Emilie Du Chatlet Essays (417 words) - Fellows Of The Royal Society

Emilie Du Chatlet Born in Paris on December 17, 1706, Emilie du Chatlet grew up in a household where the art of courting was the only way one could recieve a place in society. During her early childhood, Emilie began to show great improvement in the area of academics that soon she was able to convince her father that she needed attention. She studied Latin, Italian and English. She also studied Tasso, Virgil, Milton and other great scholars. In spite of her talents in the area of languages, her true love was mathematics. Emilie's cleverness was outstanding in other areas as well. At the age of nineteen she married a man named Marquis du Chatelet. Emilie had conquered the heart of Voltaire, one of most intriguing and brilliant scholars of this time. As Voltaire notes "We long employed all our attention and powers upon Leibniz and Newton; Mme du Chatelet attached herself first to Leibniz, and explained one part of his system in a book exceedingly well written, entitled Institutions de physique". However she soon abandoned the work of Leibniz and applied herself to the discoveries of the great Newton. She was extremely successful in translating his whole book on the principals of mathematics into French. The years Emilie spent with Voltaire at Cirey were some of the most productive years of her life. When there were no guests both of them remained tied to their desks. In the spring of 1748, Emilie met and fell in love with the Marquis de Saint-Lambert, a courtier and very minor poet. This affair, however, did not destroy her friendship with Voltaire. Even when he found out that she was carrying Saint-Lambert's child, Voltaire was there to support her. With the help of Voltaire and Saint-Lambert, she was able to convince her husband that it was his child she was carrying. In early September of 1749, she gave birth to a baby girl. As Voltaire describes it: "The little girl arrives while her mother was at her writing desk, scribbling some Newtonian theories, and the newly born baby was placed temporarily on a quarto volume of geometry, while her mother gathered together her papers and was put to bed". On September 10, 1749 she died suddenly at the age of 43. As many authors note, during the course of her short life, Emilie was a truly unique woman and scholar. Among her greatest achievements were her Institutions du physique and the translation of Newton's Principia, which was published after her death along with a "Preface historique" by Voltaire. Emilie du Chatelet was one of many women whose contributions have helped shape the course of mathematics.

Review World Trade Center by Oliver Stone

Review World Trade Center by Oliver Stone Introduction The purpose of this study is to analyze the movie World Trade Center (2006) directed by Oliver Stone. The assessment will capture the nature of the crisis presented in the movie, the steps taken to alleviate the crisis and the skills employed in the rescue operations. The study will also assess the development of the virtue of resilience as depicted in the movie.Advertising We will write a custom essay sample on Review: â€Å"World Trade Center† by Oliver Stone specifically for you for only $16.05 $11/page Learn More A crisis occurs as a result of an unexpected situation that is precarious and life threatening. In most cases, the cause of the threat is predominantly unidentified. The situation causing the crisis may result from poor system performance. Crises are associated with complex systems. Simple systems do not necessarily cause crises. In any crisis set-up, an immediate solution must be sort. One of the characteristics of a crisis is that it occurs unexpectedly. Due to the uncertainty manifested by the crisis, it may cause a lot of anxiety to the parties concerned (James Gilliland, 2013). The nature of the crisis presented Crises may be put in various categories ranging from development, situational and eco-systematic crises. The type of crisis presented in the movie World Trade Center (2006) directed by Oliver Stone is a situational one. A situational crisis occurs suddenly (James 2008). It is not designated to appear at any particular place. It randomly occurs. It is not possible to forecast a situational crisis hence the need to employ some crisis preparedness techniques arise. The most ideal situation is to have disaster preparedness systems in place so that they could be used in case of any crisis. Situational crises are usually very powerful, outrageous and disastrous. In the movie World Trade Center (2006) directed by Oliver Stone, immediately when the South Tower was hit, the victims were seen jumpin g out of the tower. When the South Tower started to rubble, the police officers from Port Authority Police had already begun their rescue operations. They entered the concourse of the tower with the security equipment. When one the officers named Pezzulo was trying to free his colleague’s leg from the rubble, the North Tower began to rubble, and Pezzulo was critically injured and died.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Family members were anxiously waiting for the rescue of members from the rubble. The fate of the trapped members, Mclaughlin and Jimeno, was unknown hence this caused anxiety. Nobody knew whether they were dead or alive. Steps for alleviating the crisis At first, John Mclaughlin noted that a plane was flying dangerously overhead. When the North Tower had been hit, he together with other officers rushed to the scene and started the rescue operations. They were unaware of the threat that was to happen and its magnitude. This was a confident move in dealing with a threat of unknown magnitude. When the second tower started to rubble, the officers took cover in the service shaft. Some of the officers like Amoros and Rodriques did not manage to reach the service shaft. This demonstrated an excellent way of getting an immediate solution to the crisis. While John McLoughlin and Willy Jimeno were still trapped in the rubble for long hours, McLoughlin tried his best to keep Jimeno from falling asleep. This portrayed that the two were still hopeful that they would be rescued. Family members desperately waited for the rescue of their loved ones. This was a courageous way of expressing hope in the midst of crisis. Friends stood next to the family members. Even though they were quite helpless in offering any sort of help, they expressed love and comfort during the crisis. They turned to the church and God for divine intervention. This was an important aspect taken for granted during the crisis. Coping skills The wives of the two police officers, Donna McLoughlin and Allison Jimeno, remained strong amidst the crisis that was affecting them. Their children looked upon them. They had to be strong. Any signs of desperation would have negatively affected their children. The two ladies may have been thinking of the responsibility that would be laid with them in case of their husbands death. The trapped officers endured pain. In one of the scenes, Jimeno legs were trapped in the rubble. This showed that he endured pain from the weight of the rubble on his leg.Advertising We will write a custom essay sample on Review: â€Å"World Trade Center† by Oliver Stone specifically for you for only $16.05 $11/page Learn More Unlike many other crises where the affected parties appeared helpless, this was not case with the said police officer. On realizing that there was a metal bar above his body in the t rapped situation, Jimeno used it to produce some noise so that the rescuers could hear it and eventually came and helped them. Crisis victims often experience some inability to cope with the situation encountered. Some signs of person’s inability to cope with the skills required are portrayed in the movie World Trade Center (2006) by Oliver Stone. Some desperation may have gripped the two officers trapped in the rubble. They wanted to get out of the trapped situation as soon as possible though it was impossible as they remained trapped for several hours (Halbfinger, 2006). The two officers could also have been bewildered by the situation they were in. None of them may have gone through such an experience before. The trapped officers may have feared that the situation could have been more dangerous. There was a confusion which affected their ability to think clearly. Developing resilience US Marine officers were there for so many hours (Halbfinger, 2006). They dedicated themse lves wholly to ensure that all the rescue operations were accomplished. The noise from the metal bar produced by Jimeno alerted them, and they were able to identify the location where the two were trapped (Stone, 2006). The family members, colleagues and friends all came to the hospital to support the rescued victims (Wright, 2012). This demonstrated their unity and hope for the better. The children of the trapped officers, especially McLoughlin’s, were teenagers. Having witnessed what happened to their fathers, the children developed some resilience towards such a future occurrence. Conclusion A crisis situation can happen any time. Proper management of a crisis scenario plays a major role in ensuring that people’s lives are saved (Hergenhahn, 2005). This can take various dimensions depending on the situation. Crisis victims normally require both physical and psychological healing.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More If psychological healing is ignored, the victim ends up suffering even after the physical healing has been administered to them. It is important to employ the services of a trained counselor to offer psychological therapy. Trained counselors are able to identify the cause of psychological trauma and, therefore, guide the victim step by step through the healing process. References Halbfinger, D. M. (2006). Oliver Stones World Trade Center Seeks Truth in the Rubble .New York, USA: The New York Times. Hergenhahn, B.R. (2005). An introduction to the history of psychology. Belmont, USA: Wadsworth Publishing. James, R.K., Gilliland, B.E. (2013). Crisis intervention strategies. (7th ed). Belmont, USA: Cengage Learning. Stone, Oliver. (Director). (2006). World Trade Center [DVD].United States, Paramount Pictures. Wright, H. N. (2012). The complete guide to crisis trauma counseling: What to do and say when it matters most. Ventura, USA: Regal Books.

JVA Corporation Assignment Example | Topics and Well Written Essays - 1000 words

JVA Corporation - Assignment Example Organizations that lack proper PMS are unable to fulfill their commitments and even compromise on quality of their goods and services which can significantly impact their relationship with their customers (Performance Appraisal, 2011). Likewise, ineffective PMS will not be able to give confidence to employees as they will see that they are not being rewarded for their contributions and they will be unable to develop important skills required for performing their job with zeal and enthusiasm (Armstrong & Baron, 2005). Since economic recession has impacted working of all organizations, it has become important for them to take appropriate measures that will help them in enhancing their performance and cut back costs (Performance Management, 2012). Organizations have to make choices among various options such as close down their operations, cut down salaries of employees, lay off workers and many more; JVA Corporation will have to review its PMS so that it can make the right decision for its business operations and ensure that it is able to generate enough profit for its ongoing survival in the market. Considering the scenario of JVA Corporation, the most ideal strategy is the second one as it will allow it to ensure that people are secured about their jobs that they will not be made redundant. The strategy suggested for implementation by Human Resource Director is that every six months, performance and revenue will be reviewed so that decision about cutting or increasing pay can be effectively made. During these reviewing periods bottom line will be revisited as well. Employees will be motivated that they can get raises in their pay twice a year if they perform well. Implementation plan for PMS Since JVA Corporation has been losing money in the last couple of years due to economic recession, it will have to cut back perks and amenities that are offered to the employees. Before making any adjustments in compensation packages, heads of respective departments will ha ve meeting with their departmental employees so that they convey the changes being made in PMS. Along with modifications in their pay packages, JVA Corporation will be able to save 2-3% of their net income; in order to raise salaries and wages, employees will have to meet demands of enhancing their performance so that they are eligible for pay increases. With this strategy, employees will be affected to a greater extent as they will be suffering from incentives such as pay raises, auto insurance, transportation cost and many more. However, workers’ morale will get boosted as they will realize that the company will not lay off the workers and they will not lose their jobs. JVA Corporation can be affected by implementation of the strategy because some employees might be reluctant to such impositions which will affect their motivation level and they will be discouraged to enhance their productivity; as a result of this, employees might get de-motivated. In order to boost the mor ale of such employees, HR staff will arrange counseling sessions with them so that they can tell them the reasons of making such changes and help them in developing their potential skills. One point needs to be clarified that strategy implementation is temporary and

Case study Research Paper Example | Topics and Well Written Essays - 1500 words

Case study - Research Paper Example Among the three diversity perspectives, discrimination-and-fairness perspective is one of the most common cultural diversity practices that most companies adopt. This type of diversity perspective is based on recognizing the fact that work discrimination is not a legally accpetable business practice (Ely et al. 2003, p. 324; Thomas & Ely 1996, pp. 363 – 364). There are several situations mentioned in the case study that will prove that the concept of discrimination-and-fairness perspective is being carefully observed in the given case. First, Ross shook the hand of Will – one of the newest agent before asking him to sit down (Case Study, p. 145). To lessen the authoritative gap between Ross and Will, Ross decided to come out of her desk to sit in a chair next to Will. By doing so, Ross created a less intimidating A business organization is usually composed of majority and minority groups. Regardless of the organizational structure, it is necessary on the part of the majority groups or leaders to promote work diversity among the minority groups in order to enhance the overall business performance of a company (Maalouf 2003). Aiming to narrow down the gap and win the trust of Will, Ross decided to sit beside Will rather than make use of her authoritative power when discussing the work-related problems with Will. With the effort of calming Will, Ross carefully explained that the reason why she called Will for a meeting was purely because of her concern on his job performance rather than controlling or regulating his time outside the office hours (Case Study, pp. 146 – 147). The second situation is when Ross confronted Will about his declining work performance. Despite knowing the Will has alcohol problem, Ross managed not to discriminate will one way or the other. Rather than asking Will directly about his alcohol drinking problem, Ross started

The Enduring Appeal of the Horror Genre

The Enduring Appeal of the Horror Genre What is your topic? Question? Sub-questions? (Not too many!) Hypothesis? What specific issues associated with your topic do you want to investigate (making sure they are capable of being investigated within the constraints of the MA calendar)? What sorts of data will you need to adequately address each of these issues? Why will this data help you in particular? From what sources (places, human subjects, texts, cultural phenomena?) will you obtain this data? How will you obtain the data? (Documentary search? Interviewing? Questionnaire? Observation? Media production? Reflection on practice?) How do you intend (in general terms) to record, manage and analyze this data? What analytical models and theories will you draw on? What will your timetable be month by month? Introduction: answers the ‘so what? question, convince reader you need to do this Literature Review: Contextualises your research. Answers the question:  Where do I fit? Research questions determined. Methodology: Determines the nature of your study design and the  methods you will use. Include how you approach the subject, methods, why, ethics, how you analysed data. Results, discussion, analysis: combined or separate, can be guided by questions Conclusion: Draws everything together and answers your research  questions. Discusses limitation and future work. HORRORS ENDLESS CYCLE: AN INVESTIGATION INTO THE ENDURING APPEAL OF THE HORROR GENRE IN THE NEW MILLENNIUM. INTRODUCTION: The horror genre has deep roots in the classical studio era. Yet in important ways it also looks ahead to the post-classical period, a period of reduced levels of film production and correspondingly weakened genre identities. As a fantasy genre, horror departs in significant ways from the prevailing canons of representation in the classical Hollywood style, whether one takes that mode to be a form of realism or of melodrama. Horror has an identity as an unrespectable genre for an undiscriminating juvenile audience (or an audience that has its mind on other things), with strong roots in exploitation cinema, that has only fairly recently emerged as an attractive genre for large scale production at major studios. Finally, it has attracted significant critical attention in recent years, and in each case theories of postmodernism and – which is not always the same thing – currents in postmodern theory have played an important part in reconceiving the genre for audiences and film-makers alike. This critical interest is, I argue, related to the relative weakness in both cases of traditional semantic/syntactic matrices of generic identity, leading to a protean aspect that is well suited to exploiting marketplace currents and trends. That horror takes its core generic material from the body, both engines of contemporary critical enquiry and popular cultural debate has confirmed its relevance. (Barry Langford, Film Genre: Hollywood and Beyond, 2005) Why choose to live in fear? Today we get up, go to work, come home, watch TV and go to sleep. To combat the monotony we chase the death rush by other means, as perilous as base or bungee jumping, or as sanitised as roller coasters and theme parks, while for most the simple thrills of the horror movie are more than enough to satisfy and provide a little taste of fear. Thats just one theory. Another is that we watch horror movies because they offer us a challenge – to look fear and death in the face and survive the ordeal. The ascendance and growing popularity of horror cinema since the new millennium is certainly a fascinating trend in contemporary society, and one which is long overdue an in-depth and objective analysis. Through researching the appeal of the horror genre I shall look into the social and political climate into which these movies fell over the last ten years, and discuss the merits of the movies themselves or, in some cases, lack of them. (Marshall in Carolyn, 2008). The horror film, throughout its shady, rebellious history has earned more money than respect. Though these days there are film festivals, websites, books, magazines, Masters theses, and even film distributors devoted entirely to the consumption of the dark side of entertainment, the mainstream media and self-appointed intelligentsia of pontificators cluck their tongues and blame the fall of society on these nasty little gutter-dwellers we call our own. In truth, the horror film may be the best mirror of the worlds zeitgeist we have, reflecting, rather than creating, the ills and crises of the planets collective psychology. Its been said before and it bears repeating that horror is to cinema what rock and roll is to music: rude, abrasive, pushy and anti-establishment. No wonder, then, that it is so embraced by the young. What better way to break away from parental chains than to blast distorted guitars on the stereo, and revel in disemboweled damsels in distress on the widescreen plasma? The young are immortal, right? And who can blame them for gathering tribally in front of the Cineplex screens to cheer on the latest adventures of the newest teen-gutting horror franchise star? They know its not real, that they are thumbing their noses at mortality. Yes, deep-seated fears are faced on the screen, from a safe distance, allowing the audience to safely play tag with what scares them. A good horror movie has all the elements of a good drama: creative storytelling: compelling characters placed in relatable plots, an artists point of view. But a really good horror movie, the best horror movie, can take you far beyond: it can take you to a place youve never been, a shadowy chamber of the mind outside of your worldly experience, with story twists and turns that will make you squirm until the lights come on and you emerge victoriously from your two hours in the dark. A great horror movie can be a revelatory experience. A great way to take societys pulse is through the arts and entertainment of the time. And the horror film makes a great thermometer. As I intend to examine in this study, a national or global health is particularly well represented by its fright films. At times of political upheaval, war, depression and recession, the horror cycle runs to a particular high. Adam Simons remarkable documentary, The American Nightmare, about the horror boom of the 1970s arising out of the international upheaval that surrounded the war in Vietnam. Is a terrific examination of how one relates to the other. But as we close in on the end of the new millenniums first decade, we find ourselves in another long-lasting terror boom in a post 9/11 world. Obviously, most of these films are not artistic reflections of social strife, or the primal screams of the mad artist who paints in blood. As they have, with everything else that makes money, the corporate kings have co-opted the popular cycle on their own terms. Where brilliant artists contribute excellent and exciting new ventures, the screens are also littered with the latest iterations of franchises nobody asks for, but are easy to market. In recent years, its been far easier for an industry that isnt interested in or has any understanding of the horror genre to take familiar titles, and remake and sequelise them until the law of diminishing returns proves itself, and they move on to the next title. There are great horror films being made today amidst the dross. But its not quality thats being discussed here, though it obviously plays a part. Its that there is a new and ravening audience for the spilling of blood. Again, theres nothing new about this: filmgoers filled the cinemas during the Depression to see the Frankenstein monster toss an innocent little girl into the pond, to see Count Dracula sup on the blood of lovely blondes; during World War II, Frankensteins monster met everyone from the Wolf Man to Abbott and Costello, and Universal cranked out one monster fest after another, while a quiet, well-real producer named Val Lewton churned out intelligent, atmospheric shockers for RKO; in the 1950s, when the Cold War and Air Raid duck-and-cover drills were the order of the day, nuclear tests gave birth to the giant ants of Them, the humungous grasshoppers of The Beginning of the End, and the radioactivity-breathing Japanese dragon beast of Godzilla; the early sixties turned i nternal, with human monsters like Norman Bates infesting our souls and killing on behalf of the sexual battle within the newly blossoming psychological terror train; the Vietnamese apocalypses were brutal, fed as they were by nightly news imagery of burning bodies and human torture, in a toe-in-the-water test of loosening censorship that led to a free-for-all; the eighties were all about cheap: no stars, gore effects and creative kills being the entire raison dà ªtre for a horror films existence; the complacent, Wall Street frivolous 1990s were mostly in a horror lull, but ended with a bang of excellence with films like Stir of Echoes, The Sixth Sense and The Blair Witch Project. In the new millennium, a new generation of filmmakers is finding its voice, raised on ubiquitous film courses in high school and beyond, computers that provide in-home editing and sound mixing, mobile, high definition cameras that lead everyone to believe they can be the next John Carpenter. But it is ingenuity that best raises the profile among hordes of wannabes, as well as a point of view. The world, under the shroud of George W Bush, Tony Blair and their brethren, is dangerous, complicated and nervous. And the boom of horrific storytelling, even when controlled by the mass-media collective out to squeeze every last buck out of it, will reflect a world on edge in its unforgiving mirror†¦ at least until the next cycle. (Garris in Carolyn, 2008) In the first section, Configuring the Monster, I will explore the key themes of the genre; the main issues and the debates raised, and engage with approaches and theories that have been applied to horror texts. This theoretical background will be presented via the modernist context within which early horror texts evolved. This brief description of the generic development of the horror film will thus provide a review of its fundamental preoccupations, especially through a discussion of a variety of psychoanalytic and gendered readings. This first part also includes a case study that reviews indicative patterns of readings of horror texts across different age groups that are interesting in terms of the progression of spectator involvement with horror film. In the second section, Consensus and Constraint 1919-1960, and the final section, Chaos and Collapse 1960-2000, I will further address the chronological evolution of the horror film, looking upon particular historical periods. This analysis will consider the role of both traditional myth and gothic literature in early cinematic representations of horror. Post-war developments are then viewed in terms of the revisiting of these generic formulae. The more contemporary transgression of boundaries of permissible gore and pathological states are then considered through a discussion of the work of postmodern auteurs reworking the genres field of operation and its consistent cycling. Inevitably in a work of this length, many complex arguments will be rendered briefly and simplistically, and many important observations reduced to description and generalistion. This is not a disclaimer; rather it is an encouragement for other researchers to pursue further lines of enquiry and to address the genre anew from a personal, informed perspective. (Wells, 2000)

Philippine Literature Essay

1. AWIT is a form of Filipino poetry. Its literal translation into English is â€Å"song,† although in the context of poetry, it is closer to the narrative. Ang awit ay isang uri ng tulang pasalaysay na binubuo ng tig-aapat na taludtod ang bawat saknong, na ang bawat taludtod ay may lalabindalawahing pantig, at ang tradisyonal na dulong tugma ay isahan (aaaa, bbbb, cccc, at iba pa). Karaniwang paksa ng awit ang pakikipagsapalaran ng bayani, ngunit ang iba’y tumatalakay din sa mga alamat at relihiyosong tula. Sa pag-aaral ng batikang mananaliksik Damiana L. Eugenio, ang â€Å"awit† ay walang ikinaiba sa â€Å"korido†, maliban lamang sa bilang ng pantig sa bawat taludtod. Ang awit, gaya ng korido, ay nagtataglay ng tatlong elemento. Una, ang pag-iibigan. Ikalawa, ang relihiyoso at pangangaral. At ikatlo, ang kahima-himala at kagila-gilalas 2. PROPAGANDA is a form of communication aimed towards influencing the attitude of a population toward some cause or position. Propaganda is information that is not impartial and used primarily to influence an audience and further an agenda, often by presenting facts selectively (thus possibly lying by omission) to encourage a particular synthesis, or using loaded messages to produce an emotional rather than rational response to the information presented. Propaganda can be used as a form of ideological or commercial warfare. 3. KKK – Katipunan Samahà ¡ng Kataà ¡staasan, Kagalanggalang Katipunan ngÃŒÆ' mgÃŒÆ'à ¡ Anak ngÃŒÆ' Bayan Formation July 7, 1892 Extinction May 10, 1897 President Deodato Arellano (1892-1893) Roman Basa (1893-1895) Andrà ©s Bonifacio (1895-1897) Headquarters Tondo, Manila; Kawit, Cavite Newspaper Kalayaan *The Katipunan (abbreviated to KKK) was a Philippine revolutionary society founded by anti-Spanish Filipinos in Manila in 1892, whose primary aim was to gain independence from Spain through revolution. The society was initiated by Filipino patriots Andrà ©s Bonifacio, Teodoro Plata, Ladislao Diwa, and others on the night of July 7, when Filipino writer Josà © Rizal was to be banished to Dapitan. Initially, the Katipunan was a secret organization until its discovery in 1896 that led to the outbreak of the Philippine Revolution. The Tagalog word â€Å"katipunan,† literally means ‘association,’ comes from the root word â€Å"tipon,† a Tagalog word meaning â€Å"gather together† or â€Å"society.†[4] Its official revolutionary name was Samahang Kataastaasan, Kagalanggalang Katipunan ngÃŒÆ' mgÃŒÆ'a Anak ngÃŒÆ' Bayan[1][5] (English: Supreme and Most Honorable Society of the Children of the Nation, Spanish: Suprema y Venerable Asociacià ³n de los Hijos del Pueblo). The Katipunan is also known by its acronym, KKK. The organization has no affiliation with the racist group known as the Ku Klux Klan who are also associated with the acronym â€Å"KKK†. Being a secret organization, its members were subjected to the utmost secrecy and were expected to abide with the rules established by the society.[4] Aspirant applicants were given standard initiation rites to become members of the society. At first, membership in the Katipunan was only open to male Filipinos; later, women were accepted in the society. The Katipunan had its own publication, Kalayaan (Liberty) that had its first and last print on March 1896. Revolutionary ideals and works flourished within the society, and Philippine literature were expanded by some of its prominent members. In planning the revolution, Bonifacio contacted Rizal for his full-fledged support for the Katipunan in exchange for a promise of rescuing Rizal from his detainment. On May 1896, a delegation was sent to the Emperor of Japan to solicit funds and military arms. The Katipunan’s existence was revealed to the Spanish authorities after a member named Teodoro Patià ±o confessed the Katipunan’s illegal activities to his sister, and finally to the mother portress of Mandaluyong Orphanage. Seven days after the Spanish authorities learned of the existence of the secret society, on August 26, 1896, Bonifacio and his men tore their cà ©dulas during the infamous Cry of Pugadlawin that started the Philippine Revolution 4. KORIDO isang uri ng panitikang pilipino, isang uri ng tulang nakuha natin sa impluwensiya ng mga Espanyol. Ito ay may sukat na walong pantig bawat linya at may apat na linya sa isang saknong. Ang korido ay binibigkas sa pamamagitan ng pakantang pagpapahayag ng mga tula. 5. PLAY is a form of literature written by a playwright, usually consisting of scripted dialogue between characters, intended for theatrical performance rather than just reading. Plays are performed at a variety of levels, from Broadway, Off-Broadway, regional theater, to Community theatre, as well a University or school productions. There are rare dramatists, notably George Bernard Shaw, who have had little preference whether their plays were performed or read. The term â€Å"play† can refer to both the written works of playwrights and to their complete theatrical performance. 6. SHORT STORY is a brief work of literature, usually written in narrative prose.[1] Emerging from earlier oral storytelling traditions in the 17th century, the short story has grown to encompass a body of work so diverse as to defy easy characterization. At its most prototypical the short story features a small cast of named characters, and focuses on a self-contained incident with the intent of evoking a â€Å"single effect† or mood.[2] In doing so, short stories make use of plot, resonance, and other dynamic components to a far greater degree than is typical of an anecdote, yet to a far lesser degree than a novel. While the short story is largely distinct from the novel, authors of both generally draw from a common pool of literary techniques. 7. ESSAY is generally scholarly pieces of writing giving the author’s own argument, but the definition is vague, overlapping with those of an article, a pamphlet and a short story. Essays can consist of a number of elements, including: literary criticism, political manifestos, learned arguments, observations of daily life, recollections, and reflections of the author. 8. DECALOGUE ( EMILIO JACINTO ) Bonifacio realized that in order to strengthen the katipunan, the  members had to be disciplined and indoctrinated with the ideals of the revolutionary society. In his â€Å"Katungkulang Gagawin ng mga Z. Ll. B.† (â€Å"The Duties of the Sons of the People†), Bonifacio listed down the rules of the Katipunan which constitute a decalogue: I. Love God with all your heart. II. Bear always in mind that the love of God is also the love of country, and thiis, too, is love of one’s fellow-men. III. Engrave in your heart that the true measure of honor and happiness is to die for the freedom of your country. IV. All your good wishes will be crowned with success if you have serenity, constancy, reason, and faith in your acts and endeavor. V. Guard the mandates and aims of the K.K.K. as you guard your honor. VI. It is the duty of all to deliver, at the risk of their own lives and wealth, anyone who runs great risks in the performance of his duty. VII. Our responsibility to ourselves and the performance of our duties will be the example set for our fellow-men to follow. VIII. Insofar as it is within your power, share your means with the poor and the unfortunate. IX. Diligence in the work that gives sustenance to you is the true basis of love — love for your own self, for your wife and children, and for your brothers and countrymen. X. Punish any s coundrel and traitor and praise all good work. Believe, likewise, that the aims of the K.K.K. are God-given for the will of the people is also the will of God. 9. SEMI AUTOBIOGRAPHICAL NOVEL An autobiographical novel is a form of novel using autofiction techniques, or the merging of autobiographical and fictive elements. The literary technique is distinguished from an autobiography or memoir by the stipulation of being fiction. Because an autobiographical novel is partially fiction, the author does not ask the reader to expect the text to fulfill the â€Å"autobiographical pact†.[1] Names and locations are often changed and events are recreated to make them more dramatic but the story still bears a close resemblance to that of the author’s life. While the events of the author’s life are recounted, there is no pretense of exact truth. Events may be exaggerated or altered for artistic or thematic purposes. Novels that portray settings and/or situations with which the author is familiar are not  necessarily autobiographical. Neither are novels that include aspects drawn from the author’s life as minor plot details. To be considered an autobiographical novel by most standards, there must be a protagonist modeled after the author and a central plotline that mirrors events in his or her life. Novels that do not fully meet these requirements or are further distanced from true events are sometimes called semi-autobiographical novels. Many novels about intense, private experiences such as war, family conflict or sex, are written as autobiographical novels 10. DIMASALANG Jose Rizal used the penname Laong Laan in the 1890s when he wrote poems and articles for La Solidaridad, then the Propaganda Movement’s strongest voice. Literally translated it means â€Å"reserved for a long time† and figuratively it means â€Å"laging handa† or â€Å"ever ready.† Dimasalang was the pseudonym of Jose Rizal that he adopted when he entered Freemasonry in 1883. He widely used this pseudonym in his articles in 1990’s. Literally [ hin] di masalang means â€Å"untouchable† in Taal Tagalog.

Television Is a Great Invention

Some people say television is the worst inventions of modern times. They make this assertion for some reasons. The following points are some of them. First, they think that televisions make people more passive than before. Second, they think televisions contribute to the fact that people are more distant to each other. To begin with, I must admit that the first point is reasonable. With a television all you need to do—and all you can do is to sit on a comfortable sofa and look at the screen. People are becoming more passive simply because there is no interaction and no efforts on them. Everything contains good side and bad side and television has no exception. Yeah, of course, it makes people lazier and passive. They just watch things on TV instead of doing by themselves. But apart from that, television is by all means a great invention. There is only a minority of people who can watch some events on the scene, like some live matches and competitions . So how can the rest of people participate in the events far from the place the events happen? Of course through television which all people are legal and free to enjoy can we do so. In addition, to people who want to travel but with no money, television is undoubtedly a great thing through which people can see the world only by sitting ideally at home. To the second point, I want to say that it is true. Televisions do make people less close to each other. Family get-togethers and conversations are disturbed by TV—when one member is watching TV, he would like others to keep quiet. But everyone have time when he or she is alone. Television alienates people not so much as it provides all kinds of relaxation and entertainment for people when they are alone. Although television addict some adolescents to situation comedies; although televisions put glasses on millions of students' noses; although television reduce communications between families and friends, the advantages of television are far more than the harm it does to us. To us individuals, when we finish a whole day's work and feel exhausted both physically and mentally, we may turn on televisions and have a good relaxation; when we want to get information on sports?entertainment or large events in the world, we turn on televisions and get it from all kinds of TV programs; even when we want to learn English?etiquette or custom of foreign countries, we can turn on the television and get what we need from them, always. In a word, I think television is a great invention which is of great significance to the evolution of human society. References: http://www.oppapers.com/essays/Television-Great-Invention/100718 http://www.media-awareness.ca/english/parents/television/good_things_tv.cfm http://articles.famouswhy.com/the_benefits_and_dangers_of_television/ http://wenda.tianya.cn/wenda/thread?tid=24535823bd68dd80 http://wenwen.soso.com/z/q138729005.htm