding the ends of the characters every bit good as their mentality, we can do proper opinion on our ain society. If a homo is given the proper environment to develop and boom, people wouldn`t be seeking retaliation on those that did them wrong. Besides people wouldn`t have to contend for their sentiments to do an influence in society because society would accept them. Humans experience growing in different way s at peculiar points in our lives but the chief underlining similarities allows the species to assist one another advancement through the adversities faced in life. Otherwise every individual would merely decompose in the shadows of what they could hold been and what they wished they had done. By understanding the power plays with the supporters, it can be applied to heighten the developments of our ain characters and hopefully society. Word Count: 1320