Music Impact On Everyday Life Essays - Culture, Entertainment, Music

Music Impact on Everyday Life The Music Made Me Do It Music has a huge impact on the everyday lives of individuals in America today. It is an important part of the sociological self, which causes a person to feel and act in a certain manner. Sensual guitar playing, a suggestive song, hard rock power chords, or a tune from the past are all highly powerful forces in shaping ones actions. I have taken a particular interest in the way that different genres of music affect students actions at this university. This paper will take into account the effects that particular genres of music have on people. Because we are in a college town such as Austin it is easy to observe the effects that music has on people. Whether it be at parties, clubs, concerts, or in the dorms, I have seen the effects that music has on students. In many situations in todays world, actions that would normally be deemed inappropriate are viewed as acceptable due to the fact that a certain type of music is playing. Through a few experiences and observances, I have discover ed the sociological importance of different music in the lives of many students. At many heavy metal and rock and roll concerts, there are areas where a large group of people congregate and physically shove each other during the performance. This area is most commonly referred to as a mosh pit. At the beginning of this semester, I attended an outdoor concert here in Austin. The headlining band was the Stone Temple Pilots, a band that performs songs that often contain some heavy metal guitar riffs. As the concert progressed, there arose a massive mosh pit engulfing the area from about one hundred yards away from the stage all the way to the front of the stage. Three rows back from the stage I could hardly breathe. I was not standing under my own power, but by the pressure of all the people around me pushing in every direction. There is no doubt that these actions are the direct effect of this particular music. This type of music can lead to a state of mind where these activities are a main focus in a persons way of life. According to Freud, the id is the part of t he person which desires certain things, but is controlled by the ego and superego (Freud, 65-68). When a person enters a stage such as this in their life they are completely controlled by the id. The music is an ally to the id, helping it achieve its desires. To illustrate this point further, a closer look at the actions is necessary. A concerts purpose is to allow fans to listen to a band perform live. If the rational part of ones self, the superego, were in control, it is highly unlikely that someone would begin shoving random people to the beat of a song. Though this behavior would not normally be tolerated, it is viewed as acceptable because the participants are at a certain music concert. These actions toe the line between expression and violence. For the most part, this aggressive behavior is instigated and carried out by males. By nature the males of the human species are more prone to violence and exhibitions of strength than females. Music is a powerful means by which these people deem it permissible to act in such a manner. There may be other factors involved with this behavior such as male angst and stress, but the driving force is undoubtedly the music. When a typical heavy metal song is played there is an intense beat that penetrates to the soul. The most common rhythm in many of these songs lends itself to sharp, powerful, and rigid movements. In a society where the men are seen as the dominant sex, they need a place to display their masculinity. Those who dont have any other outlet find their release in their physical appreciation of the music. It is logical to deduce that males need a place to release their natural selves, and the music at these concerts provides just such a place. Music from your ones also brings with it the memories of the times they

Australian Capitalism And Gst Essays - Tax Reform, Value-added Tax

Australian Capitalism And Gst Essays - Tax Reform, Value-added Tax Australian Capitalism And Gst On the 13th August 1998, the Prime Minister, The Hon John Howard MP held a press conference at Parliament House to launch the Federal Government's tax plan for Australia's future. The plan incorporates significant historic changes to the Australian taxation system, which are to be guided by five key principles. The key principle of the Federal Government's tax reform proposal that is creating speculation and debate is the introduction of the Goods and Services Tax, commonly known as GST. This consumption tax has come under intense public and political scrutiny and questions have been raised as to the economic fairness of this proposal. According to Macionis and Plummer (1997, p.420) capitalist economies produce a higher overall standard of living but also generate greater income disparity. The inequity of Australia's current economy is evident from the media release issued by the Australian Council of Social Services (ACOSS) 4pm Wednesday 17 March 1999 in response to the taxation statistics that were released the same day. Michael Raper, President of ACOSS stated that the taxation statistics revealed the gross inequalities in the distribution of wealth in Australian society today with The top 10% of Australians owning 52% of the nation's wealth, while the bottom half owns a paltry 3%. On balance, does a capitalist economy promote a fair distribution of wealth and social power? I say not. Political support is gained by appealing to members of society with promises to act in their interests, more often directing this appeal to those individuals with wealth, social power and influence. The multi-million dollar advertising campaigns supporting the Federal Government's tax reform package and in particular the proposal of the Goods and Services Tax is funded by big businesses. The same big businesses that will benefit from the implementation of the Goods and Services Tax and that will benefit from the 30% cap on the Capital Gains Tax, an option being considered that can only strengthen the big businesses social power and capitalist ventures within Australian society. This supports the Marxists theory that states Basically, the state always works in the interests of the dominant, ruling, economic class: it favours and supports 'capital'. (Macionis et al 1997, p.452) A media release issued Wednesday 14 October 1998 by the National Tax and Accountants Association in regard to the inequity of the proposed income tax system also supports the Marxist theory. According to Ray Regan, President of the National Tax and Accountants Association, under a GST big businesses will continue to fly first class, travel around in their limousines, go on junket trips overseas and live a lavish lifestyle, but not pay one cent more tax. This is not a fair taxation system; an efficient taxation system should not be beneficial to some and not others. Bennett (1992, p.222) writes, Politicians rarely confront the public face to face to discuss issues and policy yet it is accepted practice in the Australian political arena. Instead of making an effort to understand issues too many people base their decisions on what they are told and accept this at face value, they do not question or seek out the underlying truths. An example of this is the initial media representation of the Goods and Services Tax exemptions. The government believes that to apply GST to education would discriminate against private providers (The Howard Government 1998). The exemptions were accepted and applauded by the public as they were led to believe that all charges, in particular regard to education, were to be exempt. The National Tax and Accountants Association soon alerted the public of this gross misrepresentation. Ray Regan in a media release issued 30 July 1998 states, it is very important for the public to quickly understand that with health, education and childcare the Government is most certainly not talking about a blanket exemption whatsoever. In reality, each of these three essential items will have many componentsthat will be subject to the new GST tax which people will have to pay for the rest of their lives. The GST exemption is applicable to school fees only, not uniforms, texts, transport etc. essential components of the current education system. The equity of GST-free private education that includes boarding school accommodation should also

Paraguay Geography

Paraguay Geography Population: 6,375,830 (July 2010 estimate)Capital: AsuncionBordering Countries: Argentina, Bolivia, and BrazilLand Area: 157,047 square miles (406,752 sq km)Highest Point: Cerro Pero at 2,762 feet (842 m)Lowest Point: Junction of the Rio Paraguay and the Rio Parana at 150 feet (46 m)Paraguay is a large landlocked country located on the Rio Paraguay in South America. It is bordered to the south and southwest by Argentina, to the east and northeast by Brazil and to the northwest by Bolivia. Paraguay is also located in the center of South America and as such, it is sometimes called the Corazon de America or Heart of America. History of Paraguay The earliest inhabitants of Paraguay were semi-nomadic tribes that spoke Guarani. In 1537, Asuncion, Paraguays capital today, was founded by Juan de Salazar, a Spanish explorer. Shortly thereafter, the area became a Spanish colonial province, of which Asuncion was the capital. In 1811 though, Paraguay overthrew the local Spanish government and declared its independence.After its independence, Paraguay went through a number of different leaders and from 1864 to 1870, it was engaged in the War of the Triple Alliance against Argentina, Uruguay, and Brazil. During that war, Paraguay lost half of its population. Brazil then occupied Paraguay until 1874. Beginning in 1880, the Colorado Party controlled Paraguay until 1904. In that year, the Liberal Party took control and ruled until 1940.During the 1930s and 1940s, Paraguay was unstable due to the Chaco War with Bolivia and a period of instable dictatorships. In 1954, General Alfredo Stroessner took power and ruled Paraguay for 35 years, d uring which time the countrys people had few freedoms. In 1989, Stroessner was overthrown and General Andres Rodriguez took power. During his time in power, Rodriguez focused on political and economic reforms and built relationships with foreign nations.In 1992, Paraguay adopted a constitution with goals of maintaining a democratic government and protecting peoples rights. In 1993, Juan Carlos Wasmosy became Paraguays first civilian president in many years.The late 1990s and early 2000s were again dominated by political instability after attempted government overthrows, the assassination of the vice president and impeachments. In 2003, Nicanor Duarte Frutos was elected as president with goals of improving Paraguays economy, which he did significantly during his time in office. In 2008, Fernando Lugo was elected and his main goals, are reducing government corruption and economic inequalities. Government of Paraguay Paraguay, officially called the Republic of Paraguay, is considered a constitutional republic with an executive branch made up of a chief of state and head of government - both of which are filled by the president. Paraguays legislative branch has a bicameral National Congress consisting of the Chamber of Senators and the Chamber of Deputies. Members of both chambers are elected by popular vote. The judicial branch is comprised of the Supreme Court of Justice with judges appointed by the Council of Magistrates. Paraguay is also divided into 17 departments for local administration. Economics and Land Use in Paraguay Paraguays economy is a market one focused on the re-export of imported consumer goods. Street vendors and agriculture also play a large role and in the countrys rural areas the population often practices subsistence agriculture. Paraguays main agricultural products are cotton, sugarcane, soybeans, corn, wheat, tobacco, cassava, fruits, vegetables, beef, pork, eggs, milk, and timber. Its largest industries are sugar, cement, textiles, beverages, wood products, steel, metallurgic and electricity. Geography and Climate of Paraguay Paraguays topography consists of grassy plains and low wooded hills east of its main river, the Rio Paraguay, while the Chaco region west of the river consists of low marshy plains. Farther from the river the landscape is dominated by dry forests, scrub, and jungles in some locations. Eastern Paraguay, between the Rio Paraguay and the Rio Parana, features higher elevations and it is where most of the countrys population is clustered.The climate of Paraguay is considered subtropical to temperate depending upon ones location within the country. In the eastern area,  there is significant rainfall, while in the far west it is semi-arid. More Facts about Paraguay The official languages of Paraguay are Spanish and Guarani Life expectancy in Paraguay is 73 years for males and 78 years for females Paraguays population is almost entirely located in the southern part of the country There is no official data on Paraguays ethnic breakdown because the Department of Statistics, Surveys and Censuses does not ask questions about race and ethnicity in its surveysReferences Central Intelligence Agency. (27 May 2010). CIA - The World Factbook - Paraguay. Retrieved from: https://www.cia.gov/library/publications/the-world-factbook/geos/pa.htmlInfoplease.com. (n.d.). Paraguay: History, Geography, Government, and Culture- Infoplease.com. Retrieved from: infoplease.com/ipa/A0107879.htmlUnited States Department of State. (26 March 2010). Paraguay. Retrieved from: state.gov/r/pa/ei/bgn/1841.htmWikipedia.com. (29 June 2010). Paraguay - Wikipedia, the Free Encyclopedia. Retrieved from: http://en.wikipedia.org/wiki/Paraguay

The big sleep Essay Example | Topics and Well Written Essays - 1000 words

The big sleep - Essay Example This theme is carried on further by locations tied to Marlowe. From his eyes, we are offered a glimpse of his old office building with its iron work and wood interiors. Here, there was demonstration of glamour or a spark of life that struggled to exist in the face of an obviously dying city. Then, there were also the observations from other characters, confirmed by Marlowe’s assent and body language. In his interview with the general, for example, the latter’s first impression of Marlowe was that of â€Å"a man with blood on his veins.† (p. 7) A little while later, Mrs. Regan would say to Marlowe’s face that he is a handsome man and Marlowe acknowledged it with a grunt. Chandler effectively built his protagonist’s character very early in the story. The protagonist’s background – an underpaid drudge – made a lot of sense why the style of the narrative was what it was, simple, straightforward but vivid in describing the richness, luxury and corruption of the period. After, all, it was from Marlowe’s eyes that the reader learn of the tale. There are numerous points wherein the narration resembled crisp, staccato rhythms demonstrating Marlowe’s personality. This was pretty surprising, however, especially when one takes into account that Chandler is British and the narratives that immediately preceded his work where firmly in the tradition of elaborate and almost floral prose. In a scene from the book, there was an instance when Harry Jones was recounting a narrative testimony about Mr. Canino, Eddie Mars and the mysterious Mona Mars. Afterwards, when he was alone in his office, Marlowe was quoted as saying: I went upstairs again and sat in my chair thinking about Harry Jones and his story. It seemed a little too pat. It had the austere simplicity of fiction rather than the tangled woof of fact.† (p. 115) Here, Chandler clearly expressed his view of fiction or at least its

Reading Review Assignment Example | Topics and Well Written Essays - 750 words

Reading Review - Assignment Example Theses artists perceived revolutionary leftist politics as the sole hope against abuse and violence. They therefore placed hope in political art as opportunities to bring change. To communicate to masses of people, the artists organized realism, a style that most people preferred and understood (Barber 31). Some artists such as Diego Rivera used their art to protest social ills. In 1950, Rivera created an artistically huge, multi-layered mural in Mexico City. He drew his ideas from the early colonial manuscripts, Pre-Columbian sculpture, and historical accounts to compose idealistic portraits of utopian Indian traditions, on-going resistance to the dominant Spaniards, and radical assault on imperialist vices. Rivera’s use of new technologies in art was used to protest social evils and had clear appeal to leftist politics, an appeal that expanded to the U.S during the age of depression. Most of researches from art works indicate that femininity failed to fulfill most of the requirements of traditional art history. In the 19th century, these practical limitations did not affect women as much, but in the early years of the 20th century, women were gradually marginalized from paintings. Women, whose reputed powers were in intuition and emotions as opposed to reason were perceived as incapable of delivering symbolic and intellectual arts properly. History art depends on a clear creation of articulated texts, where texts are clearly employed to meet discursive objectives. Similarly, the temperaments needed of a history artist begun to be gendered as â€Å"masculine† thus implying that none of the women artists would have the frame of mind essential to create significant historical art. Since art displayed and needed judgment and imagination; a couple of components of reason, they were traditionally associated with masculinity. A notion came

Wordplay Functions In Literature And Literary Theory English Language Essay

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

Ethical Issues in the Work Place

Latoya J Week 2 1/18/2012 Discussion 1 Analyze your current work (or School) environment through the lens of the content in Chapter 2 and determine the most significant ethical issue and its impact on overall productivity and moral. Explain your rationale. ? Although I have only been working at Saint Joseph’s University as temporary administrative assistant for a few short months, I have noticed one major discrepancy involving the registrars department of the university. The most significant ethical issue suffered by this particular department involves Lawrence Kohlberg’s social contract stage within the stages of moral development. Kohlberg states that in the social contract stage although employees understand that there are rules and regulations they must follow in the work place, sometimes employees will break those rules to satisfy ones’ own wants and needs. (Hellriegel, Slocum, 2010) In Saint Joseph’s University’s registrar’s office I constantly see employees take off days just to get rest knowing there is a lot of work to be done. This current week in particular one of the receptionist took the week off to have a week relaxation in their hometown. Unfortunately, this individual choose the most important week of the semester, the first week of a new semester. During this week students are not only visiting the registrar’s office with questions regarding things like classroom locations, teacher confirmations, registration errors and alterations, transcript requests, and graduation applications, they are also contacting us via telephone. Since there are only two receptionist her and myself, I was left to manage a lot of the traffic on my own. There is one other front office employee that orks in the registrar’s office who is not an assistant registrar so she was there to lend a helping hand at times, but she too has her own work to finish. Due to the absence of the other receptionist, the office was behind on completely transcripts in a timely manner that we received online through the National Clearinghouse. On Wednesday, January 18, 2012 we had a total of 40 missed calls accompanied by voicemails because the other phone line went unanswered during times when I was either with another student, on another call I could not put on hold, or the other front office employee was not able to answer it. This caused a bit of stress within myself and the others within the office. Students were coming in so fast I was unable to appoint them to the correct assistant registrar to help them solve some of their questions because their offices were also over loaded with students, or faculty in need of classroom assignment alterations. Although I tried my best to help everyone, those individuals who needs were not met because we were shorthanded could possibly view the office as being unorganized as whole, or unprepared. The registrar’s office need to enforce the importance of attendance at work, especially during the extremely busy times of the year. When one is slacks off on their job by being absent when their presence counts the most it makes it creates a ripple in the organization. In this particular case calls were left unanswered, students were forced to either come back to the office at a later time or leave their information in hopes of being contacted at a later time, and transcripts were not sent out as quickly as they normally are.