TV Could you be without it free essay sample

No, I probably could not live without it. Reasoning: Most people get lots of information from TVs, such as news and shopping. Also, for some people, if they have digital cable. You can look for houses, fitness shows, cooking shows, and some even have dating channels. Evidence: Many people do look at some of these houses on the TV and they sometimes buy them. And also my Dad bought my Mom a ring off of one of the jewelry shopping channels and she received it the other day. Counterpoint: Some readers may disagree because you could still live without TV but most people have grown so attached to it that it would be hard to take it away Could You Be Without T.V.? Are you someone who someone who watches a lot of T.V.? I know I am, but have you ever thought about life without T.V.? Without all of the drama? The romance? The horrors or the comedies? This was never a thought of mine until today. Now that I think about it, our world probably not be able to make it through without TV. I mean, with all of the technologies that we use today, our TV’s are one of the most important to us. T.V. is one of the most used technologies around the world. No matter where you are in the world, most people are watching T.V. This technology has become to be a necessity to many people. TV’s are use to watched shows and/or movies. Also, they are used to shop for things such as jewelry, clothing, cosmetics, and other things used outside and inside of homes. You can buy most of anything except food from ordering off of television. Secondly, people that own businesses and/ or work at businesses make money because of T.V, advertisements. As you probably have seen, most companies advertise what they are offering or selling in advertisements on T.V. Once people see these advertisements on T.V. and they like what they are seeing, they are most likely going to go consider taking the company up on their offer. This makes business better for the companies. For example, Kentucky Fried Chicken has advertisements on family deals all of the time. Most of the time, these deals are at a reasonable price. If you have a big family who likes to eat chicken, Nine out of 10 you are most likely going to go to KFC and buy the family because of its reasonable price. The same thing applies to other restaurants and companies. Now, I know that many people will agree with me and some may not, but everyone’s opinion will be different. I, personally, could probably live without T.V. physically, but mentally I might not be the way I should be. I think that it would be possible for people to live without T.V. it would just take more time for some to cope and adjust without it that it would for others.

Free Essays on Miss Julie

Miss Julie In Miss Julie, by August Strindberg wrote about the naturalistic view of human behavior. He symbolizes the behavior through animal imagery. The animal image Strindberg uses helps him exemplify his naturalistic view. The first animal imagery Strindberg uses is the dog. Jean uses the dog imagery to describe to Kristen how Miss Julie made her ex-fiancà © act before the break-up. â€Å" Why, she was making him jump over her riding whip the way you teach a dog to jump.† A dog is mans best friend only because a dog is an extremely loyal animal. Having Jean compare what Miss Julies did to her ex-fiancà © with what some one would do to a dog shows Miss Julies drive to be the dominant one or the master. Strindberg again uses the imagery of a dog when he has Miss Julie say, â€Å"dog who wears my collar† to Jean. Miss Julie feels that her social status is so much superior to that of Jean that their relationship could be compared to that of a master and his dog. The dog imagery in the play is also used to demonstrate the difference in social classes. In the play Miss Julie’s dog, Diana, is impregnated by the lodge-keepers pug. Kristen demonstrates Miss Julie’s disgust when she says; â€Å"She almost had poor Diana shot for running after the lodge-keepers pug.† The sexual affair between the dogs also represents the sexual affair between Jean and Miss Julie and how the two of them look down on each other. Jean looks down on Miss Julie for being surprisingly easy to obtain. While Miss Julie looks down on Jean for being a servant of hers and of a lower social class. In the play Miss Julie says that she would have killed Jean like a wild beast and Jean goes on to compare it to the killing of a mad dog. Jean comparing himself to a mad dog also shows how Miss Julie feels that Jean is a sick animal and deserves to die. Like the imagery of the dog Strindberg uses the imagery of a horse. Jean says that, â€Å"A dog may lie on th e ... Free Essays on Miss Julie Free Essays on Miss Julie Miss Julie In Miss Julie, by August Strindberg wrote about the naturalistic view of human behavior. He symbolizes the behavior through animal imagery. The animal image Strindberg uses helps him exemplify his naturalistic view. The first animal imagery Strindberg uses is the dog. Jean uses the dog imagery to describe to Kristen how Miss Julie made her ex-fiancà © act before the break-up. â€Å" Why, she was making him jump over her riding whip the way you teach a dog to jump.† A dog is mans best friend only because a dog is an extremely loyal animal. Having Jean compare what Miss Julies did to her ex-fiancà © with what some one would do to a dog shows Miss Julies drive to be the dominant one or the master. Strindberg again uses the imagery of a dog when he has Miss Julie say, â€Å"dog who wears my collar† to Jean. Miss Julie feels that her social status is so much superior to that of Jean that their relationship could be compared to that of a master and his dog. The dog imagery in the play is also used to demonstrate the difference in social classes. In the play Miss Julie’s dog, Diana, is impregnated by the lodge-keepers pug. Kristen demonstrates Miss Julie’s disgust when she says; â€Å"She almost had poor Diana shot for running after the lodge-keepers pug.† The sexual affair between the dogs also represents the sexual affair between Jean and Miss Julie and how the two of them look down on each other. Jean looks down on Miss Julie for being surprisingly easy to obtain. While Miss Julie looks down on Jean for being a servant of hers and of a lower social class. In the play Miss Julie says that she would have killed Jean like a wild beast and Jean goes on to compare it to the killing of a mad dog. Jean comparing himself to a mad dog also shows how Miss Julie feels that Jean is a sick animal and deserves to die. Like the imagery of the dog Strindberg uses the imagery of a horse. Jean says that, â€Å"A dog may lie on th e ...

Idem and Ibid

Idem and Ibid Idem and Ibid Idem and Ibid By Maeve Maddox A reader asks, Could you discuss the use of â€Å"id.† in conjunction with referencing citations, especially web links? The abbreviation id. in bibliographical citations stands for Latin idem: â€Å"the same.† The abbreviation id. and the word idem are often seen in older scholarly works, but modern style guides, like The Chicago Manual of Style, no longer countenance the use: 14.30 â€Å"Idem† When several works by the same person are cited successively in the same note, idem (â€Å"the same,† sometimes abbreviated to id.) has sometimes been used in place of the author’s name. Except in legal references, where the abbreviation id. is used in place of ibid., the term is rarely used nowadays. Chicago discourages the use of idem, recommending instead that the author’s last name be repeated. Ibid. is another abbreviation related to the Latin word for same. It stands for ibidem, â€Å"in the same place† and usually refers to a single work cited in the note immediately preceding. Here is an example from the bibliographical endnotes for Chapter I, â€Å"Maid of France† in Marina Warner’s Joan of Arc: The Image of Female Heroism: 18. Pernoud, Retrial, pp. 197-8. (first mention of the book cited) 19. Ibid, p. 201. 20. Ibid, p. 134. 21. Ibid, p. 75. 22. Ibid, p. 177. 23. Ibid, p. 149. 24. Ibid, p. 96. 19. Ibid, pp. 90-2. All the references marked Ibid. are from the same source. Note: â€Å"Pernoud, Retrial† is the abbreviated form that Warner uses in the notes for Regine Pernoud’s The Retrial of Joan of Arc: The Evidence at the Trial for Her Rehabilitation. Ibid, italicized when referred to as a word, is not italicized in use. Ibid is pronounced with short i in both syllables. The i in idem is also a short vowel, as is the e. The reader asks about the use of id. in reference to Web links. I can’t recall having come across it, but if people do use it online, the same conventions that are described here would apply. For example: Maddox, Maeve. â€Å"Let the Word Do the Work.† Daily Writing Tips. May 30, 2007. Web. August 13, 2015. Ibid. The pattern for a Web citation (MLA style) is as follows: Last name, First name. â€Å"Article Title.† Website Title. Publisher. Date Month Year Published. Web. Date Month Year Accessed. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Spelling category, check our popular posts, or choose a related post below:How to Format a US Business Letter50 Synonyms for â€Å"Idea†Rite, Write, Right, Wright

Asteroid Impact Discussion Essay Example | Topics and Well Written Essays - 250 words

Asteroid Impact Discussion - Essay Example Accordingly, â€Å"the pieces could still hit Earth, and we might not have enough firepower to do serious damage.† (Atkinson, 2009) Secondarily, â€Å"a nuclear explosion could reroute a space rocks trajectory clear of Earth;† (Keim, 2009) but, from the other perspective, this would need to be done decades before the asteroid reached us (Atkinson, 2009). Thirdly, it could be annihilated with an assistance of â€Å"direct beams of concentrated sunlight to the surface of an appropriately icy asteroid.† (Keim, 2009) Except these ones, there are also another variants that have their own pros and cons as well. For example, â€Å"electric propulsion,† â€Å"gravity tractor,† â€Å"solar salls,† etcetera. (Atkinson, 2009) As for me, and it will be going on as an overall conclusion, that among these variants of annihilating asteroids the aforesaid three are the most vital: direct nuclear explosions, nearby nuclear explosions, and laser sublimation. To conclude with, first one needs too much nuclear power embodied in a bomb but theretically it sounds effectively; furthermore, second one is needed to be concentrated very carefully on the asteroids orbit to push it off from the Earth; finally, â€Å"beams of the concentrated sunlight† could be regarded as very sufficient in case that average temperature of the asteroid is not higher that of â€Å"sunlight;† if not, they will only increase the overall temperature of the

Legislative and Executive Powers Coursework Example | Topics and Well Written Essays - 250 words

Legislative and Executive Powers - Coursework Example ess the emotionally-fueled anger of the people because of the impending threats by extremists groups allowed Congress to pass a bill that was not well-planned in a relatively short time. The Patriot Act was passed only 45 days after the 9/11 attacks to provide a solution to the breach in national security. Many regard this law as a legal means for the government to spy on virtually any person. The wide reach of the law allows surveillance of private individuals that extends to their phone conversations, internet communications and even bank transactions. The Federal Bureau of Investigation (FBI) is granted the power to National Security Letters known as NSLs without judicial intervention which allows them access to the mentioned personal information. Those issued with NSLs have ‘gag orders’ prohibiting them to disclose (American Civil Liberties Union [ACLU], 2011). Several courts have declared this provision to be unlawful. A San Francisco federal district court judge st ruck down as unconstitutional the provisions of the law in this regard last year on an action brought by the Electronic Frontier Foundation (Sledge, 2013). Sledge, C. (2013, Mar. 15). National security letter gag orders struck down as unconstitutional (Update). The Huffington Post. Retrieved from

The Relation of Narratives and Video Games Essay Example for Free

The Relation of Narratives and Video Games Essay Video games are a relatively new form of entertainment; the first video game is considered to be Tennis for Two (1958), around fifty years ago, while film has been around for over one-hundred years, the printing press for over five-hundred, and storytelling for thousands of years before that. Because of its newness, video games are a developing medium, their conventions and potential have not been explored as fully in comparison with film and literature. Computers as a technology allow us to overcome more complex tasks and obtain and utilize information more quickly than previous technologies. Often there can be the tendency to describe the new medium as radically different from the old, solely based on its technology. However, it is not necessarily the case. Video games do have new capabilities that separate them from previous storytelling media and it is these new characteristics of video games that separate them from film and literature, creating an environment of storytelling where the traditional narrative structure does not directly apply. Using narrative media as examples a lot can be discovered about video games, however, one must remember what makes them games. See more: how to start a narrative essay Looking at video games as a continuation of games in general rather than an extension of film, they hold a history dating as far back as the ancient Egyptian game of Senet (discovered in the 2686 BC tomb of Hesy-re) (Juul, Half-Real 3-4). It is these game components that must be understood before looking at games from different perspectives. Jesper Juul drew from theorists before him to present what he denotes the classic game model. Juul defines that a game is: 1. a rule-based formal system; 2. with variable and quantifiable outcomes; 3. where different outcomes are assigned different values; 4. where the player exerts effort in order to influence the outcome; 5. the player feels emotionally attached to the outcome; 6. and the consequences of the activity are optional and negotiable (Half-Real 6-7). This model is only a barebones description of what games are and does not outline the variety of games, or what makes games enjoyable. This model is also transmedial, meaning that games are not tied to any medium, just as storytelling is not tied to any medium—there is no ideal game medium and there is no physical component common to all games, but there exists the â€Å"immaterial† component of rules that is common to all games. Rules are the base component of games. They govern how the game is played and they should be designed in a way to make it clear what is and is not allowed in playing the game. Games therefore resemble a state machine, a term used in computer science to describe a machine that consists of an initial state, accepts a number of input events, that changes the state responding to the inputs using a state transition function (in the case of this example, the game rules) and then produces outputs using an output function. Visualizing a game as such, the activity of playing a game produces a game tree that can be seen as branching off at each decision and input. Playing a game is interacting with this state machine and exploring this game tree (Juul, Half-Real 55-56). Rules, however, are seen everywhere in the world, and it is not solely the existence of rules that makes a game. The second item of the classic game model—that games must have variable and quantifiable outcomes—is a salient feature of the game. If a game exists in such a way that no matter how the player interacts with it, it always produces the exact same result, it is not a game. The variable outcomes must also have different values, with some being more desirable to attain than others. In the video game Super Mario Bros. (Nintendo 1985) the outcome of losing all of the game lives is less desirable than defeating the last stage. A player must also exert effort to influence the outcome, generally in a manner that requires more effort to realize a more desirable outcome. It is not merely enough that the player interacts with the game, they must also have a sense of agency. Agency is not simply interaction, but interaction where the player has influence (Murray 126). This separates games of pure chance and gambling as borderline cases. In a game where the player rolls a die and the result of rolling a six is considered victory, the player only exerts trivial effort to roll the die, and exhibits no agency. The player of a game must also feel emotionally attached to the outcome—if the player loses all of their lives in Super Mario Bros. , the player has achieved a negative outcome, and agrees to feel sad, while if they defeat the last stage, they have achieved a positive outcome and agree to feel happy. If the player is not emotionally attached to the outcome, they would not exert the effort to play. The sixth item of the classic game model separates games from the real world—game theorists Katie Salen and Eric Zimmerman call this subset of the real world a magic circle (95). Games are a part of the world that they exist in, but the rules carve out a world separated from the real world. It is here where the consequences of outcomes are optional and negotiable—games are a voluntary activity where players can decide the consequences of the game. Soccer, as an example, is a game where in some cases players decide the consequences are simply the glory of victory, but other players, decide that the consequences are career-changing (in the case of professional soccer players). On the other hand, the rules for a political election are game-like and could be played as a game, but an actual election has decided, non-negotiable consequences and therefore is not a game. In the same manner, it could be argued that professional soccer is not a game, but soccer itself is still considered a game as it is known that soccer is played recreationally and its consequences are negotiable. The classic game model outlines games as a voluntary activity that evaluates a players performance—based on a players effort and skill in interacting with the game rules, a variable outcome with an attached value is reached, to which the player is emotionally attached. However, with the advent of the video game (as well as the pen-and-paper role-playing game), the classic game model is not all there is to games anymore. It is still a valuable definition, but the addition of the computer to games modifies the standard game definition. When it comes to rules, the computer is able to handle far more complex processes than a human, allowing for games where the player is free from enforcing the rules of the game, instead having the computer run as a referee of sort. This referee capability can operate anywhere from playing tic-tac-toe to simulating entire fictional worlds. The ability of the computer to run as a referee also allows for rules and calculations to be kept secret from the player. This ability to manage a large amount of information, as well as the ability to run it in secret allows for the computer to manage whole fictional worlds spawning a new type of game, the progression game. This now means there exists two types of games (elements of which can be combined): emergence games and progression games. Most games that have existed before video games are emergence games—games where a large variety of game variations and outcomes come from a small set of rules. Chess, soccer and Pong (Atari 1972) are examples of the emergence game. Progression games require the player to actualize a predefined sequence of events in order to beat the game. The progression game came about with the adventure game and early examples include The Legend of Zelda (Nintendo 1986) and Final Fantasy (Square 1987). Now that video games can have this progression capability and the ability to easily run fictional environments, they have expanded to include storytelling components. The study of video games, therefore, delves into not just the study of rules and interaction, but also the study of narrative as well. Narratives operate fundamentally differently than games and one cannot use the same methods of study for both. Therefore, when comparing games and narratives, just as one must understand games, the basics of narrative in comparison to games must be understood as well. The Oxford English Dictionary defines a narrative as a spoken or written account of connected events; a story. There are three traditional components of the narrative: setting, character and events (plot)—a narrative consists of a world situated in time, populated by characters that participate in action. The world is independent of the question of fictionality, as narratives can be of real as well as fictional events. They can also be split into two levels, the discourse (the telling of the story) and the story itself. Each of these levels has its own time, discourse time and story time, respectively. The story time is the time it took for the actual events to occur, and the discourse time is the time it takes for the retelling (Juul, â€Å"Games Telling Stories†). A week may pass in a story with no event, and thus the narrative could write it off in one sentence, while an action scene that lasted merely a few seconds could take much longer to explain. This means that even though the narrative may be observing events at a time, there exists an understanding that the events are not actually occurring at the moment of reading (Juul, â€Å"Games Telling Stories†). Narratives are not limited to the novel or storytelling, and can recognizably be translated between different narrative media—The Fellowship of the Ring by J. R. R Tolkien is recognizable as the movie of the same name. However, not everything can be transferred equally as well. For example, film is better at conveying action and movement, while the novel is better suited to producing inner thoughts. With games and narratives understood, examining the two side-by-side displays several differences. The most apparent of these is the difference in timing. The narrative has two levels, discourse and story, but when examining games in the same manner it is near impossible to distinguish between the two. In playing Super Mario Bros., when the player presses the A button on their controller, the in-game character jumps, thus synchronizing story and discourse time. It is imperative of the narrative that this separation in time exists. Not only does jumping in Super Mario Bros. place discourse and story time together, it also influences the game world. The understanding, in experiencing a narrative, that the time of the discourse is separate from the time of the events means that in some manner the events have already occurred (even if the setting is in some supposed future)—the events are unable to be influenced. The very agency that the player exercises in playing a game contradicts the idea of narrativity; it is impossible to influence an event that has already occurred (Juul, â€Å"Games Telling Stories†). Because of this contradiction, games themselves cannot be narratives, but this does not limit them from employing and producing them. The very activity of playing a game can produce a narrative, the player can tell a story of their experience in the game. Just as well, games can have stories told through them (especially progression games) as many games contain back-stories and quests that offer the player narratives alongside their play. Video games have two parts: rules (discussed earlier) and fiction. For a number of years, the arcade game was all that existed and they contained both rules and fiction, but the two were loosely connected. This led some to conclude that a games fiction is easily removable and replaceable, thus making it unimportant in relation to the rules. Juul had previously taken the stance that rules are what make a game a game, fiction is unnecessary for a game, a game with an excellent fiction can still be a terrible game, therefore fiction is unimportant in games (Half-Real 13). When looking at simple games such as Space Invaders (Taito 1978), one could remove the theme of an alien invasion and portray an advancing German front; the players spaceship could become a Russian tank. If the rules were kept the same, the player would experience no real difference between playing either, but the same sort of procedure would not perform the same if it were attempted on a progression game such as Myst (Broderbund 1993) because the game experience relies more heavily on the fiction. Juul stated that, There are, of course, many relationships between theme and structure in a game. Whether or not any of those relationships are essential, they are complex and vital enough to resist my attempt to lightly shuffle them around (Half-Real 15). If the fiction of a game is tied to its experience, what role does it play in the game and its rules? In some cases the fiction may point to the rules, as well as the other way around; in other cases the fiction serves the rules in an incoherent manner, subservient to gameplay. When it comes to the fiction component of games, one main difference from narrative media is that they do not require anthropomorphic actors/characters in order to be entertaining (Juul, Half-Real 160-161). While films and other stories are largely about humans or anthropomorphic characters that a viewer/reader identifies with on a cognitive level, games such as Tetris (Pazhitnov 1985), Pong and Missile Command (Atari 1980) exist without such. This lack of a visible actor does not make Tetris any less of a game, and makes the idea of a movie based on Tetris an unlikelihood, but it shows how games can accomplish something different, and almost completely separate, than traditional narrative media. Another main difference is the progression of time in games. Previously the difference with discourse and story time was explored, but the chronological appearance of time also varies between games and narratives. Due to the fixed, predetermined nature of a narrative the telling can jump around to various points in the story time either in flash-forwards or flash-backs. To do the same in a game becomes problematic, for predetermination precludes agency. If the player is put back in time (in the past), they are put in a situation where they must actualize a series of events that allows the game in the present to exist, thus limiting the player. The same goes for flash-forwards where the player is put in a position of what is to happen, limiting their play upon return to the present. However, even though games are not narratives, games are no longer strictly abstract. They often contain fictional components as well, leading to new types of games. Besides just viewing games as emergent and progressive, there exists five categories of games: abstract, iconic, incoherent world, coherent world and staged. Abstract games are games that does not, nor do its pieces, represent something else. The game of Go is a game that is merely rules and although there exist conventions for the size and appearance of the various game pieces, they do not mean anything. Tetris is a well known abstract video game. Iconic games are quite similar abstract games, but their individual pieces simply have iconic meaning. In a standard deck of cards there is a king, queen and jack of each of the four suits, but there is no clear explanation of their relation to the other kings, queens and jacks of the other suits. Incoherent world games are games that have a fictional world, but it either contains contradictions or events in the gameplay that cannot be explained by the fictional world. In Super Mario Bros. , Mario has multiple lives, but there exists nothing in the fiction that explains it, it only serves the rules. Chess represents two parties at war, but to explain the movement of the units one must refer to the rules as it is not apparent in the fiction. Coherent world games are games that have a fictional world that contain nothing that prevents the player from imagining them in full. Most adventure games such as the recent The Elder Scrolls V: Skyrim (Bethesda Softworks 2012) are coherent world games. Staged games are a special type of abstract or representational game that are played inside of a larger, more elaborate world. Mario Party (Nintendo 1998) contains an overarching fictional world and game, but is largely made up of individual staged games. Another instance of the staged game is in Shenmue (Sega 1999) where the protagonist can play on in-game arcade machines. Each of these categories of games has its own place in the world of video games and it is important to be aware of the varieties that exist. Of these varieties though, there is the coherent world—the progression game. In this type of game the player must perform a predefined set of actions in a coherent world setting. This kind of game sounds very similar to the narrative, but still has variable outcomes, player effort and other game components. One example of this kind of game is The Walking Dead (Telltale Games 2012). The Walking Dead is set in Georgia during a fictional zombie apocalypse. The player plays as Lee Everett, a professor convicted of killing a man he found sleeping with his wife. Due to the zombie uprising he does not end up in prison, instead ends up caring for a little girl by the name of Clementine. The gameplay mainly revolves around conversations that the player has with other characters and occasionally the player is put in a position where they must make a critical decision. At the end of each â€Å"chapter,† the game reports out on the player’s decisions as well as the percentage of other players that either disagreed or agreed with them. It is through this method that the player is able to reflect on the cause and effect of their decisions. This sort of environment demonstrates that games are a playground where the player may experiment with things they would or could not do in a real-life setting (Juul, Half-Real 193). It is this phenomenon of player-made decisions and the reflection of them that traditional narratives cannot accomplish. In conclusion, games are made up of six components that make up the classic game model: they are rule-based systems with variable outcomes that have different assigned values, the player exerts effort in order to influence the outcome, the player feels emotionally attached to the outcome, and the consequences of the game are optional and negotiable. With the advent of the computer, there are new capabilities available to games. There are now two main types of games, emergent and progression games, with a spectrum of combinations between them. Emergent games are made up of a set of rules that combine to produce a large set of outcomes. Progression games require the player to perform a specific set of actions in order to complete the game. With this progression capability, it is important to compare video games and narratives. A narrative is a spoken or written account of connected events. Narratives have two levels, story and discourse, each of these with their own time. Games often do not have distinction between their story and discourse time (as the events are occurring in real time), and thus are not narratives. Games, although not narratives themselves, allow for players to produce narratives through playing them; players may recount their experiences in a game. Games may not themselves be stories, but that does not mean that they do not employ them or that player’s cannot tell stories about their experiences in a game. Games offer a different experience than the narrative media before it; the player gets to experience something rather than view it and has an influence in the environment. The player of a game also gets to experiment with ideas in a sort of playground and reflect on their decisions and the effects they have. That does not, however, imply that the medium is necessarily a superior or inferior one. Films, novels and other narrative media can provide experience that games cannot, just as games provide experiences that traditional narrative media cannot. Looking forward, one can only imagine what games can accomplish in the field of entertainment that was not possible before. Works Cited Aarseth, Espen J. Cybertext: Perspectives on Ergodic Literature. Baltimore: Johns Hopkins, 1997. Print. Ebert, Roger. Video Games Can Never Be Art. RogerEbert. com. Ebert Digital LLC, 16 Apr. 2010. Web. 16 Apr. 2013. â€Å"Game Studies. † Wikipedia. Wikimedia Foundation, 19 Sept. 2012. Web. 20 Sept. 2012. Game The News: The Project That Birthed a Syrian Civil War Game That’s Been Pulled from the App Store. Edge Online. Future Publishing Limited, 8 Jan. 2013. Web. 16 Apr. 2013. Juul, Jesper. â€Å"A Clash between Game and Narrative. † Thesis. University of Copenhagen, 1999. Web. 19 Sept. 2012. . â€Å"Games Telling Stories? A Brief Note on Games and Narratives. † Game Studies1. 1 (2001): n. pag. Web. 20 Sept. 2012. . Half-Real: Video Games between Real Rules and Fictional Worlds. Cambridge: MIT, 2011. Print. Jenkins, Henry. Game Design as Narrative Architecture. Henry Jenkins. MIT, n. d. Web. 16 Apr. 2013. Murray, Janet H. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Cambridge: MIT, 1997. Print. Narrative. Def. 1. Oxford Dictionaries, Oxford University, n. d. Web. 28 Apr. 2013. Ryan, Marie-Laure. â€Å"Beyond Myth and Metaphor: The Case of Narrative in Digital Media. † Game Studies 1. 1 (2001): n. pag. Web. 20 Sept. 2012. Salen, Katie, and Eric Zimmerman. Rules of Play: Game Design Fundamentals. Cambridge, MA: MIT, 2003. Print.

Vatican II :: social issues

Vatican II As I was interviewing my Grandmother, i learned just how strict and almost demanding growing up on a catholic family could be. My grandmother’s name is Margaret. She was born in 1940 and grew up in a very strong religious home. She attended a Catholic school as well as her other ten siblings. Besides going to a catholic school, her home life was also spent in strong prayers. During her late teen years, that was when the changes took place. Let’s get into detail. Vatican II was the 21st worldwide council recognized by the Roman Catholic Church, which she said became the symbol of the church's openness to the modern world. She acknowledged that the council was announced by Pope John XXIII on January 25, 1959, and held 178 meetings in the autumn of each of four successive years. The first gathering was on October 11, 1962, and the last on December 8, 1965. Of 2908 bishops and others eligible to attend, 2540 from all parts of the world participated in the opening meeting. She says that the U.S. commission of 241 members was second in size only to that of Italy. Asian and African bishops played a well-known role in the council's discussions. Only Communist nations were lightly represented, the result of government pressures. The average attendance at the meetings was 2200. Vatican II, as what Margaret has said from the above information, was a very large and important meeting in the Roman Catholic Church. Vatican II has altered the Roman Catholic Church more that any other council that took place. My grandfather, who I also interviewed, said that it has great significance as it made the church more reasonable and realistic. The Church, after the council, was much more â€Å"down-to-earth and open-mindedâ€Å" stated the two of them. One of Vatican II's changes that took place was that Mass became â€Å"vernacularâ€Å". She thought that this change was very important because it made her feel more at a personal level when mass was held seeing as though the priest was speaking her language. It made them feel more at home and increased their understanding and ability to respond. Another very major and important change that took place due to Vatican II was the relationship with the Church and the world. "The Church is a human Organization steered by the Holy Spirit and composed of the gifts and talents of its members.

Questions on Modern Consumerism

I shop therefore I know that I am Decide if the following sentences are true or false according to the test ‘l shop therefore I know that I am†. 1- The two crucial defining features of modern consumerism are emotion and desire False.. The two are emotion and desire and individualism 2- It's quite clear that a distinctive channel of modern consumption is the extent to which good and services are bought by individuals for their own use. True.. 3- The two features support each other combining to define the nature of modern mesmerism.True.. 4- Astrology cannot serve as a useful guide to an understanding of the social and cultural word. False, it can serve as a guide to that. 5- What is needed is sociology of postmodernism, not a postmodern sociology True, as Mike Featheriness has said. 6- The author suggests that it is our interests or hobbies that define us. False, the author says that if you have some particular hobbies then you can meet people with similar interests. 7- Th e person we really consider' ‘ the real me† is to be found in our special mix of tastes.True 8- It is crucial for us to test ourselves for a wide range of variation in products. True 9- The marketplace is not indispensable to the process of discovering who we really are. False, it is 10- The real location of our identity is to be found in our reaction to products, and not in the products themselves. True 11- Our parent's and grandparent's used to consider themselves as we consider ourselves nowadays. False, for them identity was far more likely to be primarily a tater of their status and position in various institutions and associations. 12- Not all consumption is individualistic at nature.True This article is about the metaphysical basis of modern consumerism, which tries to explain the relationship between the metaphysic and the consumption showing several accepted answers to the crucial question Why do we consume? Such as the pursuit of pleasure and the imitation of o thers. It also emphasizes the crucial defining features of this consumerism which are the process of desiring† that lie at he heart of the phenomenon mentioned before and the critical but defining characteristic of it the individualism† which support each other combining to define the nature of modern consumerism.The author underlines that the individuals concerned appear to define their essential identity almost exclusively in terms of their tastes and viewed in that way the activity of consuming is considered as the vital and necessary path to self-discovery while the marketplace itself becomes indispensable to the process of discovering who we really are.

City and Urbanization

Urbanization is a socio-economic process by which an increasing proportion of the population of an area becomes concentrated into the towns and cities. The term is also defined as the level of population concentration in urban areas. The proc ess of urbanization increases both the number and size of towns and cities. Urbanization is the most significant phenomenon of the 20th century which has almost affected all aspects of the national life in India. Being the second most populous country in the world after China India's fast growing urbaniza tion has a regional as well as world- ide impact.India's urban population constitutes a sizeable pro portion of the world's urban population. This can be well corroborated from the fact that every 12th city dweller of the world and every 7th of the developing countries is the Indian. India has as many small towns (population 20,000-49,999) as in the United States as many as medium towns (population 50,000 – 99,999) as in the former Sovie t Union; as many cities (population 100,000-499,999) as in the United States; and as many metropolises (population+500,OOO) as in Australia, France and Brazil combined.India has a long radition of urbanization which has continued since the days of the Indus Valley civilization. According to an estimate the percentage share of urban population to total popu lation was higher in the last part of the 17th century in comparison to the last part of the 19th century. The development of cottage industries and tertiary ac tivities during the medieval period helped in the evolution of about 3,200 towns and 120 cities in the country around 1586 A. D. (Raza, M, 1985, p. 60).The damage to this indigenous industrial structure during the colonialism gave a serious blow to the process of urbanization. The roots of the existing process of urbanization lie in Western model of factory industries which started developing in the country during the early part of the 20th century. Urbanization, in India, can be studied through Census data provided at a regular interval of 10 years since 1881 onwards. These data help us in analyzing the trends of growth in the urban popula tion, decennial increase, and urbanization and number towns during the 20th century.At the time of the reliable Census taken in 1881 the urban population contributed 9. 3 per cent of the total population of the country. The growth-trend was sluggish and even negative in some decades (1911-21) due to outbreak of epidemic (plague) and natural calamities, trend of slow growth in urbanization continued unto 1931. The decade 1931-41 observed about 32 cent growth in the urban population which increase' its share in total population to 14. 1 percent. The growth trend was further accelerated during the following decade which witnessed a decennial growth of 41. 2 per cent (Table 28. II) Raising the percentage share to 14. 1 . Here rehabilitation of refugees from Pakistan into cities played a significant role. During 1951-6 1 the growth trend as slowed down (26. 4 per cent) which contributed marginal increase (percent) in the urbanization ratio. It was due to change in the definition of urban places and declassification of 803 towns in 1961 Census. Since 1961 onward there has been steep rise in the urban population and urbanization ratio so as to reach its highest point during 1971-81 (decadal growth being 46. 2 percent and addition of record number of 900 new towns). This was the peak point in the urban growth of the country during the 20th century. The trend ot growth nas been slightly slowed down during 1981-91 (39. 32 per cent) and 1991-2001 (31. 8 per cent) which is a matter of serious study by urban geographers and urban sociologists. Causes may be many folds including increasing pollution, decreasing opportunities of employment and liveli hood in urban areas and development of new sources of livelihood in rural areas to reduce the flow of rural migrants.Above description leads us to conclude tha t during the last 90 years of the 20th century the number of towns has increased by 144. 6 per cent? urban population by 140,23 per cent, and urbaniza tion ratio by 133,6 per cent. Industrialization con comitant with economic development and rural o urban migration has made significant contribution towards this phenomenal growth. But compared with developed countries this rate of urbanisation is still slower. Wulker has rightly observed that while in Western countries urbanization is expanding towards rural areas but in India rural life is influencing the urban areas.

Philos, Eros, Agape Love in Religion Essay Example

Philos, Eros, Agape Love in Religion Essay Example Philos, Eros, Agape Love in Religion Paper Philos, Eros, Agape Love in Religion Paper Philia, eros, and agape are three different Greek terms for the word. These three terms explain the different types of love a human being can acquire. Philia is a love of friendship, which is grounded in commonality. However, eros is a kind of love that seeks something from the other person or thing. Lastly, agape is the love that wills the good of the other and is completely self-giving. The meanings of these Greek terminologies, philia, eros, and agape, allow us to better understand and discuss our relationship with God and human fulfillment. In order to find human fulfillment, one must find God of Jesus Christ as well. Erotic loving is our desire for this fulfillment, which can be seen through eros. Human nature can be simply defined in our constant want and need for infinite. The infinite, for humans, is never being satisfied, always wanting more, the best, and as much as we can get of something. This insatiable drive within all of us takes us to the question of human fulfillment. Eros is not a noun but yet an action or an activity. For instance, eros is the longing and search for a significant other throughout our lives. By the same token, we search for God and yearn for infinite happiness and fulfillment from God. All human beings in one-way or another seek about human fulfillment. An example of someone who struggled with human fulfillment is Augustine. Although later he became known as Saint Augustine, in his earlier years he was everything but. Augustine was very intrigued by very common materialistic desires such as worldly possessions and lust. These skewed desires enthralled his thoughts, words, and actions. Consequently, Augustine became involved in petty crimes in order to feed this idea of â€Å"love† in the materialistic world. This concept of love and desire can be further illustrated as a receding horizon; the farther you continue into the horizon the bigger and more numerous your wants become. Later on Augustine reflected upon his materialistic ways of life and made significant life changes to become the Saint Augustine he is referred to today. As exemplified, the essence of eros can have a negative outlook and has been evaluated as such by Jean Paul Sartre. Sartre attested that the human being is a useless passion due to our insatiable desires. Markedly, human beings desire to retain the infinite and that need is simply impossible. For the search for the unlimited is tiresome and unappeasable. Conversely, there is an alternate way of looking at eros. In order to have hope, God has to appear to human life as not a receding horizon but an absolute savior. Human beings long for the truth and due to the constraints of science and history, Jesus is seen in an alternate way because he is no longer limited by space or time. In this case, Karl Rahner and Saint Augustine both agree that God always initiates the relationship with human life. Namely, they asserted that we are constantly drawn to God and God is not drawn to us. Because of this, we have the option of forming a better relationship with God. Rahner said that God dispenses his grace to all human beings of every religion in and God is continually accepting. Chiefly, it is not God’s choice to accept or deny us, for that is not his matter?. Anthony De Mello describes another explanation of human fulfillment to us. He explains to us that in order to have human fulfillment, we must detach ourselves from our worldly attachments. As human beings, we allow ourselves to believe that we cannot be happy without a certain thing or person in our life. Thus, that is not correct. We completely wreck ourselves with the belief in finite things. De Mello also emphasizes that we shouldn’t not care about these things and people in our life but rather we realize that we can live without them and be intent with that. ? Besides eros being a description of love there is also philia. Philia is the love of friendship or brotherly love. This kind of love is seen most commonly between friends who share things in common. Once we seek God, we have a friendship with God. Although, God is not described by philia because it is not completely reliable due to changes in friendships in positive and negative ways, and God’s love never changes. On the contrary to philia, agapic love is God. The terminology of agape explains God’s love as it wills the good of the other. Agape is all self-giving and never asks for anything in return. When a person gives them self to God, this love is agape. Nevertheless, agape and philia types of are critical to having a strong relationship with God. ?  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The doctrine of the Trinity can be viewed as God invites human beings into the inner life of God. Consequently, the doctrine of the Trinity correlates with this topic of discussing the types of love. The idea that God is three persons, yet one essence exhibits that God revealing Godself. God not only communicates with us, but he also draws us into the Trinity. Rahner expressed that the doctrine of the Trinity â€Å"is not a subtle theological and speculative game but is about the self-communication of God. † In the final analysis, there are two models that Christian theologians have formulated in an attempt to address the question of the salvation of non-Christians. These models are the Replacement Model and the Fulfillment Model. The Replacement Model mainly represents the Fundamentalist and Evangelist churches which existed over most of Christian history. This model emphasizes the scriptures from a literal standpoint. According to the Replacement Model, in order to be saved one must be in connection with the Church. Quite clearly, the Replacement model is not very accepting of other religions and believes only Christians will have salvation. ? The Fulfillment Model represents the majority of modern day Christians. The Fulfillment Model preaches the perspective that Christians need to have dialogue with non-Christians. In addition, many Christians think it’s not fair to punish those who have never learned the religion of Christianity or even heard of it. The Fulfillment Model is a way to accommodate people of all different faiths and as long as they are moral, that they too will see eternal life with God. By and large, Karl Rahner’s ideas mostly correlate with the ideas of the Fulfillment Model. The only real difference is that he states is that other religious views are also true. The church did not accept Rahner’s view because quite simply the church thought that other religions couldn’t be true and by believing so it devalued the image of Jesus in the Christian Church. In Vatican II, the council agreed with Rahner’s except they said there was no such thing as â€Å"anonymous Christians† and that other religions cannot be viewed as ways of salvation. Moreover, I believe that the Fulfillment model is the most accurate description of how non-Christians should be viewed. I believe that all people have salvation in God because God knows and loves all human beings. Lastly, I believe that by thinking that God doesn’t save non-Christians limits the idea God’s everlasting love.

Chatter, Natter, and Patter

Chatter, Natter, and Patter Chatter, Natter, and Patter Chatter, Natter, and Patter By Mark Nichol Three coincidentally rhyming words that all serve as slang to describe idle and extensive talk are discussed in this post. To chatter is to talk quickly and/or casually, though the term also refers to any fast, high-pitched, or clicking sound, such as the involuntary striking of one’s upper and lower teeth in response to cold or fear. One who chatters in the sense of speaking is a chatterer, and the adjectival form is chattery, though both words are rarely used. However, chat is a common verb describing the action of informal conversation and a noun for the act itself, as well as, by extension, a term describing casual online correspondence (or the semblance of such when communicating with a business’s customer-service representative). One prone to chatting is chatty, and chit-chat is reduplicative slang for such a pastime. The pejorative phrase â€Å"chattering classes† was coined to refer to well-educated people who often express their sociopolitical views (other than one’s own); the sense has narrowed somewhat to apply to journalists, politicians, and academicians. The verb natter pertains to long, trivial conversation; in British English, the word is also a noun, but it is not employed as such in American English. Both chatter and natter are onomatopoeic (imitative of talking or other sounds), but patter, which has more nuanced definitions, also has a more complicated origin; it derives from pater, the first word in Latin of the Lord’s Prayer, also known as the Paternoster (â€Å"Our Father†). The often rapid-fire delivery of this prayer at the closing of church services inspired the slang word, which refers to quick speech, but with one of two specific connotations: either the stereotypical hard-sell verbal onslaught of a high-pressure salesperson, or a humorous, almost singsong delivery in light entertainment, such as the tongue-twisting torrents uttered by mid-twentieth-century comedian Danny Kaye or by performers in Gilbert and Sullivan light operas, written during the Victorian era. The near rhyme prattle, derived by way of prate from a Dutch word, is a synonym, as is tattle, though it more often refers to telling secrets or reporting on another’s misdeeds. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:When to use "on" and when to use "in"8 Proofreading Tips And TechniquesHow to Style Legislative Terms

Living in new country Essay Example | Topics and Well Written Essays - 250 words

Living in new country - Essay Example The second effect is learning how to incorporate the new culture into one’s daily life as well as accepting the new society. It is therefore hard to fit into a new society as new set of cultural practices may change a person’s view on various aspects of life. This notion can also create positive encounters as one tend to discover new things (HÃ ¼seyin & Hassan, 15). The adjustment helps in mental development since it promotes self internal and external discovery. A new life away from home creates a sense of independence. The new changes build a character in a person due to the challenges that the person encounters during the adjustment process. However, the notion of inevitability in change helps a person to settle quickly (Ronald & David, 33). Living away from home is an important experience as it held in the adaptation of cultural diversity. It protects breaks the home monotony by creating new experiences in an environment that is different from home (Palffy, 12). Living in a new country promotes mental nattering as it fosters maturity and self