A Guide to Nouns

A Guide to Nouns A Guide to Nouns A Guide to Nouns By Mark Nichol A thing was generally portrayed as â€Å"a individual, place, or thing,† yet a few definitions further determine what can establish a thing, including an activity, a thought, a quality, or a reality. This post talks about kinds of things and different issues identified with things. Classes of Nouns Conceptual and Concrete Nouns Unique things are those that allude to ideas or thoughts, for example, equity or advancement. Paradoxically, solid things speak to physical substances that can be seen by at least one detects; models incorporate apple, canine, and house. A few things have both conceptual and solid implications for instance, a column is a section that fills in as a dedicatory object or a basic help, however by expansion, the word alludes to an allegorical idea identified with the last sense: a standard, for instance, that is a piece of the character of an association. (Furthermore, an individual might be alluded to as a mainstay of the network, however in spite of the fact that individual is concrete, the individual doesn't actually offer auxiliary help for a structure.) Aggregate Nouns An aggregate thing is one that, regardless of the absence of plural expression, alludes to a gathering (as on account of board of trustees) or to an element comprising of numerous individuals (for instance, government or police). In American English, such terms take a particular action word structure except if the accentuation is obviously on the constituents of the group, as in â€Å"The staff were satisfied to catch wind of the new work environment policy,† however numerous scholars (and editors) are increasingly OK with an update that all the more expressly centers around the people, for example, â€Å"Members of the staff were satisfied to find out about the new working environment policy.† Compound Noun A compound thing is one that comprises of at least two words. Compound things might be shut (warlord), hyphenated (mentality), or open (â€Å"post office†). For the most part, a compound of multiple words is hyphenated, as in jack-in-the case, however an appropriate name comprising of multiple words is quite often open (â€Å"Royal Canadian Mounted Police†). Countable and Mass Nouns Countable things are those that may take an uncertain article (an or an) or a plural structure, or be joined with a numeral, (for example, three) or an including quantifier, (for example, a few). Countable things incorporate vehicle, finger, and occasion. Mass, or uncountable, things, are those that don't have these properties, for example, blood, hardware, and data. Numerous things have faculties as both countable and mass things. For instance, downpour is an uncountable marvel, yet one can allude to a progression of downpours. Formal people, places or things A formal person, place or thing is one that means a one of a kind substance, for example, a particular individual (John), place (Earth), or thing (iPhone). Scholars much of the time blunder in underwriting nonexclusive depictions thought to be explicit. For instance, an individual may be depicted as â€Å"a Marketing Director†; however the individual does in reality hold that activity title, it isn't one of a kind to that individual (in spite of the fact that it is promoted as a component of the substance portrayal â€Å"Marketing Director John Smith,† which is exceptional). Likewise, one may be said to have â€Å"earned a Master’s Degree†; despite the fact that the certificate that records presenting of the degree is one of a kind, a qualification showing authority of a specific scholarly control is disseminated to various individuals, and therefore the word is nonexclusive. Moreover, words that, as a major aspect of a particular label, are promoted are now and then wrongly promoted in disconnection, as in â€Å"the Committee.† This style is regular in content distributed by establishments and associations (and at times systematized in their home style directs) that alludes in shorthand to a specific panel, and it is a convention in legitimate content, however in most different settings it is viewed as a blunder. Contemplations About Nouns Nominalization and Conversion Keep away from the jargonistic abuse of thing types of action words instead of the action words themselves, itself referred to jargonistically as nominalization, to make sentences progressively succinct, direct, and open. (For instance, â€Å"effect a transposition† is handily supplanted by transpose.) A related issue is transformation, by which an action word turns into a thing (as in the utilization of take in â€Å"We shot the scene in one take† or â€Å"What’s your interpretation of that?†). Numerous changes are unobjectionable in detachment, however take care not to let them overpower your writing. Thing Plagues One snag to clearness, pervasive in business content, is the utilization of different things as descriptive words depicting a terminal thing, as in â€Å"The subject of the online class is consistence hazard the board program governance.† Maintain a strategic distance from such series of things cum-modifiers before a thing, which numerous individuals may peruse haltingly on the grounds that regardless of whether they know about the terms that establish the expression, they won't know until they arrive at the genuine thing that they have reached its finish. Reconsider the expression to mirror a progressively loosened up grammar so it very well may be perused with relative absence of exertion: â€Å"The subject of the online course is administration of projects relating to consistence hazard management.† Plural Forms English is maddeningly conflicting, particularly in framing plurals. For instance, the plural of avocado is avocados (avocadoes is a variation), while tomato is rendered tomatoes in its plural structure. (These words get from a similar language, Nahuatl, and as on account of the name of the language, the closure sound of both local words is l, however they took various ways through Spanish.) Other tricky words remember those closure for y and a few words embraced from Greek and Latin; for instance, plural endings for some Latin words, (for example, recieving wire and record) shift contingent upon sense. Another muddling classification is compound things, (for example, fathers-in-law). If all else fails, counsel a word reference. (What's more, to be protected, when not in question, counsel a word reference.) Different sorts of things that may expect essayists to talk with a word reference (or a style control) so plural structures are effectively rendered incorporate plurals of formal people, places or things and for shortenings, letters, and numerals. Need to improve your English shortly a day? Get a membership and begin accepting our composing tips and activities day by day! Continue learning! Peruse the Grammar classification, check our mainstream posts, or pick a related post below:Dialogue Dos and Don'tsCapitalization Rules for the Names of GamesEspecially versus Uncommonly

Morality and Responsibility - Moral Development in Mary Shelleys Frank

Moral Development in Shelley's Frankenstein  â Mary Shelley's Frankenstein is a discourse on the common attitude of man. By representing her vision of a characteristic everyman character as Victor Frankenstein's creation, The Creature, Shelley investigates the normal state just as the ethical improvement of man, and creates ends with respect to both. Yet, before Shelley could make her critique on man's characteristic attitudes, she needed a character to speak to her common everyman. The character she required needed to have indistinguishable characteristics from that of a man in his most regular state. The most well-known character to speak to man in his most normal state is that of an infant. An infant is, obviously, another individual in each regard, and an infant has no past encounters that would spoil his job as a characteristic everyman. In any case, an infant is dependent upon the components of the outside world without the capacity to uninhibitedly cooperate with those components. An infant can't safeguard itself from outsider situations that acquire new thoughts, new companions, new adversaries, and new difficulties. Shelley's character must have the option to consistently follow up on his own unrestrained choice (or be openly affected by deterministic procedures, contingent upon one's school or thought). Be that as it may, an infant can't achieve this; there is an excess of uncertainty in what decides and builds up an infant's perspective. Shelley required something better than an infant. Victor Frankenstein's creation is the solution to his issue. The Creature doesn't have any of the weaknesses examined previously. He is brought into this world as a completely portable human, ready to act, as he picks, not dependant upon other individuals to endure. In The Creature, Shelley ... .... Section 15. 4.â â â Shelley. Section 16. 5.â â â Shelley. Letter 2. 6.â â â Shelley. Section 21. Works Cited and Consulted Blossom, Harold. Mary Shelly's Frankenstein. New York: Chelsea, 1987. Garber, Frederick. The Autonomy of the Self from Richardson to Huysmans. Princeton: Princeton University Press, 1982. Marder, Daniel. Outcasts at Home: A Story of Literature in Nineteenth Century America. Lanham: University Press of America, Inc., 1984. Patterson, Arthur Paul. A Frankenstein Study. http://www.watershed.winnipeg.mb.ca/Frankenstein.html Smith, Christopher. Frankenstein as Prometheus. http://www.umich.edu/~umfandsf/class/sf/books/forthright/papers/FrankCS.html Flash, Muriel. Mary Shelly. New York: Dutton, 1987. Williams, Bill. On Shelley's Use of Nature Imagery. http://www.umich.edu/~umfandsf/class/sf/books/forthright/papers/FrankWJW.html Ethical quality and Responsibility - Moral Development in Mary Shelley's Frank Moral Development in Shelley's Frankenstein  â Mary Shelley's Frankenstein is a critique on the regular attitude of man. By exemplifying her vision of a characteristic everyman character as Victor Frankenstein's creation, The Creature, Shelley investigates the normal state just as the ethical improvement of man, and creates ends with respect to both. In any case, before Shelley could make her editorial on man's regular airs, she needed a character to speak to her common everyman. The character she required needed to have indistinguishable characteristics from that of a man in his most normal state. The most well-known character to speak to man in his most regular state is that of an infant. An infant is, obviously, another individual in each regard, and an infant has no past encounters that would corrupt his job as a characteristic everyman. In any case, an infant is dependent upon the components of the outside world without the capacity to uninhibitedly cooperate with those components. An infant can't safeguard itself from outsider situations that acquire new thoughts, new companions, new adversaries, and new difficulties. Shelley's character must have the option to consistently follow up on his own through and through freedom (or be openly affected by deterministic procedures, contingent upon one's school or thought). Nonetheless, an infant can't achieve this; there is an excessive amount of uncertainty in what decides and builds up an infant's perspective. Shelley required something better than an infant. Victor Frankenstein's creation is the solution to his issue. The Creature doesn't have any of the inadequacies examined previously. He is brought into this world as a completely portable human, ready to act, as he picks, not dependant upon other people to endure. In The Creature, Shelley ... .... Section 15. 4.â â â Shelley. Section 16. 5.â â â Shelley. Letter 2. 6.â â â Shelley. Section 21. Works Cited and Consulted Blossom, Harold. Mary Shelly's Frankenstein. New York: Chelsea, 1987. Garber, Frederick. The Autonomy of the Self from Richardson to Huysmans. Princeton: Princeton University Press, 1982. Marder, Daniel. Outcasts at Home: A Story of Literature in Nineteenth Century America. Lanham: University Press of America, Inc., 1984. Patterson, Arthur Paul. A Frankenstein Study. http://www.watershed.winnipeg.mb.ca/Frankenstein.html Smith, Christopher. Frankenstein as Prometheus. http://www.umich.edu/~umfandsf/class/sf/books/candid/papers/FrankCS.html Flash, Muriel. Mary Shelly. New York: Dutton, 1987. Williams, Bill. On Shelley's Use of Nature Imagery. http://www.umich.edu/~umfandsf/class/sf/books/candid/papers/FrankWJW.html

Conceptual Framework free essay sample

Joseph Cornell Artist This globally prestigious present day craftsman never had proficient preparing. He was as a matter of first importance a gatherer. He wanted to scour old book shops and used stores of new York searching for gifts, dramatic memorabilia, old prints and photos, music scores, and French writing. Joseph Cornell was conceived on Christmas Eve 1903. He was the most seasoned of four youngsters destined to Helen and Joseph Cornell. He had two sisters, Betty and Helen, and a sibling, Robert. Cornell experienced childhood in an amazing house in Nyack, New York, a pleasant Victorian town on the Hudson River. Cornells guardians shared their affection for music, artful dance, and writing with their kids. Nighttimes were spent around the piano, or tuning in to music on the family Victrola. Outings to New York implied vaudeville appears in Times Square or enchantment acts at the Hippodrome. His dad regularly came back from his activity in Manhattan with new sheet music, silver charms, or a pocket loaded with treats. In any case, Cornells adolescence was not without trouble. His sibling, brought into the world with cerebral paralysis, was restricted to a wheelchair. Joseph, who was incredibly joined to Robert, turned into his essential guardian. Fine art By gathering and cautiously comparing discovered articles in little, glass-front boxes, Cornell made visual sonnets in which surface, structure, surface, and light play together. Utilizing things we can see, Cornell made boxes about things we can't see: thoughts, recollections, dreams, and dreams. Transformed ordinary articles into baffling fortunes. In Homage to the Romantic Ballet, plastic ice 3D squares become gems when set in a velvet-lined box, keepsakes of a celebrated ballet dancers 12 PM execution on the solidified Russian steppe. A little glass container loaded up with hued sand is changed into powdered gold from a Mayan sanctuary, protected in Cornells Museum.? A symbolist, Cornell utilized the discovered materials that occupy his containers paper feathered creatures, mud pipes, clock springs, balls, and rings. A metal spring from a disposed of wrap up clock may bring out the progression of time, a ball may speak to a planet or the karma related with playing a game. In spite of the fact that his developments are encompassed in wistfulness the aching for something that happened quite a while in the past and distant and their appearance is completely current. While containing a substantial measure of wistfulness Cornell’s work to me has consistently appeared to concentrate on excellence and dreams. Seeing his containers resembles investigating diverse world, an existence where you play with your recollections and where anything isâ possible. The demonstration of comparing these delightful and old discovered articles makes them become animated once more. There, encased in those square shape boxes, they shout out verse and become valuable. It is clear Cornell was fixated on the magnificence of the female figure. World Joseph Cornell has affected ages of instructors in the UK. His way of thinking and exercises have likewise become a key segment for our country’s Religious Education Environment Program. † Artistic impacts included Dada craftsmen Marcel Duchamp and Kurt Schwitters, and Surrealist Max Ernst; different impacts were his enthusiasm for artful dance, music and writing. Crowd His work was respected by numerous individuals of the main craftsmen of his time, and he had appears at the Guggenheim Museum, the Museum of Modern Art and the Metropolitan Museum of Art in New York. Duchamp likewise enrolled his assistance in arranging a dossier on his lifes work. Robert Raushenberg Craftsmanship Rauschenberg saw excellence in the ordinary, placing objects into his specialty that others would think about refuse. In doing as such, he re-imagined workmanship as the normal things that encompass individuals consistently, making ready for developments like Pop and Conceptual Art. For him, painting involved utilizing a brush, yet in addition silkscreening, collaging, moving, and engraving, and he did as such on the most extensive cluster of materials from canvas, board, and texture to sheet metal, Plexiglas, mortar, and paper. For instance Mr. Rauschenberg’s work shined a different light on design. Canyon,† for example, comprised of a stuffed bald eagle connected to a canvas. â€Å"Monogram† was a stuffed Angora goat supported by a tire on a painted board. â€Å"Bed† involved a blanket, sheet and cushion, slathered with paint, as though absorbed blood, surrounded on the divider. They all became symbols of after war innovation. Rauschenberg k ept exploring different avenues regarding prints by imprinting onto aluminum, moving plexiglass circles, garments, and different surfaces. He tested the perspective on the craftsman as auteur by gathering architects to help in the creation of pieces mechanically intended to consolidate the watcher as a functioning member in the work. He likewise made execution pieces revolved around possibility. To watch artists on roller-skates (â€Å"Pelican†, 1963) or to hear the sound of a gong each time a tennis ball was hit (â€Å"Open Score†, 1966), was to observe a craftsmanship that traded grand desire for a feeling of fervor and fun loving nature while holding meaning. Craftsman A local of Port Arthur, Texas, Robert Rauschenberg was conceived on October 22, 1925. After quickly going to the University of Texas at Austin to contemplate pharmacology, and serving in the United States Navy during World War II, he selected at the Kansas City Art Institute in 1947. In mid 1948, he made a trip to Paris to learn at the Academie Julien, where he met individual craftsman Susan Weil; they later wedded and had a child, Christopher. In the harvest time, the couple came back to the United States to concentrate under Josef Albers at Black Mountain College close to Asheville, North Carolina until the spring of 1949. Soon thereafter, Rauschenberg moved to New York City and enlisted at the Art Students League. Rauschenberg came back to Black Mountain College in 1951 and again in 1952 when he shaped companionships with Merce Cunningham, John Cage, and David Tudor, and partook in Cage? Theater Piece #1, which is currently recognized as the principal Happening. Since the mid 50s, Rauschenberg? s supported association in theater and move has brought about outfit and set structures for Merce Cunningham, Paul Taylor, Viola Farber, Steve Paxton, and Trisha Brown, just as for his own creations. World? Rauschenbergs work of the 1950s and 1960s affected the youthful specialists who grew later Modern developments. Andy Warhol and Roy Lichtenstein followed their motivation for Pop craftsmanship to Rauschenbergs compositions of appropriated media pictures, and his analyses in silkscreen printing. The establishment for Conceptual craftsmanship in enormous measure lay in Rauschenbergs conviction that the craftsman had the position to decide the meaning of workmanship. The most fitting model is his 1961 representation of Iris Clert for a show at her exhibition in Paris, which comprised of a message: This is a picture of Iris Clert in the event that I say as much/Robert Rauschenberg. The happenings of the 1960s follow their heredity to Rauschenbergs early Events as a team with John Cage at Black Mountain College just as his later auditorium pieces. His initial work of art roused different craftsmen with the opportunity of plausibility that they couldn't discover in Abstract Expressionist composition. Crowd ? Pundits concur that Rauschenbergs later works were not as compelling, however his proceeded with business achievement permitted him to help rising specialists. He helped to establish Artists Rights Today (ART) to campaign for specialists eminences on re-deals of their work, i n the wake of watching the additions made by early authorities with the blast in the craftsmanship advertise. In 1970, he helped to establish Change, Inc. , which helped battling specialists take care of their clinical tabs. He turned out to be all the more politically dynamic as he became more seasoned, affirming for the benefit of specialists for the National Endowment of the Arts during the 1990s. His undying vitality is at the foundation of his prosperity as a craftsman and as a representative for specialists In 1951, Rauschenberg delivered his monochromatic White Paintings alluded to by certain pundits as overly sensitive screens which enlisted the littlest changes in lighting and air on their surface, and by cynics as clear canvases. While his work frequently maddened Abstract Expressionists and pundits, his symbolism and techniques significantly affected Pop, Conceptual, and other late Modern specialists.

Meteorology assignment Example | Topics and Well Written Essays - 250 words

Meteorology - Assignment Example Survey the sounding information accessible from the online store to appraise the estimation of CAPE only before the event of the Angus tornado. The air was inclined to wards extreme climate since the Environment Canada had given tornado admonitions for a few networks in the zone as a line of serious rainstorms with installed tornadoes moved into the Lake Simcoe locale. On Tuesday at around 5:20 pm, a virus front brought forth various solid to serious rainstorms over the southern Ontario. This was said by the ecological of Canada in the tempest rundown from the get-go Wednesday. I. Assume lightning was seen in Angus, and that you had an away from of sight from York University to it. To what extent would it take for you to hear the thunder comparing to the Angus lightning? Express any suspicions required for this estimation. After the tempests, a few a huge number of homes and organizations I Angus were without power. Over 24 hours, clients in Ontario were still not having power. The rainstorm went out in the accompanying arrangement, at 8:47 a.m., the main serious tempest went out, at that point 10:54 a.m., 2:25 p.m., 2:37 p.m., 3:03 p.m. - 4:54 p.m. at that point the tornado cautioning replaces extreme rainstorm cautioning. As per Environment Canada, the tornado was related with serious rainstorm. It was joined by enormous hail, wind blasts more noteworthy than or equivalent to 50kts, or tornado. As such, it was an Ordinary Cell Thunderstorm. http://www.theweathernetwork.com/news/articles/tornado-tears through-angus-ontario-a few homes-harmed no-major-wounds announced/29754/. The tornado is approximated to go at a breeze speed of between 180-220 km/hr. furthermore, with restricted breeze shear. http://globalnews.ca/video/1475249/get back planning unsure for-tornado-casualties in-angus. Tornadoes are exceptionally ruinous as from the video connect above, it prompted the demise of a few people for example the extreme

9 Books That Are a Call to Action Against Rape Culture

9 Books That Are a Call to Action Against Rape Culture (Image by Chase Carter, via Flickr) I dont know why it  took me so damn long to read Rebecca Solnits  Men Explain Things to Me.  As someone who writes about female sexuality, consent, and rape culture for a living, Solnits book should have been considered  required reading. Becauseâ€"though the book as a whole is about the gender wars in generalâ€"the two pieces that  really  donkey-kicked me in the gut were the ones that tackled domestic violence and sexual assault. In The Longest War, Solnit writes that every three years, the death toll from domestic violence tops 9/11s casualties, though no one declares war on this particular kind of terror. In #YesAllWomen, Solnit writes about the changing conversation around rape culture, and on how womens voices are growing louder, and their experiences more visible. Reading this slim collection was like hearing a rallying cry, and I knew it should be required reading not just for me, but for all men and women. But beyond Solnits book, what else should be on the curriculum? Unspeakable Things  by Laurie Penny I first discovered Pennys work by going down a rabbit hole of brilliance revealed in Molly Crabapples  Drawing Blood. In  Unspeakable Things,  Penny presents a raw, ranting manifesta on gender and power, including the prevalence of sexual violence. Missoula  by  Jon Krakauer I eat up every single thing Krakauer writes, but this one was hard to get through. About a series of sexual assaults at the University of Montana and the long slog toward possible justice,  Missoula  is relentless in its hopelessness, and places a spotlight on the impotence  of  our justice system. Valerie wrote a great roundup of related reads just last year. Bad Feminist  by Roxane Gay Gays collection is about many things, including race and pop culture and even competitive scrabble. But there is also much to read here about gender and femininity, safety and sexual violence. Gay is brilliant about all of it, bringing her sharp eye and her quiet humor and a sense of solid matter-of-factness to everything she explores. Yes Means Yes!  edited  by Jaclyn Friedman and Jessica Valenti Jaclyn Friedman is a writer, speaker, and activist. Jessica Valenti is the woman behind Feministing. Together, they present an anthology that unpacks issues of rape culture and explores the shift in consent education from no means no to yes means yes. Asking for It  by Louise ONeill Recently published,  Asking for It  is  a YA novel that tackles head-on a young girls rape, the public shaming she has to endure afterward, and the effects this has on her as a woman. Its good to see more and more works of YA refusing to flinch in the face of an issue that is sadly common. Asking for It  by Kate Harding It carries the same title, but this version of  Asking for It  is actually a nonfiction exploration of rape culture that combines in-depth research and reportage. We Should All Be Feminists  by Chimamanda Ngozi Adichie I read this one after falling in love with Adichies  Americanah  (which I could rave about in a post all its own). In this extended essay adapted from  a TEDx talk about feminism, Adichie tackles the many reasons we should well, all be feminists obviously, giving a glimpse of the sexual violence that has occurred in  Nigeria, showing the universality of the ever-enduring  war on women. Luckiest Girl Alive  by Jessica Knoll The protagonist of this novel has been the victim of a gang rape. The reader follows her attempts to rise above and past this traumatizing incidents personal repercussions. It is only recently that Knoll revealed just how much this story grew out of her own personal experience. Her heart-wrenching personal essay on Lenny Letterâ€"in which she comes out as a victim of sexual assaultâ€"had me in tears. For more fiction that tackles issues of sexual assault, read this roundup Nicole wrote last year. April was Sexual Assault Awareness Month. It is now May. This topic is evergreen. It continues to be worth our while to amplify the voices that shout out against rape culture and then, perhaps, to add our own.

Metafiction and Author’s Intention In Tim O’Brien’s The Things They Carried - Literature Essay Samples

In his masterpiece The Things They Carried, Tim O’Brien writes a collection of heartbreaking, witty, unbelievable stories about a group of young American soldiers trudging through the war against Vietnam. The Things They Carried manages to convey the feelings associated with being in war without telling the reader what to feel. Critics and readers alike ask: what was O’Brien’s goal when he wrote this novel? What message was he trying to convey? Through several stories such as â€Å"Speaking of Courage,† O’Brien makes a statement about the fact that people are sensitive to the topic of war. The passing of war stories from soldier to soldier suggests that as taboo of a subject as it is, talking about war is important not only to educate others but to heal those traumatized by it. The use of metafiction throughout the book helps O’Brien to convey these messages. Tim O’Brien wrote The Things They Carried to address the fact that nobody wan ts to talk about war, but that, it still must be discussed in order to acknowledge the horrors that go on everyday and to help soldiers to heal. The metafiction in this novel is used primarily to convey this importance. Throughout every story in the novel, it is shown how difficult it is for the soldiers to talk about their war experiences. In â€Å"Sweetheart of the Song Tra Bong,† it is mentioned how U.S. women back home will â€Å"never understand any of this, not in a million years† (O’Brien 108), a soldier’s expression of why he would never attempt to explain it to one. At the beginning of â€Å"On the Rainy River,† O’Brien expresses extreme shame for the story he proceeds to tell, saying he has never told anyone before. However, I found that the story that most displayed the difficulty of communication about war was â€Å"Speaking of Courage,† a story about Norman Bowker, a soldier returning home after years at war in Vietnam. Throughout the story, the reader hears Norman’s thoughts as he an considers telling his father, family, or old girlfriend about his experiences in Vietnam. He drives around his hometown, thinking about how everythin g seems exactly the same. It is clear to the reader that Norman feels that he has changed, and sees the town in a whole new light as a familiar yet foreign place. Norman feels that he no longer belongs, and no longer has a place in the world. It is expressed that Norman does not want to talk to his loved ones about the war because, while he can predict the exact reactions he would instigate, he knows that nobody will understand anything shares. He also feels that nobody cares. In this story, O’Brien was trying to show soldiers’ and society’s aversion to talking about the tragedies of war, and the negative effects this has upon Bowker’s character. â€Å"The town could not talk, and would not listen. ‘How’d you like to hear about the war?’ he might have asked, but the place could only blink and shrugThe taxes got paid and the votes got countedIt was a brisk, polite town. It did not know shit about shit, and did not care to know† (O’Brien 137). This quote demonstrates Norman’s feelings that there was nobody he could talk to about the war: in his mind, his town â€Å"did not care to know.† The town is described as very organized and well-run; a town with all hustle and bustle, but with no emotion. When it comes to facing serious topics, such as what goes on in Vietnam, nobody wants to hear it. O’Brien uses this town to symbolize U.S. society, and Norman as a raumatized American soldier returning home to no place in the world and nobody to talk to about his experiences. This story shows the avoidance of the topic of war in U.S. society. Norman’s struggle with this fact shows the importance of facing it. Once O’Brien properly conveys the negative affects of lack of conversation about war upon returning soldiers, it becomes clear that he displayed that message in order to show the importance of sharing war stories. This is shown throughout the book through the exchange of stories among soldiers. In â€Å"Sweetheart of the Song Tra Bong,† Rat Kiley tells Mitchell Sanders and Tim O’Brien’s character a story about experiences when he was stationed elsewhere. In â€Å"How to Tell a True War Story,† Sanders tells Tim a story about one of his close friends. The way the boys all tell each other stories reveals the importance of talking about the war. It is therapeutic. â€Å"‘Why not talk about it?’ Then he said, ‘Come on, man, talk’† (O’Brien 124). This quote shows how the soldiers consider it healing to talk to one another about what they’ve just seen. They feel comfortable talking to one another because all of them have experienced the same things, and it makes them feel understood. Storytelling helps them to remember, and in the remembrance, they are helped towards acceptance of what they have witnessed. The stories told by other soldiers are interlaced with metafiction, an insertion of O’Brien’s own thoughts. This makes his intentions more clear because in the passages of metafiction, O’Brien supports the lessons of the stories told with his own thoughts and opinions. O’Brien’s use of metafiction in the novel helped to reveal his message more clearly because he was able to tell the readers how he felt. He often uses metafiction to break the reader out of the world of the stories by writing in the first person, referring to himself, addressing the reader specifically, etc. This aids O’Brien because it allows him to show the reader what war has done to him, and how he has been traumatized by the war. â€Å"Forty-three years old, and the war occurred half a lifetime ago, and yet the remembering makes it now† (O’Brien 36). In this quote, taken from a metafictitious passage, O’Brien is reflecting upon the fact that even twenty years after his time in Vietnam, memories still catch up with him. The following few sentences of that passage support the fact that metafiction allows O’Brien to say that he is helped by the process of writing down his memories and sharing stories: â€Å"And sometimes rememberin g will lead to a story, which makes it foreverStories are for eternity, when memory is erased, when there is nothing to remember except the story.† This quote shows how the stories, because they put a kind of untouchable permanence to the war memories, allow relief from carrying those memories in one’s mind. In O’Brien’s opinion, it is easier to handle the memories in the form of stories, where they can be shared and spread. This shows the reader that we cannot avoid talking about war as we do, because of it’s level of tragedy, and also because it advances the healing process for soldiers. In conclusion, O’Brien conveyed a clear message throughout his collection of war stories: people do not always like to address the sensitive topic of war. Even soldiers who return home after serving avoid the topic because they feel understood. However, O’Brien showed that it is important to share one’s stories because the sharing of stories helps people to accept what has happened to them. O’Brien intended to share this lesson because he has been through it himself, and understands how much the sharing of stories has helped him personally. In that aspect, the book as a whole is an example of how telling stories heals. The fact that this is O’Brien’s intention is clear through stories such as â€Å"On the Rainy River† and â€Å"Speaking of Courage.† The stories the soldiers tell one another support this as well, and metafiction plays a very important role in revealing the message. In conclusion, Tim O’Brien’s intention in writing The Things They Carried was to share the message that while people may feel the need to avoid the topic of war, it is very important to address it because of the ways in which it helps soldiers to heal from the trauma they have suffered.

A Learning Theory On Dogs Essay - 1562 Words

Aim Martin Seligmann (1967) used a quantitative method of research to investigate a learning theory on dogs in the late 1960s at the University of Pennsylvania. The Scientist and his colleague discovered the long-term effect of a negative example of the classical condition. Hypotheses Seligmann’s learned helplessness hypothesis says that depression appears when an individual learns that it cannot escape painful or negative situations even when it is possible. This would produce apathy and disregard and they become resigned to aversive stimuli or punishing stimulus even when there is a possibility to protect themselves. Method Martin Seligmann used dogs for his research experiment. When he studied the effects of inescapable shocks on dogs by active avoidance learning, he discovered the phenomenon of learned helplessness. The scientists had the assumption that dogs can understand a reaction before the learning process started (Mcraney, 2015). Seligmann and Maier expected conditioned dogs to react faster than so-called `naive dogs`, who could not build an association between the tone and the experience (Seligmann, 1967). Firstly, they applied classical conditioning to investigate the reactions of inescapable shocks on active avoidance learning in dogs. Accordingly, Seligmann divided the dogs into three groups. The dogs in the first group were strapped into a hammock for a while and then untied. The dogs in the second group were strapped as well, and received electroshocks,Show MoreRelatedThe Theories Of Behaviorist Theory1116 Words   |  5 PagesBehavioral Behaviorist theory was developed by John Watson in the early 1900s. This theory was considered very radical at the time if its inception, as the field of psychology was focused on the study of the mind and consciousness (â€Å"Behaviorism Theory Overview,† n.d.). 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