The Impact of Motivation on English Language Learning Research Paper

The Impact of Motivation on English Language Learning - Research Paper Example Although it is widely documented that motivation is a proven means to success in language learning, several countries, like the Gulf States, remain reluctant to cultivate learners’ motivation to learn a second language due to several reasons. Therefore, this research paper analyses the impact of motivation on English language learning. Introduction Motivation has been broadly recognised by scholars, researchers, and teachers as one of the major variables that determine the level and success of second language learning (SLA). As emphasised by Dornyei (2001), â€Å"teacher skills in motivating learners should be seen as central to teaching effectiveness† (P. 116). Motivated learners are enthusiastic, eager to work hard, concentrate on the tasks given, do not require constant encouragement, willingly confront challenges, and could even motivates others, facilitating collaborative learning. The early attempt to understand the impact of motivation on English language learnin g stems from the field of social psychology (Gu, 2009). This research paper analyses the impact of motivation on English language learning in terms of the various motivational theories. The motivation of learners greatly affects their willingness to take part in the process of learning. Numerous studies have reported the importance of viewing the concept of motivation as a multifaceted phenomenon. Oxford and Shearin (1994) have examined a number of motivational theories and six variables that influence motivation in language learning (Al-Bustan & Al-Bustan, 2009, S454): Attitudes (i.e. sentiments towards the target language). Beliefs about self (i.e. expectations about one’s attitudes to succeed, self-efficiency, and anxiety). Goals (perceived clarity and relevance of learning goals as reasons for learning). Involvement (i.e. extent to which the learner actively and consciously participates in the learning process). Environmental support (i.e. extent of teacher and peer suppo rt). Personnel attributes (i.e. aptitude, and language learning experience). As argued by Pit Corder, â€Å"given motivation, it is inevitable that a human being will learn a second language if he is exposed to the language data† (Dornyei & Ushioda, 2009, 1). This statement was given four decades ago and, from then on, numerous theroetical perspectives and studies investigating the multifaceted nature of motivation and its impact on second language learning have emerged. At the same time, the world has also witnessed the growth of globalisation, European reconstruction, the demise of communism, extensive economic and political migration, greater mobility, and the rapid development of media technologies—all contributing to the relentless pace of global English (McKay, 2002). In other words, over the recent decades the world has transformed dramatically—it is currently distinguished by sociocultural and linguistic flexibility and diversity, where language learning , identity, and ethnicity have become multifaceted contemporary subject matters and the focus of considerable attention in the field of sociolinguistic. However, it is only recently that those engaged in the field of second language learning motivation have actually started to investigate what this evolving global phenomena may suggest for how scholars conceptualise the motivation to acquire proficiently in global English as second language for individuals wanting to gain global recognition or identity (Shafaei & Nejati, 2008). In other words, motivation

English Literature Essay Example for Free

English Literature Essay Willam Russel is a British playwright who is eminent for the production of many plays; his best known works are Educating Rita, Blood Brothers and Shirley Valentine. Russell was born and raised in Whinston, on the outskirts of Liverpool. He came from a working class background and some of his experiences as a youngster are reflected in his works, such as within the play Educating Rita. As a young adult, Russell only had experience and knowledge of manual work and left college with having only achieved one O-Level in English Literature. Being from a working class family, his mother had then suggested the concept of training to become a womans hairdresser. This was a typical working class job which had low pay and was generally looked down upon. Russell felt trapped due to his working class status; he was still unsatisfied with his lifestyle and began to seek a career that provided greater opportunities to learn and make a greater contribution to society. He was a young person who showed initiative and soon took action and decided to become a student. Though despite the efforts that he was making, Russells life was still greatly impacted by his social class; he couldnt afford student fees and the Education Authorities refused to fund him or offer a scholarship. However, he remained adamant that he was going to break the class boundaries and achieved this by spending some time working in Fords Car Company to fund his studies. As a result of his determination, by the age of twenty, Russell had enough qualifications to become employed as a teacher. Indeed, this is where he got his inspiration for the characters of Rita (a hairdresser) and Frank (a lecturer) because he had experienced of these careers and an insight into the emotions that they wouldve felt. Russell has interpreted the character of Rita as a duplicate of himself in his early years and Frank represents the level of education that he achieved in later life. Educating Rita can be compared with many other of Willy Russells plays; this is because majority of his work focuses on the issue of different classes within society. For example, the musical Blood Brothers is about the lives of fraternal twins who were separated at birth. Due to their separation, the two twin boys grew up with different backgrounds and this took them to opposite ends of the social spctrum. As a result of this, one brother became unemployed and in prison and the other became an well paid and respected councilor. There are connections between this play and Educating Rita because Rita and Frank are also at opposite ends of the social spectrum. Another connection is that both of these plays explore the importance of love; in Educating Rita the audience learns that Frank has had his heart broken and is now in a loveless relationship and Rita splits up from her husband because they want different things in life. This shows that Rita values her education more than her relationship and is therefore willing to sacrifice this in order to improve her life. Whereas in the play Blood Brothers, Russell portrays love as something that is of great value and that should be cherished. Russell shows that the two brothers are willing to risk everything for love; as a consequence this is that the play ends in tragedy when they both fall for the same girl. There are also connections betwteen Educating Rita and Willy Russells play Shirley Valentine. This is a one-character play about the life of a working class housewife from Liverpool and therefore, alike in Educating Rita, Russel has inclued an aspect of his own life. Shirley feels trapped, alone and unappreciated; this is similar to Rita because both women are fed up with their lives and want to improve them. Shirley is also similar to Rita because they both discover that they have to make sacrafices and an effort to achieve their goals. Both women also represent the changing roles of women in society. During the eightiess there was great reform and women began to show that they were capable members of society. The twentieth century began as a wave of revolution for the females in society; including the suffragist movement and an ever increasing amount of feminists. The actions of these women contributed to the change of attitudes and laws were eventually enforced to ensure that both sexes were valued and treated equally. This included things such as new guidelines from the Equal Employment Opportunity Commission which were enforced in 1980 and prohibited sexual harassment and discrimination in the workplace. This had led to great changes in the lifestyles of women, who were no longer bound to their households or deemed unworthy to carrying out manual work or labour. Instead, they were out there, among the masses, making a difference and trying to change the way they were viewed. Indeed, the actions of these women encouraged others such as Rita and Shirley to become educated and prove that they were worthy. Educating Rita was commissioned by the Royal Shakespear Company and premiered at the Warehouse in London in 1980. This play earned Russel a great deal of recognition and won the Society of West End Theatres Award for best comedy. From this point on, Educating Rita was made into a film and has continued to be performed in theatres across the globe. In the opening scenes of this play, Russel has addressed the issue of class and shown that anyone is capable of achieving their goals and breaking the class boundaries. The play involves two main characters, Rita and Franck; Russel has shown a great contrast between these two characters and both come from very different classes in society. Rita is a twenty six year old working class hairdresser who applies to study with the Open University. The play follows just over a year in Ritas life and shows her gradual progress in an English Literature course. Again, Russell has incorporated an aspect of his own life because he himself took this qualification. This type of course was recently developed at the time and allowed poorer people to afford further education whilst working it around their daily hours. The Open University was also very popular in Britain because it accepted majority of people regardless of their previous academic achievements or intellect. This allowed the less fortunate members of society to have the opportunity to improve their lives. At first Rita knew that she wanted to do the course but had self doubt and lacked any initiative. Rita hadnt been disciplined or been taught how to critically analyse work from an objective point of view. Therefore, majority of her early work was based upon personal opinions and experiences-which is a subjective point of view. On the other hand, Frank has an entiterely different life from Rita; he is a middle aged, middle class English lecturer in a University who bases his ideas purely on objective knowledge and intellect. Frank shows numerous clichid characteristics of the middle class; he is a reserved, formal, highly educated and wealthy man. However, he is miserable and doesnt seem to value this; it is immedtialy evident that he takes his lifestyle for granted. Futhermore, Frank also makes it known to the audience that he has taken on the additional responsibility of tutoring Rita in order to pay for his drinking habit. However, this also gives indications that he is trying to escape his drab homelife because being from a middle class background, Frank would undoubtedly be able to afford this habit whether he tutored Rita or not.

Expressionism And Fritz Lang

Expressionism And Fritz Lang I have been interested in a thousand things in my life, and out of these interests in a thousand things came one primary interest: mankind. And not only what he does- in innocence or in guilt- but what moves him to act, what makes him tick! And with that attempt to identify there grows not only personal awareness, but much more important, sympathy. Through this ones own sphere of thought is enriched; as a reaction to it, associations with all things one has occupied oneself with for a lifetime are expandedà ¢Ã¢â€š ¬Ã‚ ¦ Who can honestly say how one arrives at a theme? What influenced him? It could be a falling leaf from a tree in Autumn, a sudden lull in the wind, a sudden thunderstormà ¢Ã¢â€š ¬Ã‚ ¦ (Fritz Lang in interview with Gero Gandert, 1963) Fritz Lang was one of the pioneers of German school of Expressionism, one of the few auteurs, who was able to make the successful transition from silent cinema to the talkies, and who also paved the way for the film noir genre in the United States. In this paper, one will be looking at his two of his films as case studies, Metropolis (1927) and M (1931) respectively, all the while keeping in mind the distinctive role of Lang as an auteur in context to the tradition of expressionist cinema. Throughout the paper, one is going to deal with object-subject relationships in German expressionist cinema as well as self-referentiality, private anxieties and public projections in the Weimar Republic and an attempt is going to be made towards a feminist reading of German Expressionism with respect to the case studies. To give a brief background of the two films in question, both were made in the Weimar Republic before Lang went into a self-imposed exile in America. The circumstances of Langs emigration remain controversial; the story goes that he was offered a post of managing director of the entire German film industry by the ministry in Germany (to be precise, Goebbels, the propaganda minister) after banning his film, The Testament of Dr. Mabuse, and that he was given 24 hours to consider the proposal but soon afterwards he fled from Berlin to Paris. Metropolis was the worlds most expensive silent cinema at the time of its release while in M, elements of early film noir can be seen and the classic use of sound as a tool has been acknowledged by film scholars (this aspect of the film is going to discussed in detail later on in the paper). As is well-known expressionism as an art movement stemmed from the school of impressionists and goes well back to the 19th century. It assumed an identifiable structure only in the 1900s though. It sought to utilize contemporary philosophical and psychological thinking (Freudianism to a large degree) and relied heavily on personal experiences, feelings and emotions rather than impressions of reality. Weimar cinema has time and again been described as being proto-fascist and expressionism linked to National Socialism, which was popularized in the writings of Siegfried Kracauer and can be traced back to the theoretical debates of the 1930s, specifically to the views expressed Georg Lukà ¡cs. In a 1934 essay, Lukà ¡cs argued that expressionism was undoubtedly one of the diverse bourgeois ideological currents that would later result in fascism as its tendency towards subjectivism and romanticism linked it ideologically to the irrational mysticism of Wilhelmian philosophy, and therefore one of the central sources of Nazi beliefs. Lukà ¡cs sociological argument was later expanded and applied to the analysis of German cinema by Siegfried Kracauer in his study of Weimar film culture, From Caligari to Hitler (1947). John S. Titford begins his journal article with the sentence, Expressionist cinema is an impossibility. What he is trying to say through this is that the Expressionists and Realists alike cannot possibly transcend the limitations of cinema as a medium even if they exploit it to its fullest extent. It has to be mimetic, symbolic, never being the things it represents in exactitude. Art must, unlike reality itself, have a beginning and an end. Having defined its boundaries, cinema has proven to be the most appropriate medium for expressionism. It is more dynamic than expressionist painting, more able to instill a feeling of horror than expressionist literature, and more claustrophobic than expressionist theatre. Expressionism found an expression in the rapidly evolving motion pictures. There is a dichotomy between the creator and his creation, the medium and the message, and there is a need to understand the artists perception of the subject matter so as to get a hold of the deeper meaning of the piece of art itself. For it is the artists, or the auteur in our case, thoughts and feelings which are being communicated through his actions. Christian Metz has hence, made the differentiation between the signified (human consciousness) and the signifier (work of art). Anthromorphism, the process of inanimate objects coming to life, is a key feature of German expressionist cinema. Metropolis is an archetypal example for that. The live consciousness of the artist is, in a sense, metamorphosed into dead celluloid. Within the film, the humans tend to imbibe the characteristic traits of the world of objects while the objects exude human-like features and this is a cycle of life and death which the expressionist cinema follows. The figure of Rotwang exhibits qualities of a machine, or that of a prototypical cyborg to say the least, with a mechanical right arm, whereas the machines in the industrial underbellies of the city demonstrate signs of life as well as the Robot, which takes on the form of Maria, seemingly human but not quite. German expressionist film offers a penetrating analysis of the society along with the philosophy and psychology of its age. It is important also because of its filmic process. Unlike other forms of art, it is not static (before the advent of pop art and kinetic models), and transforms inert photographic frames into rendering a semblance of truth. Thus, film can make an object assume personality and vice versa. The workers in Metropolis operate like machines, often being grouped together in abstract geometrical shapes. The figure of Rotwang, as stated earlier, is the model for sub-human forces embodying the concept of Destiny, or a threat to the nation of Germany, depending upon the interpretation. He is perceived as a monster, hardly convincing as a living creature than the true monster like the Robot Maria. One of the scenes in M epitomizes the process whereby the animate becomes the inanimate. Beckett, the child-murderer, has been captured by the underground criminals and is brough t into a room where they are about to give him a trial. As he confronts the mass of people assembled to indict him, the camera pans around the group. It is not a moving mass that we see, but a still photograph: the image is frozen. It has thus taken the nature of an inert, static painting. Buildings become demoniacal in expressionist films; foreboding houses are used for shock effect, and rooms and enclosed spaces create a sense of claustrophobia. Maria in Metropolis is persistently pursued by a strong beam of light as she struggles to find a way out of the catacombs. The streets are merely an extension of the threatening building and dominate and control the lives of its inhabitants. In general, diagonals and oblique angles in the sets are employed, and the buildings and streets are distorted, ghostly, and with painted shadows and streets that seem to lead nowhere. Since the films were mostly shot in the studios with the help of painted canvas scenery, the world thus created was usually two dimensional. The mood or the stimmung and the claustrophobia of the expressionist world is further intensified by the use of lighting. There is a predisposition for the world of twilight in which the inanimate can readily become alive with no warning. Expressionist films are frequently lit using sharp, often jarring, blacks and whites, distorted shadows, and large areas of darkness. Precisely because light or absence of light gives space its reality, it can effect a transformation of concrete into abstract, living into dead, or vice versa, making us doubt our own senses, and even our awareness of figure and ground distinctions. Chiaroscuro affects our perceptions, and shadows themselves can become alive. Expressionist cinema was by no means limited to the city, even though the two case studies portray the cityscape. Expressionist directors were more concerned with life as a process ending in death, and their art was almost totally pessimistic. The game expressionist cinema plays with itself and i ts audience is that of Russian roulette, with destiny as the bullet, and death the prize. German expressionist cinema was concerned with the powers of darkness, with people trapped by their environment and with claustrophobia pervading everyday life. To back to the lighting in the early Weimar Republic cinema, the use of chiaroscuro effects of artificial lighting was unsurpassed. Lighting was used as a narrative device, and while in some early Weimar cinemas it was a little more than a decorative element or a creator of mood, in later films chiaroscuro elements and specifically shadow assume a precise communicative element. Chiaroscuro manipulated the visual sense to create emotions whereas the shadow rather than being a merely expressionistic mannerism, added narrative depth to the silent cinema. The employment of shadow as a communicative metaphor is found as early as Platos Republic, where he talks of the cave-men perceiving shadows and echoes as reality itself, which is not totally false; it results from reality even though it might be a weakened, diluted version of the real. The traditional motif of the shadow as a metaphor of perception later appears in the 20th century in Jungian psychology. Jung used the shadow metaphor t o describe the underside of the human psyche, which if acknowledged brings forth the survival responses, stimulating the libido, whereas if repressed can bring about the downfall of the individual. However, the intention of the early popular filmmaker was to involve the viewer in the film event. Thus, the shadow metaphor was appropriated as a narrative device, and the philosophical and psychological significance of the shadow became subordinated to the films fictional narrative, and the function of the shadow was sublimated in the narrative act. It became a device for communicating a simultaneous, secondary narrative to the viewer. Shadows significance is neither good nor evil but instead projects an other reality, another interpretation of sorts. Instead of seeking an escape from the pursuing shadow, one needed to acknowledge and accept it. In M, the character of Beckett was seen running away from his shadow, which relentlessly pursued him, stronger than the man himself, and the on ly way out for him was to embrace his darker side, even if it made him commit cruel, inhuman acts of violence. The early cinematic shadow enabled a possibility of multiple narratives which was later achieved through the use of sound. There was first an adoption and then rejection of shadow as metaphor within the conventions of the cinematic code, adoption during the silent period of cinema and rejection with the onset of sound in the 30s. The shadow as a metaphor was used most effectively in the early period of silent cinema. By the late 1920s, the New Objectivity had brought heightened realism in German films, and more natural lighting had replaced the intense chiaroscuro of the early 1920s. The cinematic shadow had become a clichà ©, and its narrative function was soon overtaken by other devices: the significant object of the late silent films and the soundtrack of the early sound films. In the opening credits of M, one sees a hand with the letter M inscribed on it. The drawing style evokes the exaggerated shapes and dramatic textures of German Expressionist painting, but due to its linear abstraction and dynamic simplification the hands image is also reminiscent of 1920s techno-culture: of New Objectivitys cold modernism and of Futurisms celebration of speed, energy, fluidity, and prosthetic body-machines. It strikes the viewer as an artificial limb taking on the uncanny function of living, or conversely, a human charged with the strength of a robotic apparatus. The first scene opens to a Berlin backyard populated by a bunch of children, their positions resembling that of a clock, with one girl standing in the middle and functioning as the clocks hand so as to count and count out the other players. The girl sings a song of brutal murder and dismemberment, a blatant endorsement of terror and violence itself. In Langs first sound film, M, sound had for the most part supplanted the communicative function of the shadow; the films basic distinctions between good and evil, rationality and irrationality, appearance and reality is rendered perceptible by shadow somewhat and mirror reflection, but mostly by sound. In M, nothing is as it seems on the surface: an apparent innocent is a psychotic killer, an apparently peaceful crowd can transform into a raging mob, apparent friends can become suspicious accusers, apparent organization (the police) is ineffective against the killer and the apparent disorder (the underworld) is really more orderly and efficient than the police. Even seemingly innocent children are tainted by the evil: the films opening sequence shows a group of children playing as they sing a variation of One Potato, Two Potato, a song about another non-fictional mass murderer Harmann, who not only murdered but also cooked and sold his victims as canned meat. What we see is innocent childhood, but what we hear refutes this appearance. In M, appearance is always deceptive, true reality is only perceptible to the observant viewer and listener. In M, the shadow metaphor has become secondary to the metaphors of reflection and sound. Shadows only appear infrequently. For instance, when Beckert leaves his home, he is followed by his shadow, a constant and quite visible reminder of his irrational psychosis. Later in the film when Schrà ¤nker and his band of criminals plan to trap the murderer, the camera moves from them to their shadows on the wall, depicting their transformation from a group of individuals to a retributive force, sort of vigilantes, which by its organization is able to capture the murderer. The most effective use of shadow in the film undoubtedly is at the beginning of the film when the shadow of the perpetrator falls across the poster describing his previous murders, at the same time his voice addressing the little girl, Elsie. The juxtaposition of the visual and the aural helps in the unraveling of the plot and is used as a device for placing the viewer on a level of knowledge or awareness exceeding that of any of the characters (including Beckert himself, who it is implied, is unaware of his condition). Even though the killer appears to be harmless, Lang informs the viewer very blatantly the shadow as killer and the girl as the victim. In Jungian terms, the shadow of Beckert is the actual killer. The shadow is used to establish Beckerts villainy. Later in the film, when he makes his first appearance he is shown inspecting himself in the mirror, probably trying to come to terms with his own predicament and grasp the reality, which he seemingly fails to perceive. What the viewer sees is two Beckerts, comparable to Dr. Jekyll and Mr. Hyde where at times Dr. Jekyll loses complete control over himself and the monstrous Mr. Hyde takes over his person. In a later shot, Beckert does get to know of his own reality when he becomes the marked man and sees the letter M imprinted on his overcoat in a glass reflection. Lang has reinforced the shadow and the mirror images by sophisticated sound, where it complements and supplements the visuals. The oft cited example here would the voiceover commentary during the scenes of police investigation: the voice of the police commissioner giving an overall explanation to the minister about the police actions that are seen. Sound, however, is also used to contradict the visual image, communicating a real threat to an apparent tranquility. In one sequence a little girl walks alone along a street, apparently safe. Had M been a silent film, the danger to the girls life might have been shown by an ominous shadow pursuing her. Instead, Lang replaced that with Beckerts characteristic whistling tune. As soon as the girl meets her mother, the whistling stops, the silence signifying the girls actual safety. However, the shadow and the chiaroscuro element never entirely disappeared, even though it was replaced by a more realistic lighting. The shadow was incorporated into American cinema as an element of film noir where it became an emblem of the criminal unknown. Fritz Langs Metropolis (1927) is one of his most well-known and widely recognized films of all times. It has either been termed the silliest film or the most unique and remarkable spectacle ever shown on screen, but the reaction or response towards it has at all times been extreme. Widely acknowledged as a bravura display of film craftsmanship, it has also been equally denounced as unbearably trivial, naÃÆ' ¯ve sentimental and even fascist. Some of the problems raised by the narrative structure of Metropolis stem from the fact that much of the original version of the film is missing. Nevertheless, it marks a significant moment in the history of cinema and represents a culmination of Langs early style. Metropolis began with a segment which appeared totally expository, having, however a definite function in the narrative. Langs film begins with a depiction of the totally alienated condition of the workers, their lack of control over their own conditions of existence. This lack marks the workers as the films first subject or hero (as a collective unit) although their function as a performer of a set of operations changes throughout the course of the film. The dichotomy between machine/self-movement and Machine/Human is highlighted in this segment of the film, which is to form an important device in the narrative structure. The notion of space is central and his definition of all narrative events as some sort of real or attempted transfer of an object is accompanied by or imply a special discontinuity. This happens in the second segment of the film when Maria, as subject, takes a group of children (the object of value) to the pleasure garden in the upper level from the worker city. Sh e is forced to leave and this unit of narrative is ended by the failure of this attempted transfer. This narrative unit may seem isolated but is not unconnected with the narrative as a whole, as through it another hero is created in the form of Freder, whose main aim would be to return these children to the upper level. In this segment itself, Freder realizes his own lack of knowledge of the workers and he descends to the machine rooms to observe the workers and witness the accident at the central power room. This however, constitutes his first stage of acquisition of knowledge. This portion of the narrative ends with him leaving the space of conflict to return to the upper level with his knowledge. When Freder returns to the upper city, the residence of the ruling class, he attempts to give his father, John Frederson, his understanding of the workers condition. But Frederson, in this segment, being the anti-hero/anti-subject/traitor prevents the transmission of this knowledge. Fred erson is the subject of another story in which the object of desire is the control of the workers. Another lack is revealed when Freder discovers a map in the pocket of the dead worker- the lack of the rulers knowledge of the maps and the workers intentions. From this point on, the object of desire for both father and son would be to seek knowledge in the catacombs, which would then enable them to function as hero and traitor in the later stages of the narrative. Knowledge will be acquired in stages all throughout the course of the narrative and so following the interview in Fredersons office, Freder descends to the machines and Frederson goes to see the inventor, Rotwang, each in search of a more adequate knowledge. The film shows the similarity with the use of parallel editing. Freder discovers the grueling effects of time and repeated effort by taking charge of the machine deserted by a failing worker. Frederson is shown the Robot by Rotwang, and mystery of the maps is deciphered partially which are revealed to be guides to the catacombs below the worker city. Parallels are established between these acquisitions of knowledge by intercutting. In the catacombs, the acquisition of knowledge is completed but this gives way to further problems; Frederson realizes he has no control over his workers while Freder comprehends his responsibility as a mediator. The new object of desire is Maria; she is desired by both as a means of obtaining another object, the workers, for their elimination (by the father) or their liberation (by the son). The abduction of Maria from the catacombs by Rotwang to his house and the confrontation between Freder and the scientist resulting in the latters victory over the former with the use of machinery, is replete with symbolism. Machinery, as a sign of evil, remains a constant throughout the film, and is always utilized by the traitors as a helping agent. Freder is denied access to Maria and her features are quite literally transferred to the Robot so as to transmit a false knowledge to the workers, deceive them and lead them astray. Transmitting false knowledge is the classic means of neutralizing power. The Robot Maria convinces the workers to act violently and turns them into traitors temporarily, allies of Frederson and Rotwang. The children, the metonymic representatives of the proletariat are left behind in the lower city. However, the deception of the workers is soon followed by the restoration of Freders power, by his acquisition of knowledge that Robot is not Maria. Subsequently Maria is released and destruction of the children is prevented by moving them to the upper city with the help of Freder and Joseph. The second abduction of Maria by the evil Rotwang is the final lack which is eliminated by the hero vanquishing the evil. At the end of the film, traitors are destroyed (Frederson is redeemed through his sons actions) and peace and balance restored. The heroes in the film are Freder, Maria and the workers while traitors are Frederson, Rotwang and the Robot. There is a tripartite division of the objects of value: the knowledge of the proletariat, the use of Maria, and the children of the workers who represent the proletariat as social entity. At the end of the film even though the children return to the pleasure garden their status is ambiguous; as a result of the accord reached between ruling class and the workers they would have to return to their original space. Thus the film reaffirms the social structure present at the beginning. The film can be divided into two dealing with political and scientific distinctions on the axis human/mechanical and with cultural and religious distinctions on the axis Christian/mystical-alchemical. The film starts with a montage comprising of several shots of stylized machines. This concludes with a shot of the whistle blowing indicating the end of the shift and the next shot shows the workers taking the elevators to go to the worker city. It is not only the machinery which is identified with the traitors as oppressors, but also the concept of time. Time is the measure of the repetitive effort required of the proletariat. In the pleasure garden Freder is essentially depicted as being out of vicious circle of time and is removed from all types of machinery. Also, out of the traitors, only Frederson, who would be transformed into a good man, is wholly human. Rotwang is part-human part-machine while the Robot is fully mechanical. There are other such examples all throughout the film- when the workers ply to and from work; they use the elevators, whereas when they need to descend to the catacombs, they do so on foot. Also when Freder, Maria and Joseph take the children to the upper level, they do so by purely human effort. Metropolis has heavy and significant allusions to religion. There is a consistent opposition present between the vague Christianity and the mystical and the alchemical, most evident in the connotations produced by Rotwang. He is portrayed to be some sort of a medieval sorcerer (his robot will be burned like a witch); compared to the archetypal Aryan appearances of Freder and Maria, the inventor looks distinctly Semitic. On his door and above his robot in his laboratory is a five-pointed star. He lives alone in a curiously distorted, old-fashioned house, set apart from the rest of the society. His science is occult and solitary. The Christian tradition is most apparent in Maria and Freder. While working in the circular machine, he clearly crucified at the hands of the clock face. Maria is undoubtedly Christian; in the catacombs while retelling the tale of the Tower of Babel, she is standing in front of a number of crucifixes and viewed reverently by the workers from below. Metropolis can also be analyzed on psychoanalytic terms. The oedipal aspect of the film is quite apparent. A three-member family is created with Frederson as the Father (leader of the society), Freder as the Son (representative of the workers) and Maria the Mother (spiritual creator of Freder and the workers/mother of the masses). Freder to negate and assume the power of the Father must have access to the Mother. This is achieved at the end of the film when the Father is stripped of his power (castration), and is seen kneeling in front of Freder, which is transmitted to the Son. Metropolis has not gone without criticism and Don Willis in his article has thoroughly bashed Lang for his overtly simplistic plot, going on to say that the spectacle seems almost incidental where the spectacle has been sacrificed to the message. He says of the film, à ¢Ã¢â€š ¬Ã‚ ¦the eerie delicateness of this image of foreboding is betrayed by the crudeness of development of plot and characterà ¢Ã¢â€š ¬Ã‚ ¦ Barry Salt has been quoted in his text as stating that à ¢Ã¢â€š ¬Ã‚ ¦Langs film is not even much of an improvement in craftsmanship, despite the several years of development there had been in film technique elsewhere. The rave reviews that the film opened in Germany are dismissed as sensationalistic. The position of an author is defined by the relationship which he maintains with his characters. In the film, one form of this relationship rests on the systems of vision which the pictures reveal: how the author fragmentarily indicates and encloses the viewpoint of his characters within the continuity of his own viewpoint constitutes the viewpoint of the film. Lang allows ambiguity to hover over the relationship which unites character and director in the vision. He is showing that only a well-crafted device can precisely situate a viewpoint, which the vision of the real alone cannot, or he is deliberately moving to a symbolic level, which results in distancing the author from the characters even more. The author defines himself by his point of view towards the objects he unveils. This point of view is manifest in the first place by the distance at which the camera is held. With Lang, it seems to be vivid or in a disguised manner. There are innumerable formal and thematic references, configurations which come into play from film to film and organize the enigmatic web of Langian knot-work. Hence, the sign, the token, around which the narration is organized, the significant object Lang always indicates with a close-up which is the first easily located link between the chain of shots and the thematic chain. The generally intensified demarcation of space disrupts the viewpoint in order to lead it to its more rightful place which carries to an extreme, in cinematographic space, dialectic of subject and object finding its origin in German cultural tradition and its achievement in the fundamental materialism of industrial civilization. This subject-object game, when divided, provokes the eye, making an incredible fissure in Langs films. Lang bases the possibility of his narrative on the richness and the perversity of oppositions. It is the logical outcome of writing and vision. Lang keeps the point of view in perpetual hesitation; for the event, whether it is foreshad owed or already occurred, always seems linked to something else. There is an incessant disequilibrium and abstract waiting which marks all of Langs films. Lang plays with counter-shots and at times tends to lose sight of his narrative, obscuring his characters. There is a subtle defeat in his films, which is revealed by the impossibility of the closed system. His films are extremely dense; in every shot, a writing unfolds which is strictly defined and structured, a part of the larger picture. Thus, by distancing himself from his films, Langs works always seem to be in the process of creating itself.

Shakespeares Sonnet #73 Essay -- essays research papers fc

Shakespeare's Sonnet #73, published in 1609, is written in the Shakespearean or English sonnet style. It consists of three quatrains and one couplet at the end, written in iambic pentameters. Each quatrain has its own rhyme scheme, rhyming in alternating lines. The couplet summarizes the preceding twelve lines. Sonnet 73 appears to contain multiple parallels to death and the person speaking in the poem gives the impression that he is near death and reflecting back upon life. The first quatrain, â€Å"That time of the year thou mayst behold me/ When yellow leaves, or none, or few do hang/ Upon those boughs which shake against the cold/ Bare ruin choirs where late the sweet bird sang.† He seems to be comparing his life the unspecified season, which could either be autumn or winter. If a person were to look at only this quatrain, Shakespeare seems to describe autumn, with images of yellow leaves and a place where a bird sang. However, if the whole sonnet is looked at Shakespeare seems to describe the effects of winter. Shakespeare reinforces the confusion of season with the rearrangement of the natural sequence of events. He says, none before few in describing the leaves hanging, and reminds us of summer with the image of the bird. This serves as a reminder of the encroaching winter. The transposition of "none" and "few" could also imply that a second look to the landscape, as with death. Upon, another glance, death is not here bu t coming. This quatrain appears t...

Referee Report for Economics Manuscript Essay

â€Å"Different Risk-Adjusted Fund Performance Measures: A Comparison† Summary This paper compares various risk-adjusted performance measures for a set of mutual funds. The authors argue that performance measures based on Value-at-Risk (VaR) or Extreme Value Theory (EVT) are more appropriate than other popular performance measures such as the Sharpe ratio (SR), the Treynor index (TI) or Jensen ´s Alpha (JA) . They propose a performance index similar to the SR and the TI based on losses calculated by means of VaR together with EVT. They find that EVT-VaR measures are more appropriate in the presence of non-normal data. Main Comments The topic of the paper is of relevance for financial practitioners as well as academics and it is certainly applicable to the current financial stability context. The paper is also generally wellwritten. However, I have some comments for its improvement. 1. The contribution of the paper is not clearly stated. In the 6th paragraph of the introduction, the authors suggest that their main contribution is the construction of a performance index based on EVT-VAR. However, it is not very clear why the new proposed measure should be better in relation to existing measures as it is now explained. It is true that VaR or EVT should be more reliable measures for extreme events but when looking at formula (13) it is not apparent why this measure should be more reliable than the traditional measures. The denominator has, in fact, an â€Å"extreme return† as opposed to the SR or TI which have strictly second moments, so it is not very straight forward to relate these measures. A better job should be done at explaining the implications of such VaR based measure, how it relates to other measures and why it should be better. 2. Why have the measures been compared only in a â€Å"static† way? It is widely known in the finance literature that asset return volatility is time-varying, and to some extent, also expected returns. It would be possible to go around the latter by arguing market efficiency (which is also questionable) but it is certainly much more difficult to argue against time-variability of the standard deviation in the VaR measures (or in the SA and TI ratios). This is very important as the â€Å"good† or â€Å"bad† applicability of a particular performance measure could be sample dependent and as it is now with unconditional measures, this is hard to uncover. For instance, while the authors account for nonnormality of returns in the modified-VaR measure by means of a Corner-Fisher quantile, they assume a constant standard deviation which means that in periods of high volatility they could still understate the VaR. So at the minimum, the performance comparisons should be done for the full sample and different sub-samples and it should be tested whether the measures obtained are significantly different over different samples. 3. The authors concentrate on top 10 and bottom 10 funds for their analysis and discarded the other funds â€Å"for the sake of simplicity†. However, by choosing only the â€Å"tail† funds, the authors are giving from the start an advantage to EVT or VaR measures. It would be more appropriate to also report results on (say) 10 â€Å"mid† funds. 4. It is not very clear why the top 10 funds â€Å"show more departures from normality† in relation to bottom funds. This finding should be expanded and the intuition behind it should be better explained. One could argue that â€Å"losers† could be more volatile than â€Å"winners† as the level of uncertainty with respect to the fund might increase which could lead to more extreme returns. In fact, in the 3rd paragraph of the empirical result section it says â€Å"the bottom 10 funds have, in general, higher VaR values than the top ones, which means that they are more susceptible to extreme events† which is somewhat contradictory with the finding that the top 10 funds exhibit more departures from normality. Moreover, one of the main findings of the study is that the VaR and EVT performance measures perform best in relation to other measures when there are more departures from normality in returns. A better attempt to reconcile the findings of nonnormality, the â€Å"winner vs. looser† funds and the results on the performance measures with some previous studies or satisfactory intuition should be done. Other comments 1. The contributions of the paper should be stated earlier in the paper and not almost at the end of the introduction as it is now. The contributions should be clearer (see also point 1 above) and should be better related to the existing relevant literature. 2. The conclusion is too long. The concluding remarks should be much shorter and should only summarize the main findings and reconcile them with the issues raised in the introduction as well as highlight possible extensions for future work. 3. The tables should also be improved. They should have a short description of the contents to facilitate reading. As it is now, the reader has to constantly come back to the main text to find out what the contents mean. 4. The figures are hardly visible, they should also be improved and a short explanation should be given.

Life of a gentleman Essays

Life of a gentleman Essays Life of a gentleman Essay Life of a gentleman Essay Give an account of Pips upbringing and character. Why does he seek the life of a gentleman? Pips harsh upbringing by his guardians has led to unusual character, and because of his character, he feels ashamed of his social standing after having seen how the upper class people live. This starts his quest to become a gentleman. Pip had quite a depressing upbringing, typical of the time that the book was set in. Pip was ill treated as a child, mainly by his guardian Mrs. Joe Gargery. In Chapter Two, Pip mentions that Mrs. Joe boasts to her friends that she raised Pip by hand. Pip thinks that she means literally using her hand on him, as this is what she has done in the past. Mainly because of this, Pip feels relatively unloved. In Chapter One, Pip mentions that he has no friends, his parents and all of his family are dead other than Mrs. Joe, who looks after him. In Chapter Nine, Estella, whom Pip is beginning to love, does not return his love, which intensifies his feelings of being unloved. Pip was deprived as a child; his family were not particularly wealthy, Joe (his sisters husband) was the village blacksmith, and his sister raised Pip and looked after the house. There was never much money in the household, which meant that all the facilities Pip needed he could not have. His education was particularly poor, maybe not for his time, but in Chapter Seven it is described as Mr. Wopsles great-aunt kept an evening school in the village; that is to say, she was a ridiculous old woman of limited means and unlimited infirmity, who used to go to sleep from six to seven every evening, in the society of youth who paid two pence per week. Maybe due to his familys poverty, Pip is a hard worker. He became Joes apprentice when he was quite young and worked there until he left to become a gentleman. He has been brought up to be a hard worker; before he became Joes apprentice he assisted Mrs. Joe at a very young age. Pips character is a direct result of his upbringing. As a result of his lack of friends, Pip has a remarkable imagination. In Chapter One, he imagined what his dead parents looked like from the shape of their tombstones, e. g. I drew the childish conclusion that my mother was freckled and sickly. In Chapter Two also imagines that the cows speaking and are accusing him of being a thief, Halloa, young thief! Despite his poor education by Mr Wopsles great-aunt, Pip is very clever, for example, when Pip tells the story about his meeting with Miss Havisham to Mrs. Joe and Uncle Pumblechook, he makes up a plausible story about Miss Havisham and the house, on the principle that Uncle Pumblechook will agree with most things he says as he has been pretending to know Miss Havisham, We all waved swords, and I saw pistols in a cupboard, and jam and pills. And there was no daylight in the room, but it was all lighted up with candles. The fact that Pip actually wrote Great Expectations (it is a description of his childhood written by Pip as an adult) shows that he must be very intelligent. During the first section of the book Pip is thoughtful and serious, he is never self-absorbed until he becomes a gentleman, and even then he overcomes this. Pip is a sensitive young man, e. g. , My sisters upbringing had made me sensitive (Chapter Eight). Pip is physically strong; in Chapter Eleven he fights the pale young gentlemen and wins, badly bruising his opponent. The pale young gentlemen may not have been very strong, but a boy Pips age would have to be strong to have hurt an elder boy. Pip is affectionate, especially to Estella with whom he is madly in love with. Also, in Chapter Seventeen, he tells Biddy I wish I could fall in love with you. He wishes that he had affection with Biddy rather than Estella. Pip is ambitious; his main ambition is to become a gentleman, which is relevant in most of the book. In Chapter Eight this ambition started when Estella called him coarse and common and a common labouring boy. In chapter seventeen he first tells Biddy about his ambition. I want to become a gentleman. If it wasnt for Pips benefactor, his ambition would have never been realised and he might have never left the forge. Pips character is lonely; he has no friends other than Joe (Chapter One) and he has to rely on his imagination for company. His parents and all of his family other than his sister are dead (Chapter One). Pip is timid; on page three he is scared out of his wits by the convict and in other cases also. This, Pip says is down to his sisters harsh bringing up of him. With most people, Pip is generally quiet and shy, but with Estella he is even more so, this is because he is embarrassed and incapable to retaliate to her insults, possibly because he has never retaliated to his sisters insults, for example You little coarse monster, what do you think of me now? (Estella) I shall not tell you (Pips reply), (Chapter Eleven). Pip is resentful of some people, Estella in particular, he resents her insults of him (e. g. Chapter Eight common labouring boy) but he cannot retaliate. He does not particularly resent his sister for his harsh bringing up. After Pip steals for the convict, he has a low self-esteem, feels in the wrong and guilty. In Chapter Five he actually thinks that some soldiers have come for him when they appear at the forge door, when they actually are looking for the blacksmiths assistance, e. g. I ran head foremost into a party of soldiers with their muskets: one of whom held out a pair of handcuffs to me. Another reason why Pip has a low self-esteem is that he learnt from Joe that Mrs. Joe would probably have not have raised him if it was not for Joes persuasion. This makes him feel like a burden to Mrs. Joe, and this is why he feels guilty. After Mrs. Joe is attacked, Pip feels guilty about providing the weapon. Pip is troubled in various stages of the book, often anxious and miserable as well. After Pip steals the food for the convict he is full of guilt that makes him miserable and troubled, e. g. this is shown when he imagines the cattle and the mist speaking to him, A boy with somebody-elses pork pie! Stop him! (Chapter Two). Pip is miserable after he met Estella and realised that he was common and coarse, and he then fells ashamed of his home and possessions, e.  g. Chapter Fourteen a most miserable thing to feel ashamed of home. In Chapter Eight he first meets Estella and falls in love with her, e. g. I think she is very pretty. Estella has been brought up by Miss Havisham to wreak vengeance on the male sex after what happened to her, so Estella does not return his love; instead she insults him by calling him a common labouring-boy! and stupid clumsy labouring boy! also she says what coarse hands he has! And what thick boots! She also comments upon his poor speech, i. e. calling knaves Jacks when they played cards. He realises that for her to love him, he must be an upper class gentleman, as she is an upper class woman. Her contempt for me was so strong that it became infectious that I caught it. This is how Pip describes his Estellas contempt for he in Chapter Eight. Pip has now realised that he is coarse and common, and now feels ashamed of his home and his possessions. This is shown especially in Chapter Fourteen, when he tells us his true feelings about his embarrassment of his home, e. g. It is a most miserable thing to feel ashamed of home, and he also calls his house homely. He accepts himself as low on the social standings and wants to improve his status. Pip is impressed, even envious of Estella, due to her beauty, excellent speech, confidence, wealth and intelligence, and wants to become a gentleman as a result. In Chapter Seventeen Biddy questions whether he actually wants to become a gentleman to spite Estella, or because Pip feels common, dissatisfied and uncomfortable. Pip merely answers I dont know. Subconsciously, Pip may want to become a gentleman to spite Estella. Pip may be confusing his feelings of love and his social ambitions. Pip may not only want to become a gentleman due to Estella, but perhaps also due to Pumblechooks influence; he now admires him as a middle-class gentleman; although he does not envy him as he considers him an obnoxious fool. It is therefore clear to see that Pips harsh upbringing by hand by Mrs Joe has led to his lonely, ambitious and timid character. Pip seeks the life of a gentleman as he is ashamed of himself (mainly due to Estellas remark of coarse and common), his belongings, and he feels to solve this, he must become a social gentleman. He may also have an ulterior motive, to elevate himself to a social standing where Estella will actually talk to him and not look down on him. Because of Pip being embarrassed over his commonness and his possessions, he is dissatisfied with his place in society, e. g. I am not happy as I am. I am disgusted with my calling in life. (Chapter Seventeen). He knows that as long as he is Joes apprentice, he will never fulfil his dream of becoming a gentleman.

Vagueness, Ambiguity, and Clarity in Writing Essays - Free Essays

Vagueness, Ambiguity, and Clarity in Writing Essays - Free Essays Vagueness, Ambiguity, and Clarity in Writing CRT/205 March 7, 2014 Captain E.F. Rollins Vagueness, Ambiguity, and Clarity in Writing Identify what is vague and what is ambiguous about each. In Example 2, the vague statement is, I was thrown from my truck as it left the road. The ambiguous statement is, I was later found in a ditch by a flock of wild turkeys. In Example 3, the vague statement is, Next Sunday a collection will be taken to help with the cost of the new altar. The ambiguous statement is, Anyone wanting to help to do something on the new altar can step forward and let the committee know, Explain how such vagueness and ambiguity influences understanding. When statements are presented in a vague or ambiguous way, readers are confused about what the author is trying to say. In other words, readers cannot determine the point or points the author is trying to make or how the supporting information supports these points. Vague or ambiguous statements may lead the reader to speculate on what the author actually intended to say but did not. In this case, statements that are left open to interpretation by others will result in varied interpretations that can be quite different from the authors original intent. If we look at one of the statements from example 2, I was later found in a ditch by a flock of wild turkeys. Did the author mean he was found next to a flock of wild turkeys or that the flock of wild turkeys found him? There is no way for the reader to know what the author actually meant unless the reader is able to ask the author for clarification. Describe the relationship between critical thinking and clear writing. The relationship between critical thinking and clear writing is that it takes the ability to think critically to be able to write clearly. When we are faced with writing about a topic that is an emotional one for us, it is easy to get caught up in the emotion of the topic. Writings, from an emotional position, will tend to be unclear, biased, unorganized, and ramble on and on. If we utilize critical thinking when writing about the same topic, we will be more likely to stay focused and have our points organized in a logical way. Without the emotion, our writing should be more organized and clear.