rebellion essays

rebellion essays Rebellion in the Fifties During the Fifties the United States was filled with confidence but at the same time insecurity. The United States emerged from WWII as a global superpower and a symbol for freedom. The United States saw its role in world affairs as the protector of free countries from communism. The fear of communism expansionism during the fifties was a major issue. Communism represented radical thinking and ideas, a shift away from conservatism thinking or a shift away from the center, to a shift towards the edge. During the Fifties the fear of communism spreading in America gave rise to movements such as McCarthyism and the House on un-American Activities (HUAC). These movements represented the feelings of Americans towards communism at the time, they represented fear and the way to contain their fears was to weed out the bad seeds. These movements created a shift towards the center again, towards conservatism. This trend towards the center or conservatism can be seen in all aspects of American life. Not only was conservatism evident in the Fifties, but also rebellion. The push to be conservative and persecute individualism was an immense undertaking that it created fear and out of that fear came rebellion. In any controlled environment, such as the one the United States created for itself during the Fifties, there is bound to be some kind of tension or rebellion, rebellion against the pressure of being normal or conservative. There was a great deal of stress being placed on being just like everyone else. The voice of the rebellion was usually the entertainers, artists, or writers. Many of these people expressed their feelings about current issues by disguising it in their stories, movies or, paintings. Many of these people challenged the politics of the mainstream or the center. However there were works done that supported the shift towards the center and conservatism. Three wor...

The 5 Canons of Classical Rhetoric

The 5 Canons of Classical Rhetoric The classical Canons of Rhetoric specify the components of the communication act: inventing and arranging ideas, choosing and delivering clusters of words, and maintaining in memory a storehouse of ideas and repertoire of behaviors. . .  This breakdown is not as facile as it looks. The Canons have stood the test of time. They represent a legitimate taxonomy of processes. Instructors [in our own time] can situate their pedagogical strategies in each of the Canons.(Gerald M. Phillips et al., Communication Incompetencies: A Theory of Training Oral Performance Behavior. Southern Illinois University Press, 1991) As defined by the Roman philosopher Cicero and the unknown author of Rhetorica ad Herennium, the canons of rhetoric are these five overlapping divisions of the rhetorical process: Invention  (Latin, inventio; Greek, heuresis)Invention is the art of finding the appropriate arguments in any rhetorical situation. In his early treatise De Inventione (c. 84 B.C.), Cicero defined invention as the discovery of valid or seemingly valid arguments to render ones cause probable. In contemporary rhetoric, invention generally refers to a wide variety of research methods and discovery strategies. But to be effective, as Aristotle demonstrated 2,500 years ago, invention must also take into consideration the needs, interests, and background of the audience.Arrangement  (Latin, dispositio; Greek, taxis)Arrangement refers to the parts of a speech or, more broadly, the structure of a text. In classical rhetoric, students were taught the distinctive parts of an oration. Although scholars didnt always agree on the number of parts, Cicero and Quintilian identified these six: the exordium (or introduction), the narrative, the partition (or division), the confirmation, the refuta tion, and the peroration (or conclusion). In current-traditional rhetoric, arrangement has often been reduced to the three-part structure (introduction, body, conclusion) embodied by the five-paragraph theme. Style  (Latin, elocutio; Greek, lexis)Style is the way in which something is spoken, written, or performed. Narrowly interpreted, style refers to word choice, sentence structures, and figures of speech. More broadly, style is considered a manifestation of the person speaking or writing. Quintilian identified three levels of style, each suited to one of the three primary functions of rhetoric: the plain style for instructing an audience, the middle style for moving an audience, and the grand style for pleasing an audience.Memory  (Latin, memoria; Greek, mneme)This canon includes all the methods and devices (including figures of speech) that can be used to aid and improve the memory. Roman rhetoricians made a distinction between natural memory (an innate ability) and artificial memory (particular techniques that enhanced natural abilities). Though often disregarded by composition specialists today, memory was a crucial aspect of classical systems of rhetoric. As Frances A. Yates po ints out in The Art of Memory (1966), Memory is not a section of [Platos] treatise, as one part of the art of rhetoric; memory in the platonic sense is the groundwork of the whole. Delivery  (Latin, pronuntiato and actio; Greek, hypocrisis)Delivery refers to the management of voice and gestures in oral discourse. Delivery, Cicero said in De Oratore, has the sole and supreme power in oratory; without it, a speaker of the highest mental capacity can be held in no esteem; while one of moderate abilities, with this qualification, may surpass even those of the highest talent. In written discourse today, says Robert J. Connors, delivery means only one thing: the format and conventions of the final written product as it reaches the hands of the reader (Actio: A Rhetoric of Written Delivery in Rhetorical Memory and Delivery, 1993).   Keep in mind that the five traditional canons are interrelated activities, not rigid formulas, rules, or categories. Though originally intended as aids to the composition and delivery of formal speeches, the canons are adaptable to many communicative situations, both in speech and in writing.

The 5 Canons of Classical Rhetoric

The 5 Canons of Classical Rhetoric The classical Canons of Rhetoric specify the components of the communication act: inventing and arranging ideas, choosing and delivering clusters of words, and maintaining in memory a storehouse of ideas and repertoire of behaviors. . .  This breakdown is not as facile as it looks. The Canons have stood the test of time. They represent a legitimate taxonomy of processes. Instructors [in our own time] can situate their pedagogical strategies in each of the Canons.(Gerald M. Phillips et al., Communication Incompetencies: A Theory of Training Oral Performance Behavior. Southern Illinois University Press, 1991) As defined by the Roman philosopher Cicero and the unknown author of Rhetorica ad Herennium, the canons of rhetoric are these five overlapping divisions of the rhetorical process: Invention  (Latin, inventio; Greek, heuresis)Invention is the art of finding the appropriate arguments in any rhetorical situation. In his early treatise De Inventione (c. 84 B.C.), Cicero defined invention as the discovery of valid or seemingly valid arguments to render ones cause probable. In contemporary rhetoric, invention generally refers to a wide variety of research methods and discovery strategies. But to be effective, as Aristotle demonstrated 2,500 years ago, invention must also take into consideration the needs, interests, and background of the audience.Arrangement  (Latin, dispositio; Greek, taxis)Arrangement refers to the parts of a speech or, more broadly, the structure of a text. In classical rhetoric, students were taught the distinctive parts of an oration. Although scholars didnt always agree on the number of parts, Cicero and Quintilian identified these six: the exordium (or introduction), the narrative, the partition (or division), the confirmation, the refuta tion, and the peroration (or conclusion). In current-traditional rhetoric, arrangement has often been reduced to the three-part structure (introduction, body, conclusion) embodied by the five-paragraph theme. Style  (Latin, elocutio; Greek, lexis)Style is the way in which something is spoken, written, or performed. Narrowly interpreted, style refers to word choice, sentence structures, and figures of speech. More broadly, style is considered a manifestation of the person speaking or writing. Quintilian identified three levels of style, each suited to one of the three primary functions of rhetoric: the plain style for instructing an audience, the middle style for moving an audience, and the grand style for pleasing an audience.Memory  (Latin, memoria; Greek, mneme)This canon includes all the methods and devices (including figures of speech) that can be used to aid and improve the memory. Roman rhetoricians made a distinction between natural memory (an innate ability) and artificial memory (particular techniques that enhanced natural abilities). Though often disregarded by composition specialists today, memory was a crucial aspect of classical systems of rhetoric. As Frances A. Yates po ints out in The Art of Memory (1966), Memory is not a section of [Platos] treatise, as one part of the art of rhetoric; memory in the platonic sense is the groundwork of the whole. Delivery  (Latin, pronuntiato and actio; Greek, hypocrisis)Delivery refers to the management of voice and gestures in oral discourse. Delivery, Cicero said in De Oratore, has the sole and supreme power in oratory; without it, a speaker of the highest mental capacity can be held in no esteem; while one of moderate abilities, with this qualification, may surpass even those of the highest talent. In written discourse today, says Robert J. Connors, delivery means only one thing: the format and conventions of the final written product as it reaches the hands of the reader (Actio: A Rhetoric of Written Delivery in Rhetorical Memory and Delivery, 1993).   Keep in mind that the five traditional canons are interrelated activities, not rigid formulas, rules, or categories. Though originally intended as aids to the composition and delivery of formal speeches, the canons are adaptable to many communicative situations, both in speech and in writing.

The 5 Canons of Classical Rhetoric

The 5 Canons of Classical Rhetoric The classical Canons of Rhetoric specify the components of the communication act: inventing and arranging ideas, choosing and delivering clusters of words, and maintaining in memory a storehouse of ideas and repertoire of behaviors. . .  This breakdown is not as facile as it looks. The Canons have stood the test of time. They represent a legitimate taxonomy of processes. Instructors [in our own time] can situate their pedagogical strategies in each of the Canons.(Gerald M. Phillips et al., Communication Incompetencies: A Theory of Training Oral Performance Behavior. Southern Illinois University Press, 1991) As defined by the Roman philosopher Cicero and the unknown author of Rhetorica ad Herennium, the canons of rhetoric are these five overlapping divisions of the rhetorical process: Invention  (Latin, inventio; Greek, heuresis)Invention is the art of finding the appropriate arguments in any rhetorical situation. In his early treatise De Inventione (c. 84 B.C.), Cicero defined invention as the discovery of valid or seemingly valid arguments to render ones cause probable. In contemporary rhetoric, invention generally refers to a wide variety of research methods and discovery strategies. But to be effective, as Aristotle demonstrated 2,500 years ago, invention must also take into consideration the needs, interests, and background of the audience.Arrangement  (Latin, dispositio; Greek, taxis)Arrangement refers to the parts of a speech or, more broadly, the structure of a text. In classical rhetoric, students were taught the distinctive parts of an oration. Although scholars didnt always agree on the number of parts, Cicero and Quintilian identified these six: the exordium (or introduction), the narrative, the partition (or division), the confirmation, the refuta tion, and the peroration (or conclusion). In current-traditional rhetoric, arrangement has often been reduced to the three-part structure (introduction, body, conclusion) embodied by the five-paragraph theme. Style  (Latin, elocutio; Greek, lexis)Style is the way in which something is spoken, written, or performed. Narrowly interpreted, style refers to word choice, sentence structures, and figures of speech. More broadly, style is considered a manifestation of the person speaking or writing. Quintilian identified three levels of style, each suited to one of the three primary functions of rhetoric: the plain style for instructing an audience, the middle style for moving an audience, and the grand style for pleasing an audience.Memory  (Latin, memoria; Greek, mneme)This canon includes all the methods and devices (including figures of speech) that can be used to aid and improve the memory. Roman rhetoricians made a distinction between natural memory (an innate ability) and artificial memory (particular techniques that enhanced natural abilities). Though often disregarded by composition specialists today, memory was a crucial aspect of classical systems of rhetoric. As Frances A. Yates po ints out in The Art of Memory (1966), Memory is not a section of [Platos] treatise, as one part of the art of rhetoric; memory in the platonic sense is the groundwork of the whole. Delivery  (Latin, pronuntiato and actio; Greek, hypocrisis)Delivery refers to the management of voice and gestures in oral discourse. Delivery, Cicero said in De Oratore, has the sole and supreme power in oratory; without it, a speaker of the highest mental capacity can be held in no esteem; while one of moderate abilities, with this qualification, may surpass even those of the highest talent. In written discourse today, says Robert J. Connors, delivery means only one thing: the format and conventions of the final written product as it reaches the hands of the reader (Actio: A Rhetoric of Written Delivery in Rhetorical Memory and Delivery, 1993).   Keep in mind that the five traditional canons are interrelated activities, not rigid formulas, rules, or categories. Though originally intended as aids to the composition and delivery of formal speeches, the canons are adaptable to many communicative situations, both in speech and in writing.

Intermediaries in Funding Essay Example | Topics and Well Written Essays - 500 words

Intermediaries in Funding - Essay Example However, growth is directly associated to the introduction of financial asset or capital. The selection of right intermediary to obtain finance is not a straight forward process though, it is universally agreed that a commercial bank may serve that purpose well. Banking institution provides a certain amount of confidence and trust both to borrowers and lenders, due to the legal and ethical framework that normally regulates it. Bank provides loan as working capital to small and medium enterprises but also also provides some elements of institutionalised flexibility which greatly facilitates the concerned business as "intermediary are usually less risky"( Schenk. n.d). Many other intermediaries are available to obtain working capital for businesses. However, certain hindering factors come to surface seriously especially when it comes to guaranteed resettlement of borrowed capital and certain companies will have limitations depending on the stage they have reach in finance cycle. The extent of growth will influence thus the relationship with financial institutions and other s. The larger the companies the bigger are the trust customer and other institutions have in them mainly when there is joint venturing during which occurs mostly during diversification. Businesses at large are faced with extreme internal and external challenges.

Group portfolio Research Paper Example | Topics and Well Written Essays - 500 words - 1

Group portfolio - Research Paper Example One of the core values that Haier has is the rights and wrongs sense in which the product users are always right while the company need to improve itself2. The value acts as a motivator, hence forming values for customers. Therefore, the firm’s employees work their best to meet the customer’s requirements in addition to generating a wide variety of choices that they can choose from. The workforce has a mind-set, whereby, they feel the need to persistently advance themselves, which they perceive to be the only way they can continually refuse, dare and outdo themselves to realize triumph through establishment of innovation out of change. The organization, in addition, has an adaptive culture that has led to its growth, whereby, it maintains its pace with the social growth as well as remains in case of any world changes. Its innovativeness as well as the entrepreneurship character enables the firm to uphold a competitive benefit in the ever-changing market. That is to say, the more radical the world changes the quicker the speed of customer’s variation, hence, the more lasting the inheritance turns out to be3. In addition, the organization has employed the concept of two spirits, innovation and entrepreneurship, which is considered to be the gene for the company’s consistent culture. The gene ensures that all members of the workforce maintain their value as well as aid them in their individual development. It is also mandated for every employee to have the entrepreneurship and innovation spirits. Entrepreneurship is considered to be the spirit of pioneering work in which the company persuades all employees to have it4. They are encouraged to transform from being supervised and instead become their own managers. On the other hand, innovation specializes on creation of new value, which is majorly generated from creation of new product users. Lastly, the interest theory of â€Å"win-win model

Lord of the Flies by William Golding Essay -- essays research papers

William Golding explores the vulnerability of society in a way that can be read on many different levels. A less detailed look at the book, Lord of the Flies, is a simple fable about boys stranded on an island. Another way to comprehend the book is as a statement about mans inner savage and reverting to a primitive state without societies boundaries. By examining the Lord of the Flies further, it is revealed that many themes portray Golding’s views, including a religious persecution theme. Golding includes the theme of religious persecution to remind people of mans true nature, and by doing so alludes the fact that the next time society deteriorates, due to nuclear war, may be the last. The parallels between Goldings novel and the bible are too numerous for it to be coincidence, which we can see is mainly reflected through characters and symbolism. The first parallel is the similarity between the Garden of Eden and the Island in Lord of the Flies. Both are tropical, beautiful, pristine and untouched. However this changes once the boys have left a scar in the forest of the island, comparable to the scar Adam and Eve left in the Garden of Eden. The most difficult to discover religious element in the novel is the title. Lord of the Flies, once translated into Greek, means ‘Beelzebub’ - a name for the devil. This implies that the embodiment of religious evil is the main thought throughout the book. Another well hidden religious element is the stick sharpened a t both ends, whic...