Genre Text Essay Example for Free

Genre Text Essay When you think of the term ‘genre’, what does it exactly mean to you? Well I’m sure it’s without a doubt that you all commonly believe it constitutes either a kind or category of text, but in actual fact does it really? Good morning Year 11. The prime focus of your studies during the HSC course next year, I’m going to discuss how the genre of crime fiction has extended through time, whereby a variety of notions and characteristics exhibited throughout a text may either reinforce, challenge or extend on genre parameters. So what is genre then? Although genre is quite difficult to define, there are numerous interpretations of the term since the confines between genres are constantly evolving due to changing values. As Daniel Chandler states, â€Å"defining genres may not initially seem particularly problematic but it should already be apparent that it’s a theoretical minefield. † However, Jane Feuer believes â€Å"genre is ultimately an abstract conception. † These critics therefore prove that yes, while it may be easy to classify a text to a particular genre, we must understand genre as a concept that can apply to varying applications rather than its fundamental relevance to a text. In saying this, as changing contexts and values have developed over time, resulting in new-found conventions, I’ve come to agree with Stephen Neale’s understanding; â€Å"Genres are instances of repetition and difference difference is absolutely essential to the economy of genre. † (Neale, 1980). This my friends, effectively reflects constant changing cultural values and attitudes in our social milieu, don’t you think? Hence, my aim today is to focus on the conventions of the genre of crime fiction and how they have been recreated in a number of ways to reflect the social and cultural aspects that are dynamic to their survival within the popularity of a text. As Neale further suggests, â€Å"genres exist to assist in shaping values. † Subsequently, I will discuss how and why Alfred Hitchcock’s film Rear window and Tom Stoppard’s play The Real Inspector Hound have re-worked and extended upon crime conventions prevalent in crime writing through genre, often defying audience expectations in one way or another. As a result, Rear Window highlights and expands upon the cosy conventions of its contemporary society by paralleling the post-war issues of voyeurism and women and subverting them, reflected through its social milieu. The Real Inspector Hound also utilises cosy conventions but parodies them instead, challenging the classical Golden Age’s ‘whodunit’ storyline in a satiric way, so as to query the restoration of justice and the idea of reality vs. allusion. Thus, whilst both texts seek to extend and challenge crime conventions, they also serve to explore society’s human conditions and issues at the time in order to become seminal texts of the genre. Directed in 1954, Hitchcock’s Rear Window reinforces the fact that very few works exemplify all required characteristics of a particular genre, by cleverly breaking the ideal conventions of a suspenseful circumstance in a crime fiction text. The film is rather based around the notion of both solving the crime and proving that it happened. Rear Window further revolves around the concepts of the changing roles of women and queries the morality of voyeurism. Such notions reflect the contextual concerns of the post-war era where a revolutionary social change was clearly prevalent in society, thus endangering the traditional gender restrictions marked by WW2. Through the mis-en-scene of Jeff holding his camera looking outside the window as blinds are swiftly raised to reveal vignettes of apartments, it’s evident that a didactic message outlining the unethicalness of voyeurism is contained within Rear Window. As voyeurism further exposes hidden worlds within the film, Hitchcock manages to reflect upon American society through each of these blocks acting as a microcosm. But it stops there. Quite similarly to our other text The Real Inspector Hound, Hitchcock withdraws from typical crime conventions by not showing the occurrence of the crime itself. This was due to growing conflict between the conservative American government and growing acceptance to sexuality by society at the time, as a result of censorship on films. The concept of voyeurism is cleverly employed by Hitchcock via subverting a cosy setting, a convention to reflect the concept of McCarthyism where there was a fracturing of society due to the paranoia of communism, which was most prominent during the Golden Age. This is illustrated as the camera pans across Jeff’s apartment, focusing on his photography tools and emphasising his infatuation for observing life. Thus, Jeff’s dilemma of being entrapped in his apartment persuades him to do â€Å"something drastic† to remove him â€Å"out of the swamp of boredom,† which metaphorically foreshadows his forthcoming hobby of spying on his neighbours. I’m certain you all must think he’s strange, but the aspect of social insecurity and fear at the time was what Hitchcock was seeking to embody. Where spying begins as an innocent obsession, it soon becomes a neurotic effort to prove Thorwald’s criminal actions. Therefore, after the growing tension depicted through continual panning shots, Jeff takes action which exposes clues in Thorwald’s apartment. However, the consequences of voyeurism are made apparent through the non diagetic sound and quick motion of Jeff falling out the window. Hitchcock hence questions the moral ambiguity of voyeurism due to society’s fear of maintaining social order, by focusing on the depraved aspect of society becoming â€Å"a race of peeping toms. † Despite changing perceptions of females in the workforce, how exactly did Lisa become an amateur detective and femme fatale, whilst presenting the evolving independance and roles of women? In actual fact, Hitchcock broke a key crime convention – there must only be one detective! A high angle shot first characterises Jeff as bound to his wheel chair, and the cast around his injured leg is symbolic of the identity boundary he endures. Consequently, Jeff is left helpless, a frequent motif that’s prevalent throughout the film in which Jeff is metaphorically incapable of embracing his male dominance, hoping to â€Å"emerge from his plaster cocoon. † Thus when Lisa emerges, the dark lighting and shadows surrounding her signifies Jeff’s intimidation, as men were startled by the role of women in the post-war period. By having Jeff restricted at home in a feminised position, Hitchcock underpins Lisa as the amateur sleuth, sustained through her constant dominance over Jeff within the framing. Hitchcock further challenges the authority of women in crime fiction as femme-fatales, whereby negative connotations strengthen the presence of conceited masculinity. Yet Lisa’s strong persona and sheer determination leads to her fatal participation in â€Å"the next assignment,† exhibited in the panning tracking shot of her investigating Thorwald’s apartment, underlining Lisa’s unusual role as a detective and the film’s conclusion of restoration. Subsequently, Hitchcock illustrates the development of crime conventions by challenging traditional crime conventions, via representing the shift in the growing independence and role of women in society, by maintaining both genders as main detectives. Thus, Rear Window not only reinforces and extends upon crime genre parameters, but also reflects society’s changing values, hence explaining why it’s considered a critical crime fiction text even today. Unlike Hitchcock who reinvented some crime writing rules, Stoppard completely goes against them. Whilst Stoppard experiments with the classical Golden Age crime conventions, the crime genre is seen to continuously mirror society’s changing attitude and values. In successfully challenging the audience to interpret whether the perceived distinction between what is real and an allusion in crime is essential, Stoppard also leads them to question the restoration of justice. The perceived distinction between reality and allusion is no longer relevant in today’s post-modern world as it was in the Golden Age, due to changing societal expectations, like Stoppard suggests. He breaks traditional conventions, as the margins of a play-within-a-play have been intersected, demonstrating the blurring of reality. Whilst Rear Window uses a cosy setting to depict society’s issues, Stoppard instead parodies it to demonstrate that a crime isn’t always within its confines, and hence defies crime conventions to outline the irrationality of society. The cosy method of contrivance supports this, being parodied through Mrs. Drudge’s absurd dialogue about the â€Å"somewhat isolated Muldoon Manor, which is surrounded by deadly swamps and fog. † Thus Stoppard criticises S. S Van Dine’s code where â€Å"the detective himself† â€Å"should never turn out to be the culprit,† by forwarding the murderous role onto Puckeridge, whom the audience come to learn as Inspector Hound and Magnus also. This is depicted in the final scene through an exaggerated climax of a string of revelations. For eg. â€Å"I am not the real Magnus Muldoon! It was a mere subterfuge. † Stoppard effectively emphasises the melodramatic and absurd situation of the play, by demonstrating multiple pauses and an overuse of explanation points in union with stage directions. Through a variety of dramatic devices, the distinction between reality and allusion is dissolved, as Stoppard denounces the lack of innovation and irrelevancy of crime fiction conventions. Society is further challenged by Stoppard to query the relevancy of the nature of truth and justice within the traditional crime fiction genre. So must there always be a hero within the context of the text? The authorities within the play are not central figures, just like the police aren’t in Rear Window, as justice isn’t achieved. But whilst the police in Rear Window are idiotic, Inspector Hound doesn’t even convey detective traits. Alternatively, Inspector Hound is continuously ridiculed through stage directions. For eg. He is wearing â€Å"inflatable swamp boots and carrying a foghorn,† in his entrance. Therefore, The Real Inspector Hound has eloquently challenged the conventions of crime fiction, leading the play to become a significant crime fiction text as it crucially contributes to the revolution of crime over time. In summation, it’s without a doubt that Hitchcock’s Rear Window skilfully challenges the conventions of crime fiction in such a way that classifies the film as unlike your traditional crime film, as he endeavoured to reflect the cultural values of the post-war era. Moreover, Stoppard also extended upon genre parameters in The Real Inspector Hound by satirising the classic conventions of characters and plot from the Golden Age, whereby he duplicated postmodernist beliefs at a point where it was seen as time for change. Thus, both texts have grown to become seminal crime fiction texts, by cleverly reinventing already established crime conventions in numerous ways.

Relationship Between Social Policy And Welfare

Relationship Between Social Policy And Welfare Social policy may be described in two ways. Primarily, social policy is seen to have a direct impact on individuals and groups of people. Secondly, Social policy is an academic subject to be researched. Social Policy may be defined as the developing and implementing measures to combat social problems in society, and to the academic study of these measures and their broader social context (Alcock, Erskine, and May, 2002:240). Baldock, Manning, and Bickerstaff (2007: xxi.) describe a social policy as the states deliberate involvement to redistribute resources amongst its citizens so as to achieve a welfare objective. Social policies affect a wide range of people, whether it is at an individual level or regards to communities. According to Spicker (2008:1) social policies have to concentrate on several issues including housing, health, education, social security and employment. The development of Social policies and their implementation have a direct impact on the social welfare of everyone in the society. Social welfare refers to the various social arrangements that are in place to meet the needs of individuals and groups in society, with the hope to tackle social problems. According to Fitzpatrick (2001:5) social policy aims to maximize welfare and minimize diswelfare and he states that there are six main perspectives on welfare: happiness, security, preferences, needs, desert, and relative comparisons. There are numerous texts that exist around the issue of policy formation and its contested relationship with the effects of the policies implementation on the welfare of those it aims to target. This essay aims to provide an overview of the evolution of social policy, legislation and practice in relation to child welfare in Irleand. Relation to an Aspect of Irish Policy Hill and Hupe stated that Implemenation inevitably takes different shapes and forms in different cultures and institutional settings(2006:2). This section of the essay will examine some of the relationship between social policy and child welfare in Ireland from the 1940s up to the present day. Children Allowance and Health Care: Perphaps one of the most signisifcant social policy developments regarding child welfare was in introduction of Childrens Allowance in 1944. However, the initial implemention of the Act included serveral discrepancies, thus it did not benefit the welfare of all the communitiy. For example, initially the payment was only availabe to families with three or more children. Means testing meant that many families were elimanted from the possible social welfare they deserved. Simliarly, in 1950, Noel Browne introduced the Mother and Child Scheme. He hoped that this would overcome many of the elements that infringed the rights of people in regards to the Childrens allowance. However, both the Catholic church and the medical profession opposed hes scheme in fear that state run and free medical care would go against their hierachy. With Browns later resignation,the hope of his scheme being fully implented collapsed. Burke (2005:29) stated that the controversy over the mother and child scheme h as profound effecs on the developement of social policy in this country. The power struggle between the church and the state most definelty lead to diswelfare among citizens. Mandatory Reporting of Child Abuse: Society has a challenging task of protecting children. Societies need to employ several ways in which they can achieve this, for example, social, economic, moral, legal and environmental. In the mid 1990s, The Law Reform Commission recommended the introduction of mandatory reporting of child abuse. The matter of mandatory reporting is one of complexity which has implications not only for childrens welfare but also families, workers and the state. One of the main advantages of the implemenation of such a system was the hope that it would empower proffesionals to report abuse. Above all else it was prodicted that this would secure consistency and would provide a basis for better statistical evidence. However, disadvantages included the danger of over reporting of cases using scarce resources. There was great variety of options about the mandatory reporting of child abuse. Many argued for an immediate introduction of mandatory reporting of child abuse as it was seen as a means of protecting children( ACT Legislative Assembly: nd) and their welfare. However, others believed it would divert the already scarce resources from programs that delivered assistance to families and at risk children. For example, Lipsky (1980) beleived that scarcity of resources leads to street- level bureaucracies being consistently criticized for their inability to implement policies which are related to the areas they work in thus leading to diswelfare in many cases. After much debate, the government decided against the introduction of mandatory reporting on the basis that it was not in the childrens best interests and welfare. The scarcity of resources combined with the complex relationship between proffesionals and clients made it unrealistic. Legislative Framework Governing the Implementation of Childcare Policy: The Children Act of 1908 and the Health Act 1953 and 1957 were replaced by the Child Care Act 1991 and the Children Act 2001 as the primary statutory framework for the care and control of children in Ireland. Among many provisions, the main aim of the Act according to O Sullivan (2009:251) is the placing of a statutory duty on health boards to promote the welfare of children who are not receiving adequate care and protection. In the period following the passing of the childrens act in 1991, many attempts were made to standardise procedures and practises in the area of childcare services. For exmaple, the Report of the Killkenny Incest Enquiry in 1993 evidently highlighted that guidelines were not being used and many workers were not even aware of there existence. However, in 1995, new guidelines on The Notification of Suspected Cases of Child Abuse Between Healthboards and Gardai were issued and aimed at standardising the cases between the two agencies. This was a step forward for ma ximising the welfare of children. In 1999, in the Publication of Children First; National Guidelines for the Protection and Welfare of Children were introduced to improve proffesional practise and thus improving the welfare of children. It highlighted the importance of consistency between policies and procedures. Unlike guidelines before it, Children First was built upon a set of principles which included participation by parents/carers and children in conferences and the development of child protection plans. These guidelines were valuable as they provided a framework for practise, meaning that proffessionals are accountable for their actions. In 2002, Buckley made a warning of the dangers of an over regulated system, as she believed it may lead to discretion and therapeutical skills being replaced by adminstrative management and regulation. In 2003 The Social Services Inspectorate was asked to monitor the implementation of the guidelines, however, while some aspect of the report were postivie,it was concluded that the progress in realtion to Garda/health board cooperation, the child protection committees and planning for family support services was inadequate O Sullivan (2009:257) Confusion surrounding the implementation of this policy still exists. Conculsion: This essay has attempted to summarise and give a critical analysis of certain social policy in Ireland and their relationship with childrens Welfare. As illustrated in the above examples, the in most cases policies may be developed with the hope to benefit and increase the welfare of children but unless they are implemented correctly the policies may lead to diswelfare.

Thesis Essay -- essays papers

Thesis The purpose of this research paper is to investigate the effectiveness of character education programs and how technology can be used to enhance student learning about character education. According to Laura and Malcolm Gauld (2002)" For families, educators, corporations, and communities, the biggest job we'll ever have is nothing less than a new paradigm for reconnecting education with core values." (p.1) The world of education is at a place where they are placing extreme importance on teaching our students values. This paper will discuss the true meaning of character education, give ideas on how to incorporate character education, and give examples of technology that is helping this process. Items such as the computer blocking software and parental controls will be explained. All of these things will make up what character education means to our students and schools. Defining Character Education Before we discuss methods of character education we must first define the term. Many sources define character education as different things but all reach one general view. In the book, Bringing a New Era in Character Education Damon (2002) says, â€Å"there are two themes needed in character education today. The first is a consensus that fundamental moral standards must be passed along to the young and that educators at all levels bear a serious obligation to transmit these core standards to their students†¦The second theme that emerges from this volume is a shared determination to get rid of sterile old oppositions that have paralyzed even some of the best efforts in this field over the past decade.†(p.11) Damon’s view is a summary of the definition of all those involved in character education. The goal of character educa... ...orporate character education into the classroom. Damon, W. (Ed.). (2002). Bringing in a new era in character education. Stanford, CA: Hoover Press. This book shows different peoples pint of views on what character education is and how they maintain it in their classrooms. Frieman, B. (2001). Children at risk. New York: McGraw-Hill. This book discusses different way children are at risk in the classroom and how to help them if they are at risk. Gauld, L., & M. Gauld. (2002). The biggest job we'll ever have. New York: Simon and Schuster. This book talks about the fact that teaching our children how to be good people is the hardest and most important job we will ever have. Steyer, J. (2002). The other parent. New York: Atria Books. The book by Steyer talks about how technology such has television and computers are parenting America’s children.

Quentin Tarentino Essay -- Auteur Quentin Tarentino Films Movies Essay

Quentin Tarentino   Ã‚  Ã‚  Ã‚  Ã‚   Throughout the many years the film industry has grown, a certain type of filmmaker immerged, known as an auteur. An auteur, usually a director, has a strong personal style and exercises creative control over his or her works. Quentin Tarentino, for example, has proven himself to be an auteur in various ways. Quentin Tarentino worked for four years as a clerk in a Los Angeles video store, where he made his feature directorial and screenwriting debut of Reservoir Dogs, and where he further expanded his great knowledge of film. Tarentino’s personal style incorporates a lot of well thought out violence, swearing, repetitive casting, and many other filming techniques. In looking at Reservoir Dogs, Jackie Brown, and Pulp Fiction by Quentin Tarentino, we see the visual and stylistic similarities between the films that mark Quentin Tarentino as an auteur, and find that these similarities are shown through the intense violence, similar casting, and unique filming of each of these movie s.    Reservoir Dogs, shot in 1992, relays a story about a mastermind mob-boss, Joe, who assembles a gang of high-end criminals to pull off a jewelry store heist. As the movie begins, it becomes completely clear that the plan went wrong which forces the survivors, who meet in a warehouse, to try and figure out which one of them is a police informant. The crew, which consists of Mr. White, a veteran, Mr. Orange, the wounded â€Å"informant†, Mr. Pink, a squabbling criminal, Mr. Blonde, a crazy ex-con, and Nice Guy Eddie, Joe’s son. Eventually, all the criminals meet in the warehouse, and it all ends in a bloody Mexican standoff. Quentin Tarentino set this film within the heist genre of other films perfectly, yet managed to completely change around the way a heist is normally shot. This movie is completely exclusive to the other heist movies that have been filmed due to the way it is shot in reverse, with the story unfolding as the characters meet in the warehouse. Whereas othe r heist films are straightforward from the beginning. Throughout this film, the amount of violence runs rampant. For example, at the beginning of the movie Mr. Orange is being taken to the warehouse with a bullet in his stomach and stays with that bullet in his stomach throughout the whole movie, while he screams and passes out from all the pain. Another example of the intense violence that o... ...d it leads one to. Tarentino uses the tracking shots in his movies as a stylistic element to build up the suspense of a scene and to show the paranoia of the actors fulfilling the role. Although not explored, Tarentino uses the swearing of the gangsters/criminals to further display their roles in each movie. Yet, the actors and actresses that did not act as a criminal tended not to curse at all, which can be found interesting. To further extend Quentin Tarentino’s role as an auteur, he repeatedly uses the same actors, actresses, and objects in each movie. The characters in each movie learn that a life of crime leads to death and/or other bad situations. The audience learns that swearing is good, drugs are good, and movie cuts are cool. Just kidding. The audience learns that thinking before one’s actions and leading a clean lifestyle, will lengthen one’s life. In looking at Reservoir Dogs, Jackie Brown, and Pulp Fiction by Quentin Tarentino, we see the visual and stylistic comparisons between the films that portray Quentin Tarentino as an auteur, and find that these comparisons are advocated through the severe violence, similar casting, and unique filming of each of these movies.

Sparta: Why the May Fly Only Lives for One Day :: essays research papers

Sparta; Why the May Fly Only Lives for One Day   Ã‚  Ã‚  Ã‚  Ã‚  Greece, a land of culture and philosophy, separated at its birth into two classes; Athens awoke to the cultural, intellectual side of life while its brother Sparta focused on mainly building up military power. Sparta was the brawn of Greece, while Athens was the brain. In an analogy, it would be comparing Rich Nastro (The Brawn, not to say that he has no brain, but he is the most muscle-built teacher at Saint Paul’s, and I needed an example that you, the teacher could relate with, and I know you could relate to yourself,) to Jim Buckler (The Brain, and even though he may know how to build nuclear weapons, he is not war-like enough to use them. In addition, he is not grading this, so I do not have to explain myself to him.) Sparta was located on the southern tip of the Peloponessus, and had little trade with other city-states. It also never set up any colonies, so financial wealth came from conquering other city-states. (Farah 115) Sparta focused so much on the military, they forgot about other important aspects of daily life, such as flossing, developing an artistic community, or creating a stable government. Poorly managed priorities in Sparta were prevalent and would have caused economic recession if they had not pillaged neighboring countries and city-states. However, Sparta was cruel to the people they conquered, and forced their victims into slavery, a.k.a. Helots. The Helots had to farm the land and honor the Spartans even though, much like the American south during slavery, the Helots outnumbered the Spartans. Despite slaves outnumbering the Spartans, the military ruled with absolute power, and crushed every rebellion the Helots attempted. The rebellion, attempted by the Helots, lasted for thirty years before the Spartans crushed it, and even with the Helots’ superior numbers (200,000 Helots to 10,000 Spartans), they still did not manage to overthrow the Spartan military because Sparta had develo ped the Phalanx. (Farah 115) Despite its initial success, the Phalanx was the ultimate boiling pot for the lobster of Sparta. The Iron Age came about when Sparta was establishing itself, iron weapons and armor were cheaper to produce than their predecessor of bronze, so weapons became readily available for any one who wanted one (just like now!) This meant that everybody and their brother was buying weapons and armor to arm themselves’ to become part of the Phalanx legions that were the pride and joy of Sparta.

“Island Man” and “The Fringe Of The Sea” Essay

I recently read two poems entitled â€Å"Island Man† and â€Å"The Fringe Of The Sea†. They are both similar in theme, but they also have many differences. Both poems are based on the emotions of people who live near the sea and their feelings towards it. This theme relates to both of the authors, and connects them; the author of â€Å"The Fringe Of The Sea†, A.L. Hendricks, was born in Jamaica and later in life moved to Britain. Grace Nichols, author of â€Å"Island Man†, was born in Ghana and then also immigrated to the UK. Grace Nichols’ poem â€Å"Island Man† is about a Caribbean man who lives in London, but still longs for his home and the sea. The poem follows the man as he wakes in the morning to the memories of his home in the Caribbean and the sound of the sea in his head. I believe that the main theme of the poem is that home is important and it will always be with you no matter what. There is also a strong theme of reluctance coming from â€Å"Island Man† to move on with his life and leave his past behind. His unwillingness to get up in the morning can also be viewed as a strong metaphor of his reluctance to leave his past behind. An interesting concept played on in the poem is that it takes place when â€Å"Island Man† wakes up – leaving him in the state of being half asleep and half awake. This gives the author the ability to let you guess which parts of the poem are the reality, dreams and memories of his life – using this the author can entangle them together. A good example of this is the line â€Å"his crumpled pillow waves† – it shows the reality (his crumpled pillow) and as he is half awake and half asleep his dreams and memories view the crumples in the pillow as â€Å"waves†. The theme of identity is also strong in the poem. â€Å"Island Man† is never given a name so that he can also be seen as a symbol of the people who have moved from their home countries and felt like they have lost part of themselves; their identity. Therefore â€Å"Island Man† can be seen as a representative of  these people, and so I believe that they will relate with the character – this also fits in to the background of the author, Grace Nichols, so it is possible she did this so that she relates to the character. The Island in â€Å"Island Man† could also be a way of showing his emotions, e.g. he is an isolated or lonely man trapped on an emotional island. The poem is also written in free verse, with no sentence structure or full stops. This suggests the idea of no restrictions and freedom, just like the Caribbean is for Island Man, compared to his London life. Just before the poem starts there is information in parenthesis, this helps set the scene by giving a little information telling you what the poem is about. As soon as you begin reading the poem it is obvious that the poem is written in a first person narrative rather than a third person narrative. I believe the reason for this would be because with a third person narrative it is distanced from the character, whilst with a first person one you can sympathize with the character and you could also identify with them. The first line â€Å"Morning† has more than just the surface meaning here, it also seems to be a pun on the word â€Å"Mourning† to suggest sadness in Island Man. More evidence for this is that the word is on its own in the line, this could be meaning loneliness, which is generally related to sadness. The word could also be viewed as a way of showing a new start, as mornings are a new start for every day, it could also be a metaphor for a new beginning in Island Man’s life. This new start would be Island Man leaving home and starting his new life in London. The next line â€Å"and Island Man wakes up† shows that the character of Island Man has no name as he is referred to without a using a name. This suggests that he may feel like he has no identity after leaving a large part of his life behind in the Caribbean. Line three and four are a change from the previous two as we begin to see a strong rhythm forming. The line is as follows – â€Å"to the sound of blue surf / in his head in is head† although these are two separate lines (separated  here with a slash) they are related poetically. These lines use enjambment for the effect of the lines flowing into each other to make it seems like the sea. The first half flows smoothly, as does the second half, except for the final word. The letter â€Å"S† is used in both halves to bring them together – to remind the readers of Islands Man closeness to the sea. The letter â€Å"H† (â€Å"head†) is a break from the â€Å"S’s† and therefore the rhythm is lost. The third line (â€Å"to the sound of blue surf†) has alliteration of the letter â€Å"S†. The sound of this letter is very much like that of the waves to remind the reader of the sea. To insure that this comes across to the readers there is emphasis on these letters. There is also an emphasis on the word â€Å"head† here to make the readers realize that it is only in Island Man’s head, as he also realizes the truth. The fourth line uses two verbs, which have internal rhyme to make the line flow  easier (breaking and wombing). The first verb â€Å"breaking† suggests the repetitive and steady breaking of the waves on the Caribbean sands. More evidence of this meaning the waves is the fact that the line says â€Å"the steady breaking and wombing† which clearly illustrates the waves motion. The second verb â€Å"wombing† is derived from the word â€Å"womb†; therefore this connotes warmth, maternal love and family. Island Man would connect all of these with his home, and he would connect the first one in an emotional and physical sense. In this line the adverb â€Å"steady† is used to describe the verbs. Whilst other words could have been used to this effect I believe â€Å"steady† was chosen because the first letter is an â€Å"S†, which continues the alliteration from the previous lines – and reinforces the rhythm The first line of the next stanza â€Å"wild seabirds† may not seem to hold much information but it seems to be comparing London and the Caribbean by using the adjective â€Å"wild† which is a contrast to the Pigeons usually found in London. The second line of the second stanza is as follows – â€Å"and fishermen pushing out to sea†. Here we have alliteration of the letters â€Å"SH† in â€Å"fishermen†Ã‚  and â€Å"pushing† it is also mildly repeated in the word â€Å"sea† at the end of the sentence by using the letter â€Å"S†. Again, this suggests the sound of the sea There is a continuing of the alliteration of the letter â€Å"S† through onto the last line of this stanza with the words â€Å"sun surfacing†. The adverb used to illustrate the sun is an interesting one (â€Å"the sun surfacing defiantly†), it seems to suggest that Island Man does not want the sun to rise over his island home, as it is defying him. This is another way of showing Island Man’s reluctance to leave his past life behind, as he doesn’t want life to go on without him. This could also mean that the sun surfaces in London when he doesn’t want it to, as it awakes him from his dreams of his past life. There is also a rhyme at the end of this line with the end of the previous line – it is â€Å"sea† and â€Å"defiantly†. Rhyme creates harmony and a relaxed atmosphere; this reflects Island Man’s thoughts about the island. The next stanza has a situation where his memories, dreams and reality becomes entwined. There are a number of different possibilities for this stanza, and I believe the author did not make any of these possibilities singularly correct, but rather wanted the reader to guess. On its own the stanza reads as â€Å"from the east / of his small emerald island / he always comes back†. The obvious meaning of this is that in London (â€Å"the east†) he awakes from the dreams (â€Å"he always comes back†). This possibility is based on the reality, whilst if you pair it up with the last line of the previous stanza (â€Å"the sun surfacing defiantly†) it gives it a new meaning based more on his memories and dreams and then back to reality – â€Å"the sun surfacing defiantly / from the east / of his small emerald island / he always comes back†. This possibility tells of the sun surfacing to the east of the island, which are his memories and/or his dreams. The island is cleverly described as a small emerald in the second line of this stanza, this not only relates to its colour, a lush tropical green, but also its value. An emerald, although small is very valuable and precious, as the island is to Island Man. Before the writing continues there is a large gap, which I beielve illustrates the reluctance of Island Man in leaving his past behind, it also  shows that change will take time as the lines read as â€Å"he always comes back / groggily groggily†. The word â€Å"groggily† connotes a slow, sleepy movement, this is Island Man getting out of bed, which is a metaphor for his reluctance to leave his past behind. So as it takes time to get out of bed it takes time get on with his London life. Next the poem goes on to what Island Man comes back to – â€Å"Comes back to sands / of a grey metallic soar†. The first line is about Island Man coming back to a place of a â€Å"grey metallic soar† which is obviously London. Although there are only three words in the line they all connote a strong image of London. They seem to suggest a soaring of traffic (â€Å"soar†), a bleak landscape of buildings and a concrete jungle (â€Å"grey†) and more cars (â€Å"metallic†). It may seem that these are a strong contrast to the Caribbean, but they all have their similarities and connections, which Island Man can see, which maybe explains why he refers to it as â€Å"sands†. These similarities are sea birds rather than traffic (â€Å"soar†), jungles and trees rather than buildings (â€Å"grey†/green) and wood boats and houses rather than cars (â€Å"metallic†/wooden). The next line has the same gap that exists before the repetition of â€Å"groggily† earlier on in the poem. However this gap is more to do with acceptance rather than reluctance as Island Man realises he must face the reality. This makes sense as the line is † to the surge of wheels†. The word surge here is used as a contrast between the surge of wheels and the surge of the tropical waves, the shape of a wheel is also similar to that of a curling wave, and the repeating of the waves is similar to the turning of wheels. The line following this is â€Å"to a dull North Circular roar†. The North Circular is a road in London in the shape of circle, this is a contrast to the Island home of Island Man and the roar is a contrast of the traffic and the sea. Dull is also used to compare; as the Island Man views the Caribbean as being anything but dull, whilst he views London life as being dreary. The words â€Å"roar† and â€Å"soar† rhyme but in a different way to the previous rhyme, which seemed very smooth and seemed to flow easily, whilst this rhyme is  much more coarse. This is again a metaphor for how Island Man viewed the contrast between his Caribbean life and his London life. The final stanza of the poem begins with the repetition of the word â€Å"muffling†. This suggests that Island Man is covering his head with his pillows to drown out the sound of the traffic, as he wants to keep the sound of the waves in his head. Island Man tries to hide the fact that he is no longer at home from himself in order to feel some comfort. There is more evidence for this on the next line as he seeks comfort by pretending the crumples on his pillow are the waves of the sea. This is followed by the line â€Å"and island man heaves himself†. This is Island Man finally getting out of his bed to face the realities of his London life, and the verb â€Å"heaved† seems to refer back to the fishermen earlier. It is also a word, which connotes intense effort and energy, which again refers back to the reluctance of Island Man. The poem is finished with a single line on it’s own, this line is â€Å"Another London day† which tells the reader that Island Man now must accept his reality in London, although unwillingly. I personally enjoyed reading Island Man as it is very well written and the author has been very clever in disguising her message in a subtle way but still delivering the message is a powerful one. The poem also suggests the characters emotions in a realistic way using a large array of poetic devices, for instance I have never felt homesick, but thanks to the author I could sympathize for Island Man. Island Man is also a poem with many different layers to it – the poem can be viewed from many different angles to give a slightly differing meaning to it each time it is read – I personally enjoy poems like this as they tend to get better the more you read them as you reveal their different layers of meaning. A similar poem to â€Å"Island Man† is â€Å"The Fringe of The Sea†. This poem has many similarities, but also many differences to the previous poem. This poem is about a community of Island people and their feelings rather than about a  single man as in Island Man. Although Island Man himself was a representative of these people The Fringe Of The Sea is less personal than Island Man making it hard to connect with and feel for the characters. The main reason for this is that whilst Island Man deals with one person, The Fringe Of The Sea is written in first person plural (â€Å"We† and â€Å"Us† rather than â€Å"I†). This obviously distances you from the people, as you cannot get singular thoughts of a person. However it shows that these people all have the same/similar opinions, which shows that these people co-work, co-operate and live together in harmony. The main theme of this poem is co-working – it shows that all people who live upon small islands live in harmony with each other and nature and grow a mutual respect for both of them. Unlike the previous poem there are not many themes and many different ways to look at the poem, it has instead one strong view of the poem, which is enforced throughout. This poem is written in free verse, although mostly in stanzas of three or four lines – most lines are of a similar length, although a few aren’t. This is very different to the form and structure of Island Man, which has variable stanza and line lengths and with some lines with a large space before them and protruding out to the side of the poem. Similarly to Island Man however there is a shortage of capital letters – in both poems they are only used for pronouns or nouns (â€Å"North Circular† and â€Å"We†). The first stanza of the poem begins with the pronoun â€Å"We† showing that it is in first person plural narrative, which differs from Island Man’s third person narrative. There is also a repetition of â€Å"We† to emphasize the point and to emphasize its meaning. In the first stanza, there are a few similarities to the poem Island Man, here is the first stanza – â€Å"We do not like to awaken / far from the fringe of the sea / we who live upon small islands†. It is apparent immediately that once again the poem is about people who live upon a small island, although there is no information about its location – as there was in Island Man (in a parenthesis at the start of the poem). Another similarity is that the word â€Å"awaken† is used in this poem, and waking up is used as a strong metaphor and theme of Island Man,  these people obviously feel the same way as Island Man does about the sea – neither want to â€Å"awaken far from the fringe of the sea†. The second line of this stanza uses alliteration of the letter â€Å"F† (â€Å"far from the fringe of the sea†). This creates a soothing sound similar to the sea waves, as it is a soft sounding letter to pronounce. Enjambment is also used to recreate the flowing of the sea waves with the lines continuing into each other. Rhythm is used here to create a sense of harmony and peace – it is used in Island Man to the same effect. Both of these poetic forms were also used to a similar effect in Island Man – alliteration was used with the repetition of the letter â€Å"S† or sometimes â€Å"SH† to reproduce the sound of the sea. Enjambment is also used in the same way in Island Man. The metaphor â€Å"the fringe of the sea† is very effective as it gives you the image of the white surf on the waves, which is similar in shape to a fringe. In the final line of this stanza (â€Å"we who live upon small islands†) the geographical difference is noted by using the adjective â€Å"small† – this compares it with larger islands such as Britain, and therefo re London, so this is similarity to Island Man as well. The second stanza refers back to the idea of waking up with the lines â€Å"We like to rise up early /quick in the agile mornings† – this shows the opposite of Island Man’s attitude in the first poem; whilst Island Man was reluctant and unwilling these lines connote eagerness and energy. However this is almost certainly how Island Man must have felt on his island, as he has different feelings away from it, so they do resemble each other in that sense – showing both sides of waking up at home and away. Using the adjective â€Å"quick† to describe them rising in the mornings is another way of showing energy, which is a contrast to the lack of energy in Island Man. The adjective â€Å"agile† is used to the same effect to describe the morning upon the island. The next lines of the stanza reinforce the idea of being close to nature and the sea († and walk out only small distances / to look down on the water†). One apparent difference here is that in â€Å"Island Man† every line had a meaning and held lots of information, but in â€Å"The Fringe Of The Sea†, most lines are supportive of the previous and next lines. The present participle of â€Å"swaying† is used in the next stanza to show  ongoing activity and motion, these were also used in Island Man when he remembering his home (â€Å"fishermen pushing†). Next there is a list of what the sea offers to the people – â€Å"with songs, and tides, and endless boatways, and undulate patterns and moods†. This is not totally different from Island Man; there is a short list of what Island Man remembers from his island in the second stanza of the poem (â€Å"wild seabirds / and fishermen pushing out to sea / the sun surfacing defiantly†). The term â€Å"endless boatways† is an effective one, which connotes that the islanders use the sea in the same way we use roads. This is a contrast to modern/western life – which occur frequently in Island Man. Using the modifier â€Å"undulate† to describe the patterns of the waves portrays a strong image of their smooth continuous motion. There is no use of personification in the poem Island Man, but there is some use of it in The Fringe Of The Sea – the sea’s â€Å"moods† are referred to. Personifying the sea here connotes that they actually see the sea as a person, a part of the community, co-working with the islanders (providing food). The fourth stanza is as follows – â€Å"We want to be able to saunter beside it / slowpaced in burning sunlight / barearmed, barefoot, bareheaded,†). It begins once again by saying what they want to be able to do by the sea, which is to â€Å"saunter† – this is very different to the cars on the North Circular in Island Man. The word â€Å"slowpaced† also works to the same effect. Using alliteration of the letter â€Å"B† creates a relaxed atmosphere, to mimic the atmosphere of island life. Alliteration is used in Island Man to create the same effect. The first line of the next stanza reinforces the theme of being at one with nature – â€Å"and to stoop down to the shallows†. The rest of the stanza – â€Å"sifting the random water / between assaying fingers / like farmers do with soil,† uses a simile to compare island life with western life. It contrasts farmers with the island fishermen (fishermen are also noted in Island Man). This suggests that the island people view the sea as being their crop fields and soil as they depend on it just as much as farmers depend on their land for food. Both peoples (farmers and islanders), although they mostly live in different cultures, harvest in the same way – a strong similarity by use of a simile is not used in Island Man. Rather than powerful similes it gives  its message through many subtle metaphors. Respect it also suggested by this simile as they co-work together, which is a strong theme in the second poem. There is good use of the verb â€Å"assay ing† which contrasts farmers testing the land and the islanders testing the water to asses the quality. Here is the next stanza – â€Å"and to think of turquoise mackerel / turning with consummate grace, / sleek and decorous / and elegant in high chambers†. The readers are told that the though of the sea and it’s harvest is enough to make them happy – this relates back to Island Man as it was only his thoughts that kept him happy. Describing the fish as â€Å"turquoise mackerel† is another effective use of adjectives as it gives a strong image of perfect, delicious looking fish. Turquoise is also a valuable stone, which connotes that the islanders see the fish as being precious to them. This is also very similar to Island Man calling his home â€Å"his small emerald island† – both use precious stones to show both colour and value of an item (â€Å"emerald island† and â€Å"turquoise fish†). The rest of the stanza is about the similarity between the fish swimming and a sophisticated ballroom dance. The next three lines of the stanza use adjectives to describe the â€Å"turquoise fish† in a similar way that ballroom dancers can be described. These adjectives are â€Å"consummate†, â€Å"sleek†, â€Å"decorous† and â€Å"elegant† – all of which can be related to both fish swimming and sophisticated dancing, this shows that the islanders view the fish as being sophisticated and civilized and maybe as equals as they need them to survive, rather than dismissing them as nothing important as most modern/western people would nowadays. The â€Å"high blue chambers† in the final line of the stanza refers to the sea, which is similar to their dancing chamber. The next stanza is a short one once again reinforcing the fact that these people always want to be at one with the sea – they see it as their streets – â€Å"We want to be able to walk out into it†, their offices and workplaces – â€Å"to work in it† and to recreate in it – â€Å"dive and swim and play in it†. Once again this is a list similar to the one earlier in the poem – there is also a short list in Island Man. The following stanza is also a list of verbs, about the things these people  want to be able to do in the sea. The first two lines are a contrast to Island Man’s London life (â€Å"to row and sail / to pilot over it’s sandless highways†). The lines are about transport – compared to the â€Å"soaring† cars on the North Circular in Island Man. The third line (â€Å"and to hear†) shows that the sound of the sea is enough to make these people happy – this fits in well with Island Man as he hears the sea in his head, this is enough to make him happy. The line is a short one, with a simple meaning on it’s own to emphasize just how important the sound really is to these people and how it alone makes a large difference. This poetic form is also used in the poem Island Man in the first line (â€Å"Morning†) to strongly emphasize a single point. The final line of the stanza – â€Å"it’s call and murmurs wherever we may be† is linked by enjambment with the previous line. This is also similar to Island Man, where there are a number of lines using enjambment for effect. The line itself seems to resemble exactly how Island Man feels, which shows that the emotions of Island Man and these people are very real, as two different authors have given them exactly the same feelings and emotions. Island Man hears the sea’s call in his head and the soothing sounds and murmurs. The rest of line also fit’s in well with Island Man, as it is about the fact that location isn’t important to these people – â€Å"wherever we may be† broadens the horizons the poem as had up until now, it has all been â€Å"Us† and â€Å"We†, but now it has changed. There is no change like this in the poem Island Man because Island Man himself is a symbol of all these people. The final stanza of the poem – (â€Å"All who have lived upon small islands / want to sleep and awaken / close to the fringe of the sea†) begins by broadening its horizons once more. It is now totally inclusive of everybody who has lived upon small islands (â€Å"All who have lived†). The poem now speaks for not only this community, but also every single community like it that exists. Rather than using a subtle metaphor for this (like Island Man does) this poem just come out and says it – and it is believable as the whole community feels the same way, so why shouldn’t every other one? It also eases you into the situation by beginning to broaden its horizons in the previous stanza – nothing like this is used in Island Man. The rest of this stanza is merely a repetiton of the first stanza to bring everything back together and to reinforce the poem’s message. This does occur close to the end of Island Man  Ã¢â‚¬â€œ it says that â€Å"island man heaves himself†, which is referring back to the fishermen previously in the poem. The definitive finalizing of the poem is also used at the end of Island Man for the same purposes as it is used here in The Fringe Of The Sea. The Fringe Of The Sea is a poem I also enjoyed reading as the author uses a number of contrasts between modern/western life and island life which really makes you think and wonder which is truly better. This poem is trying to give a simple message telling us of how content these people are with their simple lives and I believe that this point is delivered well – you can really feel the emotion of these people in the poem without using too many adjectives, or even many words as it is a simple request which is repeated throughout the poem (all that â€Å"we† want is†¦). Out of the two poems I preferred Island Man, mainly for the reason that it stays as a good poem in my mind no matter how much I read it. Whilst The Fringe Of The Sea reveals its full meaning the first time around you need to read Island Man a few times to fully understand all of its meanings – I personally like this as it the mark of a good poet and it shows that lots of thought and effort have gone into the poem. For me it is the difference in depth that make Island Man the better poem of the two.

Its me,,,i want boyfriend

The project would start with a photography contest in the city that according to â€Å"Tex† will lend a human face to â€Å"hookers† or â€Å"whores†, who also have human rights and need government protection. Tex said â€Å"as long as poverty is there, you expect more people to engage in prostitution. † He said there are about 500,000 sex workers in the country, 3,000 of whom are in Baguio City, one of the country's top tourist draws. Nation ( Article MRec ), pagematch: 1, sectionmatch: 1 Among others, Filipino sex workers face health issues, made worse by fear of being enied access to health services., which has began â€Å"talking† to and organizing sex workers in Baguio, Tex said, has taken note of various anecdotes, illustrating the stigma that sex workers face as they have yet to secure recognition from the government. â€Å"In the most extreme (cases), we hear of sex workers complaining of rape to authorities, but rarely get serious results on the ground that they are not believed to have been raped because they are prostitutes. As if sex workers have no rights,† Tex said. In Baguio, more than 300 sex workers, mostly street ookers including males, are â€Å"talking† with WHORE.When finally given legal recognition, the advocacy group, a member of the Asia Pacific Sex Workers Union and the Sex Workers ASEAN (Association of Southeast Asian Nations) group, said sex workers â€Å"can become members of unions fghting for their rights and welfare. † In Thailand, sex workers are recognized by the government and are able to raise their concerns to the government. â€Å"But we are not going for decriminalizing sex workers while criminalizing clients like the Swedish model,† Tex said. â€Å"It didn't even work here. WHORE'S advocacy is facing daunting challenges, however. For one, the Catholic church here headed by Catholic Vicar Carlito Cenzon of the Baguio Vicariate is opposing the legalization of se x workers. â€Å"No way', Cenzon said. Even the supposedly liberal women's group Gabriela is against legalizing prostitution. â€Å"Legalizing [prostitution] is not an option, but instead [the government must] remove them (prostitutes) from poverty,† said Cordillera women Igorot leader Mila Singson, regional coordinator of the Gabriela Women's partylist.Although Singson said her roup has rescued a number of women who became sex slaves, she believes that â€Å"women involved in prostitution should be criminalized. † The UN report â€Å"Sex Work and the Law in Asia and the Pacific† said that â€Å"legal recognition of sex work as an occupation enables sex workers to claim benefits, to form or Join unions and to access work-related banking, insurance, transport and pension schemes. â€Å"In decriminalized context,† it says, â€Å"the sex industry can be subject to the same general laws regarding workplace health and safety and anti-discrimination protecti ons as other industries. 00 Decriminalization, according to the UN involves the repeal of laws criminalizing sex work, being clients to sex workers or engaging in activities associated with sex work. 00 It should also repeal laws that require mandatory testing or treatment for human immunodeficiency virus (HIV) or other ST's, as well as laws that allow detention of sex workers for rehabilitation or correction.