Rhetorical Analysis Essay Example | Topics and Well Written Essays - 500 words

Rhetorical Analysis - Essay Example To conduct a rhetorical analysis, the first step is the identification of the purpose or the author's intent. Questions like what occasion give rise to the need for writing and the intentions of the author are evaluated. The author may attack, defend, praise, blame or teach about a given phenomena. The next step involves the identification of the audience; this involves the identifying and classifying the audience to either primary or secondary audiences as well as identifying the author values for the audience. The third step involves identification of rhetorical strategies used to appeal the audience accept the author views. One common appeal is the aristotean appeal which groups the author's concept to either Ethos Logos or Pathos. Ethos appeals refer to the character and confidence of the writer as well as his credibility. Pathos refers to the emotional appeals, use of repetition and description while logos refer to the use of definitions, laws, statistics and comparisons to conv ince the audience. In conclusion, it is somehow difficult to conduct rhetorical analysis especially identifying the different appeals as well as the audience classification.

Netflix Essay Example | Topics and Well Written Essays - 250 words - 1

Netflix - Essay Example Many consumers’ purchase behavior takes the form of a flag that follows whatever pattern and direction of a gust of the blowing wind. As search, there are very many cultural factors that influence a consumer’s decision to buy or not buy a Netflix subscription. There are very many subcultures such as religion, ethnicity, and race that inform most of consumer behavior and choice. The subcultures, therefore, have a bearing on the kind of entertainment that such groups will embrace since there are those that may not condone explicit sexual scenes, and there are those that may not have any issue depending on their value systems. Social class is another cultural factor that influences a consumers’ willingness to pay for a Netflix subscription. Members of the middle class watch a lot more TV than members of the other classes hence they are more likely to but the subscription due to the considerable time they spend in front of their TV screens. The inner tension that the consumer feels is called cognitive dissonance (Lamb, Hair and McDaniel 97) that arises from the post-purchase psychological confusion. Cognitive dissonance is a post-purchase behavior that many consumers experience when they feel that they either made a wrong choice or the dealer gave them a raw deal. In this case, the consumer’s post-purchase behavior resonates with the definition of cognitive dissonance since she finds that she does not have an interest in the programs that Netflix offers in their subscription service.

My impression of Commercial Radio in Asia Essay Example for Free

My impression of Commercial Radio in Asia Essay A very significant impression that commercial radio in Asia makes is the strength of commercial radio in the region through the years, especially in comparison with other multi-media platforms. Before the era of the internet, the tri-media through sociological aspects have directly or indirectly created a balance that made the relationship of the three media platforms evenhanded. There are advantages and disadvantages found in print, television as well as in radio, even when there are times that social factors alter the balance temporarily, like the television ad ban and newspaper ad limitations set in Indonesia before which favored commercial radio, income-wise (Anderson, 1984, p. 180). For radio, as well as for the rest of the other forms of media, they managed to thrive by making the most out of their advantage over the other forms. Radio’s advantage rests on the accessibility and mobility of information through use of radio as well as the presentation of more real-time information compared to television and print. This is one of the particular strengths commercial radios demonstrated in Asia, the reason why many of its patrons remained loyal to radio despite the improvement in television and print and the entry of the internet. Asia is one of the regions that serve as hotbeds of radio even when in many places radio patronage have dwindled because of the change in sociological factors affecting media use and impact. This can be attributed to the fact that most Asian countries are still comprised heavily by rural areas that have not fully embraced modern technology, relying on the more traditional means, particularly the cheap and accessible radio. In these rural areas, print media finds it difficult to thrive because of socio economic and political reasons, and television is mostly reserved in living rooms, for those who are fortunate to have one. Most people in the rural areas of third world or lower class countries in Asia can only manage a radio for their source of information and this advantage is being used to the hilt by commercial radio owners and operators. The demand created by social conditions are favoring commercial radio immensely even today, particularly in Asia, and for its part, commercial radio has not abandoned its responsibility to those who depend on it. Another significant impression made by commercial radio in Asia is the new role that it plays in modern day culture. While there are factors from the past that still affect or characterize commercial radio today like the traces of previous commercial radio cultures like dependency on commercial radio for new songs and top of the charts lists radio listeners from India and other Asian countries (Kasbekar, 2005, p. 134), radio and its role in modern day culture no doubt transformed and metamorphosed, proving that radio is indeed characterized by â€Å"timeliness (Applegate, 2004, p. 120)† as well as timelessness. Before, the design was one-way information channeling, radio anchors and disk jockeys provide information and entertainment which the listeners consume, and the focus, particularly of AM stations, are largely political. â€Å"A vital part of the cold war between Taiwan and China is radio broadcasting (Wood, 1999, p. 163). † Today’s radio (despite the handicap of absence of visuals) manages to incorporate interactivity in its scheme of things. DJs and anchors interact more with listeners and callers, making the relationship more personal. Because of the shift in age demographic, commercial radio is enjoyed by different age brackets and has involved itself more in lifestyle and culture. Besides news and music and radio programs, the content now include sports, gossip, entertainment, lifestyle, and a wide range of other interests, allowing radio to be appreciated in a new light. Commercial radio has also been an important proof of the change in lifestyle, both in rural and urban places in Asia. Political and social changes lead to change in culture and attitude, and how individuals continued supporting commercial radio is proof of this change. â€Å"The number of local youths listening (in Asia) listening to the radio primarily because it is a foreign-language station is testament to its attraction in this regard (Shoesmith, Rossiter, 2004, p. 57). † This shows that the strength of commercial radio and its success rests largely on its ability to adapt to new environment and culture. Bibliography Anderson, M. H. (1984) Madison Avenue in Asia: Politics and Transnational Advertising. Fairleigh Dickinson University Press. Applegate, E. (2004) Strategic Copywriting: How to Create Effective Advertising. Rowman Littlefield Publishers, Inc. Kasbekar, A. (2005) Pop Culture India! : Media, Arts and Lifestyle. ABC-CLIO, Incorporated. Shoesmith, B. , Ned R. (2004) Refashioning Pop Music in Asia: Cosmopolitan Flows, Political Tempos, and Aesthetic Industries. Taylor Francis, Inc. Wood, J. (1999) History of International Broadcasting, Vol. 2. Institution of Engineering Technology.

Literature Themes on the Impact of Discovery

Literature Themes on the Impact of Discovery It is the nature of meaningful discoveries, to challenge and shift ones perceptions, in either an unexpected and sudden, or planned and deliberate medium[DK1]. The consequences of discovery may be positive or negative, yet the ability of discovery to empower through allowing changes in ones ideals and self-evaluations is unparalleled[DK2]. William Shakespeares Elizabethan/Jacobean play, The Tempest (1600s) explores the discovery of mortality and the fragile nature of mankind, which is mirrored by Adrienne Richs poem Diving into the Wreck (1973). Also, Patrick Ness novel, A Monster Calls showcases a childs journey to discover his hidden desires and ideology, through the influence of an external power. Through the varying mediums and contextual backgrounds, the three texts explore the enduring values of discovery, and the capacity of discovery to renew perceptions through an unexpected/sudden or planned and deliberate medium. Certain discoveries function to transform ones values and renew perspectives. Through the play, The Tempest, Shakespeare showcases Prosperos intellectual discovery of his limitations as a mortal and the consequential rediscovery of his human morals. Prospero showcases his initial hatred towards the royal crew, rooted from past betrayals, as he says They now are in my power. And in these fits, I leave them. The truncated sentence emphasises Prosperos cruel and revengeful mindset, depicting his firm belief in power being the tool for vengeance. However, a dramatic change in Prosperos attitude can be seen, as he makes an unexpected discovery of human mortality following Ariels monologue, which states, We are such stuff as dreams are made on; and our little life is rounded with a sleep,, here sleep is a symbol for death, and the metaphor of dream accentuates Prosperos intellectual discovery of lifes fragility, where ones memories and earthly possessions are temporary juxtaposed to the va stly eternal world. Through the alliterative such sleep and little life, Prospero emphasises the insignificance of human life, and with it, the insignificance of his art. As he discovers the futility of his power in the face of mortality, Prospero rediscovers his humanity and gains a renewed understanding of the futility of vengeance. He says, My charms Ill breakà ¢Ã¢â€š ¬Ã‚ ¦.They shall be themselves, juxtaposing to his initial cruelty and will to revenge and hence portraying the change in his perception. Therefore, the renewal of perceptions through unexpected discoveries is evident through Prosperos rediscovery of empathy which he gains through the intellectual experience. Similarly, the intellectual discovery of human mortality allows a re-evaluation of ones values and identity which is further explored in Adrienne Richs poem Diving into the Wreck. Richs depiction of human mortality, and the fleeting nature of life, mirrors that of Prosperos discovery, expressing a sense of community gained through renewed understanding of the inevitability of death. Rich personifies a shipwreck in, ribs of disaster to represent humanity, the metaphorical ribs alluding to human bones which symbolise the basis of life, but also the imminent death that all of humanity faces. The personas intellectual discovery of mortality is further evident as she refers to we as half-destroyed instrumentsà ¢Ã¢â€š ¬Ã‚ ¦ water eaten log, the fouled compass, alluding to death and portraying the inescapable nature of mortality. As the persona gains a renewed understanding of life and death, she develops a spiritual connection with humanity, leading to a re-evaluation of her perceptions. Her initial depiction of her identity and values can be seen as the positive tone in Cousteau with his assiduous team aboard the sun-flooded schoonerà ¢Ã¢â€š ¬Ã‚ ¦ directly juxtaposing to the grim tone in the recurring motif of loneliness; but here aloneà ¢Ã¢â€š ¬Ã‚ ¦ there is no-one. However her unexpected discovery of human mortality leads to a change in her self evaluation, as evident in I am she: I am heà ¢Ã¢â€š ¬Ã‚ ¦ We are, I am, you areà ¢Ã¢â€š ¬Ã‚ ¦ where the connection between first second and third perspectives unify human beings under the concept of mortality. The persona, therefore is able to gain comfort from the spiritual connection based on mortality and gain a renewed understanding on her identity as a human being, hence showcasing the consequential shift in perception as a result of an unexpected discovery. Similarly, the planned discovery leading to re-evaluation of self and change in perception is further explored in Patrick Ness A Monster Calls, as he reflects the planned and deliberate process that a child takes in order to discover and accept his hidden desires and ideals. The Yew treeis introduced through the repetition of dialogue, Connor, written in an italic, holophrastic form. The short, conjunct repetition reflects the random and conjunct nature of ones subconscious thoughts, hence depicting the embodiment of the personas subconscious in the Yew tree. The truncated sentence in and here was the monster as Connor comes to face the Yew tree emphasises his initial reluctance to acknowledge his subconscious, further exemplified in the negative connotation in anthropomorphic description of monster. The negative tone highlights Connors rejective perception towards the tree, and hence showcases the innate stubbornness of humanity when one comes to face possible changes. The confronti ng process of discovery, led by his subconscious can be seen in the emotive repetition of NO!, the capitalisation and the exclamation mark further reflecting the personas unwillingness to accept his hidden desires and ideals.

Walter Johnson - A Pitcher :: essays research papers

In the beginning there were players like Ty Cobb who hit .300 for 23 consecutive years, and the 'flying dutchman' Honus Wagner. Pitchers like the 'christian gentleman' Christy Mathewson, and the winningest pitcher in history Cy Young. In the years when the only Yankees were the people in the north and there was an upstart franchise called the American League there was a pitcher, his name was Walter Johnson. Known as the 'big train' because of his high powered fastball which was unequaled in all of baseball Johnson was a poor Kansas farm-hand who became one of the best pitchers baseball has ever been lucky to have ever seen, and he was on one of the worst teams in the history of baseball. Walter Johnson was born in 1887 in a small town called Humboldt,Ks. As a teenager his interests turned from working on a farm to baseball; as he soon found out, he had a natural calling for pitching. As he went to high school he became one of the nations best pitchers and it was just a matter of time before he would be drafted for the majors. He was drafted by the Washington Senators in 1907 for $9. His first year wasn't so good but in his second year he earned the name 'the big train' with an amazing won loss record. Back when Walter pitched they had no Cy Young awards or league MVP awards but if they had, Walter would have won a dozen of each. On a team with a won loss record of around 60 and 94 Walter usually had half of their wins. He would frequently lead the league in wins, E.R.A., and strikeouts, but even the lackluster of the Senetors had some effect on him. In 1916 he had a miniscule E.R.A. of 1.86 but lost 20 games. It was 1924, and by hard work and determination (Johnson went 23-7) the Senators made it to the World Series but, they had to face the powerhouse of the N.Y.Giants with John McGraw at the helm. Johnson had never won a World Series game in his life and it was his dream of being able to do so but he was getting old and he knew this would probably be his last chance to win one. In game one he lost a heart breaker to the Giants ace. He had a no Walter Johnson - A Pitcher :: essays research papers In the beginning there were players like Ty Cobb who hit .300 for 23 consecutive years, and the 'flying dutchman' Honus Wagner. Pitchers like the 'christian gentleman' Christy Mathewson, and the winningest pitcher in history Cy Young. In the years when the only Yankees were the people in the north and there was an upstart franchise called the American League there was a pitcher, his name was Walter Johnson. Known as the 'big train' because of his high powered fastball which was unequaled in all of baseball Johnson was a poor Kansas farm-hand who became one of the best pitchers baseball has ever been lucky to have ever seen, and he was on one of the worst teams in the history of baseball. Walter Johnson was born in 1887 in a small town called Humboldt,Ks. As a teenager his interests turned from working on a farm to baseball; as he soon found out, he had a natural calling for pitching. As he went to high school he became one of the nations best pitchers and it was just a matter of time before he would be drafted for the majors. He was drafted by the Washington Senators in 1907 for $9. His first year wasn't so good but in his second year he earned the name 'the big train' with an amazing won loss record. Back when Walter pitched they had no Cy Young awards or league MVP awards but if they had, Walter would have won a dozen of each. On a team with a won loss record of around 60 and 94 Walter usually had half of their wins. He would frequently lead the league in wins, E.R.A., and strikeouts, but even the lackluster of the Senetors had some effect on him. In 1916 he had a miniscule E.R.A. of 1.86 but lost 20 games. It was 1924, and by hard work and determination (Johnson went 23-7) the Senators made it to the World Series but, they had to face the powerhouse of the N.Y.Giants with John McGraw at the helm. Johnson had never won a World Series game in his life and it was his dream of being able to do so but he was getting old and he knew this would probably be his last chance to win one. In game one he lost a heart breaker to the Giants ace. He had a no

The Narrator Merges with Ottilie in Porter’s Holiday :: Porter’s Holiday

The Narrator Merges with Ottilie in Porter’s Holiday â€Å"Ottilie, now silent, was doubled upon herself, slipping loosely on the edge of the seat. I caught hold of her stout belt with my free hand, and my fingers slipped between her clothes and bare flesh, ribbed and gaunt and dry against my knuckles. My sense of her realness, her humanity, this shattered being that was a woman, was so shocking to me that a howl as doglike and despairing as her own rose in me unuttered and died again, to be a perpetual ghost. Ottilie slanted her eyes and peered at me, and I gazed back. The knotted wrinkles of her face were grotesquely changed, she gave a choked little whimper, and suddenly she laughed out, a kind of yelp but unmistakably laughter, and clapped her hands for joy, the grinning mouth and suffering eyes turned to the sky.† (Page 434) This passage shows how the narrator finalizes her exile from the story by merging with Ottilie. The storyteller excludes herself throughout the tale by never being identified with a name or origin; she is in a state of â€Å"perpetual exile.† The narrator allies herself with Ottilie halfway through the story when she describes a filament connecting them â€Å"so that her life and mine were kin, even a part of each other† (427). Here, they become one so that the narrator and her personal life safely disappear from the story. Ottilie â€Å"doubled upon herself† represents the doubling of the two women. In the next sentence, the words â€Å"her† and â€Å"my† are used back-and-forth five times, almost as if one possessive pronoun could be exchanged for the other. In this sentence, the narrator’s fingers slip between Ottilie’s clothing and flesh, and thus their bodily contact merges the two physically. The following sentence describes Ottilie as a â€Å"shattered being,† perhaps because her new being is mixed with the narrator’s presence. The narrator never feels real in her own right, and it’s only when she senses the â€Å"realness† and â€Å"humanity† of Ottilie that she feels a breakthrough. However, she no longer has thoughts/feelings/sounds of her own; her reactionary howl is described as being Ottilitie’s as it rises unuttered and dies again. Therefore, the narrator finds her own identity when allied with Ottilie. She is hereafter described as a â€Å"perpetual ghost† because she no longer exists in and of herself, but in Ottilie.

Generous Generosity

Generous is an adjective frequently adopted by poets; generosity is a virtue greatly valued by nobilities; generous generosity is a depiction historically inherited by generations. I am always wondering that how does ‘generosity’ develop its personal charisma to attract so much attention? Is it possible to decode its mystery by tracing the origin of ‘generous’?Browsing through books, I discovered that some clues keep emerging. From a historic perspective, tracing word’s development back in time shows that in many cases what are now separate lexical items were formerly identical words. The deep prehistory of language has nurtured little word-seeds that over the millennia have proliferated into widely differentiated families of vocabulary. ‘Generous’ is a word of no exception.Originally, it was a derivative of genus in the sense â€Å"birth, stock, race,† and harks back semantically to its ultimate source in the Indo-European base â €˜gen’ denoting ‘produce’. Its Germanic offshoots include kin, kind, and probably king, but for sheer numbers it is the Latin descendant genus â€Å"race, type†. It probably entered the language in the 16th century coming via Old French genereux from Latin generosus, which originally meant â€Å"of noble birth† (a sense which survived in English into the late 17th century – Richard Knolles, for instance, in his General history of the Turks 1603, wrote of â€Å"many knights of generous extraction’).Years of evolution witness the moderate changes in the meaning of â€Å"generous†, and its semantic progression from ‘nobly born’ through ‘noble-minded, magnanimous’ to ‘liberal in giving’ impresses me while reading classics. In the field of literature, ‘generous’ enjoys a great rate of exposure. Let alone other authors, solely William Shakespeare used it for at least dozen times. Its first appearance was in Love’s Labour’s Lost, a work of Shakespeare’s early comedy.For instance, in scene one the fifth Actï ¼Å'a humorous dialogue conducted between the egg-headed Holofernes and Armado: Armado: Sir, it is the King’s most sweet pleasure and affection to congratulate the Princess at her pavilion, in the posteriors of this day; which the rude multitude call the afternoon. Holofernes: The posterior of the day, most generous sir, is liable, congruent, and measurable, for the afternoon. The word is well cull’d, chose, sweet, and apt, I do assure you, sir, I do assure. Under this circumstance, generous is an expression of nobility. As for a noble man, soul of innate generosity, every task is gracious and magnificent as well as every utterance.However, when this word was spoken by the bookish Hologernes, it sounded like a cheap flattery rather than a sincere approbation. In Love’s Labour’s Lost, generous was endowed wi th a new meaning, namely, kind giving. In scene two the fifth Act, Holofernes shouted that â€Å"This is not generous, not gentle, not humble† when he was roughly treated by courtiers. The above context reflects that generous stresses warm hearted readiness to give and demonstrates kindness to others in want of helps. Through Shakespeare’s interpretation, a generous sir can be defined as a well born person characterized by a noble spirit; generosity means the quality of being liberal and magnanimous.In addition, according to Alexander Pope 1, many people are capable of doing a wise thing, more a cunning thing, but very few a generous thing. What Pope intended to convey was that doing generous things demands lofty characters and unconditional dedication. Hovering in my mind, generous incorporates kind, wise and noble. Sometimes, the generous giving of ourselves can produce the generous harvest. Sometimes, barely detectable as it is, generosity can change someone elseâ⠂¬â„¢s life forever. Generous generosity is the most enchanting expression in English language, and the greatest wisdom cherished by civilized society, which urges people to do the generous deed, and to carry on the virtue of generosity.