Alpha Kappa Psi recognizes that
We live in deeds, not years;
In thought, not breath;
In service, not in figures on the dial.
We count time by heart throbs,
When they beat for God, for man, for duty.
He lives most who thinks most,
Is noblest, acts the best.
Alpha Kappa Psi recognizes that
Let every nation know, whether it wishes us well or ill, that we shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe, to assure the survival and success of liberty.
Oh! I have slipped the surly bonds of Earth And danced the skies on laughter-silvered wings; Sunward I've climbed, and joined the tumbling mirth of sun-split clouds, - and done a hundred things You have not dreamed of - wheeled and soared and swung High in the sunlit silence. Hov'ring there, I've chased the shouting wind along, and flung My eager craft through footless halls of air... Up, up the long, delirious burning blue I've topped the wind-swept heights with easy grace Where never lark nor ever eagle flew - And, while with silent lifting mind I've trod The high untrespassed sanctity of space, Put out my hand, and touched the face of God.
I am an American, fighting in the forces which guard my country and our way of life. I am prepared to give my life in their defense.
I will never surrender of my own free will. If in command, I will never surrender the members of my command while they still have the means to resist.
I am an American Airman. I am a Warrior. I have answered my Nation's call. I am an American Airman. My mission is to Fly, Fight, and Win. I am faithful to a Proud Heritage, A Tradition of Honor, And a Legacy of Valor. I am an American Airman. Guardian of Freedom and Justice, My Nation's Sword and Shield, Its Sentry and Avenger. I defend my Country with my Life. I am an American Airman. Wingman, Leader, Warrior. I will never leave an Airman behind, I will never falter, And I will not fail.
Thesis 1: The emotional spectrum is foundational in informing human behaviours and motivations which necessitates it repression within the control apparatus under totalitarian regimes
Thesis 2: The subversion of sexual and familial relationship has created a flagrantly artificial society structure where the inconsistency of the human condition and emotional insincerity dampens any capacity of rebellions
Thesis 3: By defining familial and sexual relations through dominant political paradigms, authoritarian states collapse the formation of private loyalties, redefining emotional fulfillment as collective sollipsism to the political agenda.
Thesis 4: Orwell argues that the effect of this suppression is a loss of human intricacy that brutalises society and devalues the individual experience
Thesis 5: Orwell’s 1984 is a dark and pessimistic representation of individual frailty in the face of absolute evil and is utterly futile
Thesis 6: Orwell advocated for anthro-centred value, depending on human’s relationship to another, and not to a standard that is transcendent, superhuman whether this standard is hitler’s law of nature
Write down something you are grateful for each day.
Swap your phone for a kindle at bedtime.
Write down a 5 item to do list each morning and prioritize it by importance.
If you want something, ask for it. Closed mouths don't get fed.
Listen more than you speak.
Compliment more than you complain.
Delete apps you don't need.
Leave it better than you found it.
Walk out in nature.
Put your happiness over everything.
Fall in love with taking care of yourself.
Set boundaries today and your heart will thank you tomorrow.
Work hard but know when it's time to rest.
Read for growth.
Take courses to build skills.
A person's favorite sound is their name.
Avoid complaining and gossiping.
Don't tell people your plans they might sabotage you.
Focus on your job and not anyone else's.
You get what you want by helping others get what they want.
To get good at something practice every day for 30 minutes.
Travel as much as you can.
True wealth is being able to work on what you want when you want.
Hold onto hope. Hope brings life, freeing your mind from fear and negativity,
Journal your feelings, name them, check your body where do you feel it?
accept your imperfections.
Clarify your why.
Take massive and consistent action.
banana computer keyboard language python bicycle mountain rocket energy thunder vehicle planet gravity history library adventure mystery future journey sunshine dream memory puzzle notebook science candle rhythm whisper shadow echo galaxy courage fortune diamond feather breeze magic sunset forest castle mirror treasure river elephant crystal chocolate symphony rainbow stardust cloud giggle waterfall festival
wind sister morning rabbit stick ball tree letter milk egg boat rain bird snow bell kitty feet time money fire way toy watch water seed night home nest hand flower thing woman grass back school squirrel wood street shoe baby ring brother hill cake duck shoe paper sheep table apple
apple baby bell brother cake duck egg feet fire flower grass hand hill home kitty letter milk money morning nest night paper rabbit rain ring wood school seed sheep shoe sister snow squirrel stick street table thing time toy tree watch water way wind window woman back ball bird boat
One thing in particular stands out in my mind during my early schooldays, probably because it was my first lesson in
discipline. We were not fond of the teacher because of his frequent use of the stick, often we thought without just cause.
One day we learned that an inspector was coming to the school and immediately saw our chance of getting our revenge on the master. We got together and decided to play truant for the whole day during the inspector's visit. My one regret was that I was not able to see the expression on the inspector's face when he found an empty classroom or, better still, the look of horror and amazement on the face of the teacher. It
must certainly have caused him much embarrassment, but the
We were each stripped naked and given twenty-four lashes on our bare bottoms. This h u r t so much that for the
next three days I was quite unable to sit down at my school desk. But whatever injury this caused t o my body and my pride, I knew wel enough that I had deserved it. And from that day I have always learnt ot accept punish- ment that I feel I have justly earned, however humiliating this may be.
At about this time I came under the influence o f a Roman Catholic priest, a German called George Fischer. This large and well disciplined man seemed to take a liking to me and he did much to help me in my studies. In fact he became almost m y guardian during my early school days and so
relieved my parents of most of the responsibility with regard to my primary education. My father was not at al religious but my mother was converted to the Catholic faith and it was through her and Father Fischer that I was also baptised into the Roman Catholic Church.
In those days I took my religion seriously and was very often to be found serving at Mass. As I grew older, however, the strict discipline of Roman Catholicism stifled me. It was not that I became any les religious but rather that I sought
All the stats of the custom typing tests are not saved, even if you are a registered user. Every time you start a custom typing test, the stats charts will be empty. Your speed will not be recorded in the high score table.
There are normally around 16 students in my IELTS classes. Every new class gets at least a 30-minute session with me on planning and how much it improves your essays. I normally give the students 20 minutes to plan a Task 2 essay which they finish for homework.
This is always interesting because normally, only 2 or 3 students actually follow my instructions and use the time to plan. The rest of them go straight into writing the essay. The result? The students who always took the time to plan (and I mean EVERY time) produce better essays.
Writing an IELTS essay without a plan is like putting IKEA furniture together without instructions. You will get halfway through it, get lost and frustrated, and you will lose control of your entire essay and end up with something like this:
A good plan should be like a map that guides you through the essay and ensures you get to where the examiner wants you to go. Every sentence should have a purpose; if you are writing for the sake of writing, then it won’t be a very good essay. Less is more in many cases, and a good plan ensures that every sentence has a purpose.
But Teacher, I Don’t Have Time!
This is the number one excuse for not planning.
What if I told you that the longer you plan, the less time it will take you to write the essay?
Let’s look at two examples: student A who doesn’t like to plan, and student B, who spends 10 minutes planning.
Student A does this: write-think-think-write-delete-think-write-write-delete-think-write.
Student B does this: think-write.
It is impossible for most people- including IELTS examiners and teachers- to sit down and write a good essay without thinking it through first. If you don’t plan, you have to think as you write and doing these two things, plus writing in a foreign language, thinking about grammar and vocabulary and thinking about writing skills all at the same time, results in a very confusing piece of writing. I also find that students who don’t plan have to restart their essays, and it is not uncommon to see students delete entire essays and start again.
How Does a Plan Save You Time?
You have 40 minutes to write a Task 2 essay. Even if you took 10 minutes to plan and 5 minutes to check your work at the end, you still have 25 minutes to write your essay.
The average 250-word essay is about 12 sentences long, so you have over 2 minutes to write one sentence. I think everyone is capable of doing that.
When you have a good plan, you know exactly what that sentence will be about and how it fits in with the rest of the essay. You don’t have to think of ideas or structure; write grammatically correct sentences and clearly say what you think about the question.
You don’t have to spend exactly 10 minutes planning and 5 minutes checking at the end. You could plan for 7-8 minutes and check for 2-3 minutes. Practice finding out what works best for you.
How To Plan
Planning has 4 stages:
Question Analysis
Idea Generation
Structure
Vocabulary
Question Analysis
This is probably the most important stage. The number one problem most IELTS students have is not answering the question properly. Did you know you can’t get above a band score 5.0 if you don’t address all parts of the question?
Let’s look at an example question:
One of the consequences of improved medical care is that the people are living longer and life expectancy is increasing.
Do you think the advantages of this outweigh the disadvantages?
The keywords here are ‘improved medical care‘. This is our general topic. It is important to know this, not for what we should write about but about what we shouldn’t write about. A common mistake is to highlight the main keywords or main topic and write about this very generally. If you do this, you have not answered the question.
We, therefore, need to think about things more specifically and look for what I call micro-keywords. They are ‘living longer‘, and ‘life expectancy is increasing‘. We, therefore, need to write about these and how improved medical care has increased life expectancy. But we can’t just write a general essay about this; we must look at the instruction words next.
The instruction words are ‘Do you think the advantages of this outweigh the disadvantages?‘
In this example, we must decide which side (advantages or disadvantages) is stronger. If you choose advantages, you will have to say why these are much stronger than the advantages and why the disadvantages are not so strong. If you discuss the advantages, you will not answer the question correctly. We will also need to make our opinion about this very clear.
So, in summary, we must:
Find keywords (general topic)
Find micro-keywords (specific topic)
Find instruction words (how to answer the question)
Idea Generation
Many teachers and books about IELTS advise students to brainstorm (thinking of as many ideas as possible) at this stage. I don’t think that brainstorming is very effective because it leads to irrelevant ideas and wastes valuable time.
Instead of brainstorming, we need to answer the questions directly. If one of your friends asked you this question in a coffee shop, you would have no problem thinking of an answer, so do the same in the exam. It helps to frame it within ‘Why?’ questions.
So for the example above, we could ask ourselves two questions:
Why are the advantages of increased life expectancy strong?
Why are disadvantages of increased life expectancy weak?
We can then think of one or two relevant ideas for each question.
The advantages of increased life expectancy are strong because most people think it is good if their friends and family don’t die too quickly and everyone is happier.
The disadvantages are that there is more demand for food and resources, but this is a weak argument because technology can solve these problems.
We now have two very relevant ideas, and we can now move on to our next stage.
Structure
Next, we need to put our ideas into a structure. This is very important because it helps us coherently organise our ideas, just like the examiner wants us to.
There are several different types of essays and each of them has a different structure.
For this essay, our structure will look like this:
Paragraph 1- Introduction
1- Paraphrase Sentence
2- Thesis Statement
3- Outline Statement
Paragraph 2- Why advantages are strong
4- Topic Sentence
5- Explanation
6- Example
Paragraph 3- Why disadvantage are weak
7- Topic Sentence
8- Explanation
9- Example
Paragraph 4- Conclusion
1- Summary of main points
We can these fill in our ideas:
Paragraph 1- Introduction
Sentence 1- Paraphrase Sentence
Sentence 2- These Statement – advantages outweigh disadvantages
Sentence 3- Outline Statement – Advantages- happiness Disadvantages- technology
Paragraph 2- Why advantages are strong
Sentence 4- Topic Sentence – happiness
Sentence 5- Explanation – death causes unhappiness and longer lives lead to happiness
Sentence 6- Example –Okinawa and Sardinia
Paragraph 3- Why disadvantage are weak
Sentence 7- Topic Sentence – technology
Sentence 8- Explanation – technology can solve any of the drawbacks
Sentence 9- Example – GM crops and renewable energy
Paragraph 4- Conclusion
Sentence 1- Summary of main points
Now we have all our ideas, and we can think of some vocabulary.
Vocabulary
Another common problem students have is repeating the same words, especially ones from the question, repeatedly. This lowers our mark for vocabulary because it shows that we can’t think of synonyms. A solution to this problem is to identify words in the question that we might need to use more than once in the question.
Let’s look at the question again:
One of the consequences of improved medical care is that the people are living longer and life expectancy is increasing.
Do you think the advantages of this outweigh the disadvantages?
We can think of the following synonyms:
Improved medical care- enhanced medical treatment
Living longer- improved longevity
Life expectancy is increasing- the length of time people live is rising
Advantages- benefits
Disadvantages- drawbacks
What It Looks Like On Paper?
That might seem like a lot to do in 5- 10 mins, so here is what it looks like on paper.
Next Steps
The more you plan, the better and more quickly you will write, and it will lead to every single sentence in your essay having a purpose, which is exactly what the examiner wants.
Hukuk ve adalet kavramları, birbirleriyle ilişkili olsa da farklı anlamlar taşır. İşte bu iki kavram arasındaki temel farklar:
1. Tanım
Hukuk: Hukuk, belirli bir toplumda geçerli olan yazılı ve yazılı olmayan kuralların tümüdür. Bu kurallar, toplumsal düzeni sağlamak, bireylerin haklarını korumak ve toplumsal ilişkileri düzenlemek amacıyla oluşturulur. Hukuk, devletin otoritesi tarafından uygulanır ve düzenlenir.
Adalet: Adalet, bireylerin haklarının eşit bir şekilde tanınması ve korunması, haklı olanın ödüllendirilmesi ve haksız olanın cezalandırılması anlamına gelir. Adalet, daha çok ahlaki ve etik bir kavramdır. Toplumsal ve bireysel boyutta "doğru" olanı ifade eder.
2. Amaç
Hukuk: Hukukun amacı, toplumsal düzeni sağlamak ve bireyler arası ilişkileri düzenlemektir. Bunun yanı sıra, belirli bir otoritenin kontrolü altında toplumda kuralların uygulanmasını sağlamaktır.
Adalet: Adaletin amacı, herkesin haklarının korunması, eşit muamele görmesi ve adil sonuçların elde edilmesidir. Adalet, toplumsal ve bireysel düzeyde ahlaki bir değer olarak öne çıkar.
3. Uygulama
Hukuk: Hukukun uygulanması, mahkemeler, yasalar ve hukuki süreçler aracılığıyla gerçekleşir. Hukuk, belirli kurallara dayandığı için daha katıdır ve somut bir yapıya sahiptir.
Adalet: Adalet, daha soyut ve geniş bir kavramdır. Adalet arayışı, hukukun uygulanmasında ve toplumsal ilişkilerde, bireylerin ve toplumun etik değerleriyle şekillenir.
4. Hukuk ve Adalet Arasındaki İlişki
Hukuk, adaletin sağlanmasında bir araçtır. Ancak, hukuk her zaman adaleti yansıtmayabilir. Bazı durumlarda, hukukun kendisi adaletsiz olabilir (örneğin, ayrımcı yasalar). Bu nedenle, hukuk kuralları ile adalet anlayışı her zaman örtüşmez.
Özet
Kısacası, hukuk kuralların toplamını ifade ederken, adalet ahlaki ve etik bir değer olarak doğru ve adil olanı ifade eder. Hukukun amacı düzen sağlamakken, adaletin amacı eşitlik ve hakların korunmasıdır. Bu nedenle, hukuk ve adalet arasındaki denge, sağlıklı bir toplum için önemlidir.
Through the development of his poetic oeuvre, Eliot critically encapsulates the Modernist Zeitgeist, achieving textual integrity through the organic unity of his poems and the characteristically fragmented Modernist form. In doing so, he evokes society’s pervasive disillusionment brought on by rapid industrialization and the desolation of the Great War. By drawing on his context and personal reflections, Eliot seeks to address a universal human predicament through faith.
In “The Journey of the Magi,” Eliot expresses the nature of his newfound hope, stating that “it was (you might say) satisfactory.” His colloquial tone conveys an ironically stark contrast to the expectation of hope, reinforcing the absurdity of the modern world.
This conception of spiritual experience brings a sense of placation, yet the departure from Modernism leads to the uncertain question, “Birth or death.” This juxtaposition highlights how the salvation promised by religion provides hope for eternal life but simultaneously signifies the “death” of old friendships and beliefs.
Thus, he finds himself “in the old dispensation, / with an alien people clutching their gods,” where this paganistic imagery illustrates his subsequent isolation from his Modernist legacy. Consequently, Eliot concludes his poetic oeuvre on a bittersweet note, having resolved the modern predicament at the cost of his former self.
Through a consideration of the hollowed personas’ failed ontological search in “The Hollow Men”, Eliot allows responders to realise the depth of alienation in the modern world. In an allusion to Dante’s “Paradiso”, “death's other kingdom”, a salvation unattainable for these personas in the “hollow valley”, Eliot posits that the isolation of the modern man is one that is spiritual.
Thus, Eliot evokes the Modernist desperation for spirituality through the objective correlative in “The supplication of a dead man’s hand / Under the twinkle of a fading star,” forming striking visual imagery to elicit nihilistic despair. The symbolism of this “fading star” points to a final, dwindling hope.
As such, Eliot perpetuates that this Prufrockian inertia (Grover Smith), a longing for spirituality that they cannot reach in the squalor of urban metropolis explored in “Rhapsody”, makes the experiences of these personas inherently isolating.
Eliot interjects The Lord’s Prayer into the final stanza, “For thine is the kingdom” offering a glimpse of hope, however which is consistently seized by the disruptive “fall of the shadow”, a symbol of pessimistic despair. Metaphorically representing the struggle of seeking spiritual hope, Eliot reminds viewers of the isolating and absurd existence in the modern world.
T.S. Eliot's body of work, while canonically embodying the Modernist sense of disillusionment born from the deteriorating milieu of 20th-century urbanity, continues to resonate with contemporary audiences by delving into the quest for meaning within the absurdity of the modern world.
Specifically, "Rhapsody on a Windy Night" (1911), "The Hollow Men" (1925), and "The Journey of the Magi" (1927) converge to illustrate society's physical and metaphysical decline driven by inexorable industrialization and urbanisation, the resulting fragmentation of the human psyche, and the subsequent yearning for spirituality and purpose amidst futility through religion as an external hope.
Ultimately, Eliot's cohesive poetic corpus, through its profoundly fragmented and allusive form, encapsulates the Modernist Zeitgeist while transcending contextual limitations to achieve textual integrity.
Hukukun kökenleri, insan topluluklarının tarih öncesi dönemlerine kadar uzanır ve oldukça ilginçtir. İşte bu süreci anlamak için bazı temel noktalar:
1. Hukukun Öncesi: Prehistorik Dönem
Toplumsal Düzen: İnsanlar, avcı-toplayıcı dönemlerinde küçük gruplar halinde yaşıyordu. Bu gruplar, sosyal normlar ve gelenekler etrafında dönen basit bir yapıdaydı. Bu normlar, grubun hayatta kalmasını sağlamak ve düzeni korumak için geliştirilmişti.
Gelenekler ve Teamüller: Bu dönemde yazılı kurallar yoktu; ancak toplumların gelenekleri ve sözlü aktarımlar, davranışları yönlendiren kurallar olarak işlev gördü. Örneğin, avcılık ve paylaşım konusunda sosyal normlar vardı.
2. Yerleşik Hayata Geçiş
Tarım Devrimi: Yaklaşık 10.000 yıl önce tarıma geçişle birlikte, insanlar yerleşik hayata adım attı. Bu, toplumların büyümesine, daha karmaşık sosyal yapılar oluşturmasına ve mülkiyet kavramının gelişmesine yol açtı.
Mülkiyet ve Anlaşmazlıklar: Tarımsal üretim, mülkiyet kavramını ortaya çıkardı. İnsanlar, toprak ve kaynaklar üzerinde hak talep etmeye başladıkça, bu mülkiyet üzerindeki anlaşmazlıklar da artmaya başladı. Bu durum, düzeni sağlamak için kuralların gerekliliğini doğurdu.
3. İlk Hukuki Sistemlerin Gelişimi
Topluluk Kuralları: Yerleşik toplumlarda, grupların işleyişini sağlamak için basit kurallar geliştirilmeye başlandı. Bu kurallar genellikle, karşılıklı hakları, sorumlulukları ve toplumsal normları kapsıyordu.
Yazılı Hukukun Başlangıcı: Yaklaşık M.Ö. 3000 civarında Sümerler, hukuk kurallarını yazılı hale getirdiler. Bu, hukukun daha sistematik ve kalıcı bir biçimde düzenlenmesine olanak tanıdı. Hammurabi’nin kanunları gibi örnekler, bu yazılı kuralların ilk örneklerindendir.
4. İnsanların Hukuka Bakışı
Adalet ve Ahlak: İlk topluluklar, hukukun adaletin sağlanmasında bir araç olduğuna inanıyordu. Ancak adalet anlayışı, toplumdan topluma farklılık gösteriyordu. Bazı toplumlar, adaletin daha çok kişisel bir mesele olduğuna inanıyordu.
Hukukun Rolü: Zamanla, hukuk, toplumsal düzenin korunmasında ve bireyler arası ilişkilerin düzenlenmesinde temel bir araç haline geldi. Hukuk, aynı zamanda otoriteyi meşrulaştırmak için de kullanıldı.
Bu süreç, insan topluluklarının ihtiyaçları ve sosyal dinamikleri ile doğrudan bağlantılıdır. Yerleşik hayata geçişle birlikte, daha karmaşık yapılar ortaya çıktı ve bu yapılar hukukun gelişimini hızlandırdı. İlerledikçe, hukuk felsefesinin ve adalet anlayışının da nasıl evrildiğini görmek mümkün olacak.
As the Bergsonian philosophy follows, we hold on to specific memories and do not rationalise how they have formed or how they serve as constructs, masking harsh truths. Unveiling these truths through the Modernist perspective, in “Rhapsody on a Windy Night”, Eliot hence conveys the dread of existential listlessness of understanding the squalor of urban metropolis.
Eliot accustoms the viewers to the idea of underlying reality through metaphorical representation of light in its metaphysical ability to, “Dissolve the floors of memory”, and ultimately reveal truth. Unexpectedly, Eliot reveals that this realisation of truth is frightening; intentionally evoking disturbing metaphors of “lunar incantations” that elicit a sense of bewitchment, paralleling the intense and perhaps terrifying shift in perspectives the deconstruction of memories poses.
Reinforcing his argument, Eliot extends his unsettling diction, “Every street lamp that I pass/Beats like a fatalistic drum”, particularly illustrating the “fatalistic” appal we face upon the streetlamps capability in “dissolving memory” to potentially expose truths we struggle to face.
Hence, Eliot allows a closer examination into this disturbing “truth”. Therefore, the light characterises the prostitute as a symbol of decay, the streetlamp muttering, “the border of her dress/Is torn and stained with sand”.
Unlike the stereotypical alluring representation of a prostitute, Eliot accumulates increasingly grotesque imagery as we are invited to “see the corner of her eye” and how it “Twists like a crooked pin”, creating an overall depressing and degrading impression. The light that reveals these details allegorise how Modernist perspectives unmask the sordid reality underlying the facade of sexual enticement.
Hence, reinforced by the unsettling simile of the moments of realisation that disturb the speaker in the same way “as a madman shakes a geranium”, Eliot’s analogy of the madman as the Modernist reveals the psychological torment of the Modernist viewpoint.
Justifying the Modernist dread, between the two sources of truth, the moon and the streetlamp, the extended analogy of the moon as an old woman, decayed, having “lost her memory” infers her madness, accordingly, Eliot demonstrates how truth can no longer be found in the natural world. Eliot suggests the lamps, constructs of man have superseded natural insight and rationality, providing his central argument: that man has destroyed man by ignoring nature, manufacturing a society and culture that is vile.
Ultimately, Eliot encapsulates the Modernist angst of knowing, the insanity of having all autonomy in the confines of a grotesque urban world.
Introduction
T.S. Eliot's body of work, while canonically embodying the Modernist sense of disillusionment born from the deteriorating milieu of 20th-century urbanity, continues to resonate with contemporary audiences by delving into the quest for meaning within the absurdity of the modern world.
Specifically, "Rhapsody on a Windy Night" (1911), "The Hollow Men" (1925), and "The Journey of the Magi" (1927) converge to illustrate society's physical and metaphysical decline driven by inexorable industrialization and urbanisation, the resulting fragmentation of the human psyche, and the subsequent yearning for spirituality and purpose amidst futility through religion as an external hope.
Ultimately, Eliot's cohesive poetic corpus, through its profoundly fragmented and allusive form, encapsulates the Modernist Zeitgeist while transcending contextual limitations to achieve textual integrity.
Rhapsody of The Wind (1911)
As the Bergsonian philosophy follows, we hold on to specific memories and do not rationalise how they have formed or how they serve as constructs, masking harsh truths. Unveiling these truths through the Modernist perspective, in “Rhapsody on a Windy Night”, Eliot hence conveys the dread of existential listlessness of understanding the squalor of urban metropolis.
Eliot accustoms the viewers to the idea of underlying reality through metaphorical representation of light in its metaphysical ability to, “Dissolve the floors of memory”, and ultimately reveal truth. Unexpectedly, Eliot reveals that this realisation of truth is frightening; intentionally evoking disturbing metaphors of “lunar incantations” that elicit a sense of bewitchment, paralleling the intense and perhaps terrifying shift in perspectives the deconstruction of memories poses.
Reinforcing his argument, Eliot extends his unsettling diction, “Every street lamp that I pass/Beats like a fatalistic drum”, particularly illustrating the “fatalistic” appal we face upon the streetlamps capability in “dissolving memory” to potentially expose truths we struggle to face.
Hence, Eliot allows a closer examination into this disturbing “truth”. Therefore, the light characterises the prostitute as a symbol of decay, the streetlamp muttering, “the border of her dress/Is torn and stained with sand”.
Unlike the stereotypical alluring representation of a prostitute, Eliot accumulates increasingly grotesque imagery as we are invited to “see the corner of her eye” and how it “Twists like a crooked pin”, creating an overall depressing and degrading impression. The light that reveals these details allegorise how Modernist perspectives unmask the sordid reality underlying the facade of sexual enticement.
Hence, reinforced by the unsettling simile of the moments of realisation that disturb the speaker in the same way “as a madman shakes a geranium”, Eliot’s analogy of the madman as the Modernist reveals the psychological torment of the Modernist viewpoint.
Justifying the Modernist dread, between the two sources of truth, the moon and the streetlamp, the extended analogy of the moon as an old woman, decayed, having “lost her memory” infers her madness, accordingly, Eliot demonstrates how truth can no longer be found in the natural world. Eliot suggests the lamps, constructs of man have superseded natural insight and rationality, providing his central argument: that man has destroyed man by ignoring nature, manufacturing a society and culture that is vile.
Ultimately, Eliot encapsulates the Modernist angst of knowing, the insanity of having all autonomy in the confines of a grotesque urban world.
Hollowed Men (1925)
Through a consideration of the hollowed personas’ failed ontological search in “The Hollow Men”, Eliot allows responders to realise the depth of alienation in the modern world. In an allusion to Dante’s “Paradiso”, “death's other kingdom”, a salvation unattainable for these personas in the “hollow valley”, Eliot posits that the isolation of the modern man is one that is spiritual.
Thus, Eliot evokes the Modernist desperation for spirituality through the objective correlative in “The supplication of a dead man’s hand / Under the twinkle of a fading star,” forming striking visual imagery to elicit nihilistic despair. The symbolism of this “fading star” points to a final, dwindling hope.
As such, Eliot perpetuates that this Prufrockian inertia (Grover Smith), a longing for spirituality that they cannot reach in the squalor of urban metropolis explored in “Rhapsody”, makes the experiences of these personas inherently isolating.
Eliot interjects The Lord’s Prayer into the final stanza, “For thine is the kingdom” offering a glimpse of hope, however which is consistently seized by the disruptive “fall of the shadow”, a symbol of pessimistic despair. Metaphorically representing the struggle of seeking spiritual hope, Eliot reminds viewers of the isolating and absurd existence in the modern world.
The Journey of the Magi (1927)
In “The Journey of the Magi,” Eliot expresses the nature of his newfound hope, stating that “it was (you might say) satisfactory.” His colloquial tone conveys an ironically stark contrast to the expectation of hope, reinforcing the absurdity of the modern world.
This conception of spiritual experience brings a sense of placation, yet the departure from Modernism leads to the uncertain question, “Birth or death.” This juxtaposition highlights how the salvation promised by religion provides hope for eternal life but simultaneously signifies the “death” of old friendships and beliefs.
Thus, he finds himself “in the old dispensation, / with an alien people clutching their gods,” where this paganistic imagery illustrates his subsequent isolation from his Modernist legacy. Consequently, Eliot concludes his poetic oeuvre on a bittersweet note, having resolved the modern predicament at the cost of his former self.
Conclusion
Through the development of his poetic oeuvre, Eliot critically encapsulates the Modernist Zeitgeist, achieving textual integrity through the organic unity of his poems and the characteristically fragmented Modernist form. In doing so, he evokes society’s pervasive disillusionment brought on by rapid industrialization and the desolation of the Great War. By drawing on his context and personal reflections, Eliot seeks to address a universal human predicament through faith.
Nowadays, whether the law changes human behaviour has attracted numerous controversies and drawn the public’s attention. Some people believe that the law can change human behaviour, while others hold the view that there is no relationship between law and human behaviour. In my opinion, the law does have an influence on human behaviour for social and psychological reasons.
First and foremost, the social reason is why I think the law has an influence on human behaviour. Although potentially negative impacts of law must be taken into account, I still reckon that the existence of law has in many ways enormously enriched people’s lives. For example, a well-known American scientist Einstein once said that people are generally afraid of receiving any form of legal punishment. It is thus clearly shown that human behaviour is changed by law. In addition, another factor that should be considered is the psychological reason. As far as society is concerned, the ultimate aim of the law is to protect people.
For instance, a recent article published by The Economist reveals that 80% of people fasten their seat belts in cars after a traffic law has been enacted. Undoubtedly, this is a clear indication that the law has a positive impact on individuals’ behaviour.
In conclusion, I hold the view that the law changes human behaviour. To address this issue, the government and society should make a concerted effort to find solutions.
Reklama je každá platená forma nepersonálnej prezentácie a podpory myšlienok, výrobkov alebo aj služieb, ktorú vykonáva zadávateľ. Má veľmi veľa foriem a spôsobov použitia. Keďže má verejný charakter predpokladá, že tovar, ktorý propaguje, je štandardný a legitímny. Reklama umožňuje opakovať správu a kupujúci si ju môže porovnávať so správami od iných konkurentov. Firmy, ktoré využívajú reklamu vždy vedia, že tým získajú predovšetkým niečo pozitívne pre seba, budujú si svoje povedomie a popularitu svojich produktov, značky, a tým určite aj predpoklady úspešného pôsobenia na trhu. Reklama vie osloviť široké publikum geograficky rozptýlených kupujúcich. Okrem pozitív má však reklama aj nevýhody. Hoci vie rýchlo osloviť množstvo adresátov, je nepersonálna a nemôže byť taká presvedčivá ako osobný predaj. Reklama pochádza z latinského slova clamare, ktoré znamená kričať, alebo volať.
Je to propagácia, publikovanie a podpora informácií alebo názorov o výrobku, službe, prípadne aj o organizácii, so zameraním na potenciálny trh. Cieľom reklamy je informovať spotrebiteľov, aby sme zámerne ovplyvnili ich chovanie. Použité prostriedky môžu mať viacero foriem. Napríklad to môže byť reklama v médiách alebo priama reklama.
Osobitným typom reklamy je internetová reklama. Pri výbere metód a prostriedkov sa vychádza z troch základných požiadaviek kladených na reklamu. Sú to účinnosť, pravdivosť a hospodárnosť. Grafickými prostriedkami reklamy bývajú inzeráty v novinách a časopisoch, reklamné plagáty, prospekty aj katalógy, svetelná reklama, ale aj obalový materiál. Inou formou sú reklamné akcie, medzi ktoré môžeme zaradiť reklamné prednášky a besedy, módne prehliadky a iné spôsoby predvádzania, rozhlasové a televízne reklamné vysielanie, reklamné filmy a reklamné pochody. Výšku predaja dokáže ovplyvniť aj vybavenie priestorov obchodov, výkladov, reklamné darčeky, zľavy z ceny a iné zaujímavé doplnky a služby poskytované zákazníkom. Reklama sa môže zameriavať na rôzne cieľové skupiny, ako sú domácnosti, výrobné podniky, maloobchodné jednotky, športovci, alebo aj študenti. Môže pôsobiť celoplošne na území celej republiky, alebo lokálne v jednom meste, alebo kraji. Reklamu nevyužívajú len podnikateľské subjekty, ale aj spoločenské organizácie, profesionálni odborníci a zdravotnícke organizácie, napríklad na varovanie pred škodlivosťou fajčenia a iných omamných látok.
Cieľovou skupinou je množina príjemcov, ktorých má reklamná kampaň osloviť. Môžu ňou byť súčasní, alebo potenciálni užívatelia výrobku, služby alebo značky, rovnako tiež jednotlivci a skupiny, ktorí sa ešte iba rozhodujú o svojom budúcom nákupe. Základným predpokladom pre ďalšiu stratégiu, pre stanovenie toho čo, akým spôsobom, kedy a kde sa bude zdieľať, je charakteristika cieľovej skupiny. Ciele reklamy môžu byť klasifikované podľa jej primárneho účelu, ktorý hovorí o tom, či má reklama informovať, presviedčať, pripomínať alebo porovnávať. Tieto ciele nadväzujú na všetky naše predchádzajúce rozhodnutia o cieľovom trhu, ako aj na rozhodnutia o nástrojoch marketingového mixu. Informatívna reklama sa využíva predovšetkým pri uvádzaní novej kategórie produktov na trh. Jej cieľom je vytvoriť primárny dopyt, informovať zákazníkov o novom výrobku, o zmene ceny, podať vysvetlenie o tom, ako bude výrobok fungovať, oboznámiť s návrhom nového použitia výrobku, poskytnúť opis poskytovaných služieb, opraviť mylný dojem, vytvoriť image firmy a znížiť obavy spotrebiteľov.
Presvedčovacia reklama má svoj význam najmä v období zvyšovania konkurenčného tlaku. Podnikové ciele sa v tomto prípade orientujú na ovplyvňovanie cieľového dopytu, tvorbu preferencie značky, podnecovanie na zmenu značky, zmenu vnímania zákazníka a jeho presviedčanie, aby kúpil výrobok. Niekedy sa z presvedčovacej reklamy stáva aj reklama porovnávacia, ktorá porovnáva priamo jednu značku s inou, alebo s viacerými značkami. Je dôležitá pre výrobky v štádiu zrelosti, aby zostali aj naďalej vo vedomí spotrebiteľov. Pripomínajúca reklama opakuje zákazníkom výhody výrobku, pomáha udržiavať výrobok v ich mysliach aj mimo sezóny, pripomína im kde si môžu výrobok kúpiť, a tiež skutočnosť, že v najbližšom čase môžu výrobok potrebovať. Ak sa naša reklama zameriava na dlhodobé budovanie imidžu organizácie hovoríme o inštitucionálnej reklame. Cieľom značkovej reklamy je dlhodobé budovanie jednotlivej značky. Klasifikačná reklama má za úlohu informovať príjemcu o predaji tovaru a služieb. Oznámenie o špeciálnom predaji zabezpečuje reklama predaja, ktorú môžeme inak nazývať aj ako podporná reklama. Obhajovanie jednotlivých prípadov je cieľom obhajovacej reklamy. Primárnym účelom každej reklamy je informovať príjemcu. Poskytovať trhu informácie o nových, alebo aj o inovovaných produktoch, o možnostiach nového využitia produktov, o zmenách cien, o vytvorení nových obchodov a taktiež o ponúkaných službách.
Cieľom je vysvetliť, ako náš výrobok funguje, napraviť chybné predstavy o ponúkaných tovaroch a rozptýliť obavy z nákupu nového výrobku. Ďalšou významnou úlohou je presvedčiť príjemcu. Cieľom je zvýšiť preferencie danej značky, podporiť rozhodnutia príjemcov o zmene značky, zmeniť vnímanie niektorých úžitkových vlastností daného tovaru, zvýšiť motiváciu spotrebiteľov k nákupu ako aj riešiť krízové situácie pomocou obrannej reklamy. Tretím účelom reklamy je pripomínať. Pripomenúť spotrebiteľovi, že by mohol výrobok v blízkej dobe potrebovať, pripomenúť mu aj to, kde je možné tovar zakúpiť, udržiavať povedomie o výrobku aj mimo sezóny a udržiavať lojalitu našich spotrebiteľov. Posledným účelom je porovnávať. Poukázať na prednosti vlastného výrobku, alebo aj služby, v porovnaní s obdobným konkurenčným výrobkom. Firmy si zabezpečujú reklamu rôznym spôsobom. Za reklamu môže zodpovedať hociktorý pracovník v oddelení predaja. Vo veľkých firmách sa môže zriadiť oddelenie reklamy, ktorého úlohou je spracovať rozpočet na reklamu, spolupracovať s reklamnou agentúrou alebo vykonať mnohé činnosti spojené so zasielaním reklamných materiálov.
Väčšina podnikov využíva služby externých reklamných agentúr, pretože ich činnosť im poskytuje rôzne výhody. Agentúry získavajú svoje nové objednávky často na základe reputácie alebo svojej veľkosti. Vo všeobecnosti však zákazník oslovuje často viaceré agentúry, aby mu predložili návrhy na prezentáciu jeho podniku a potom si vyberie jednu z nich. Každá firma chce investovať do reklamy iba takú sumu peňazí, ktorá je nevyhnutná na dosiahnutie predajného cieľa. Ak má podnik stanovené ciele, ktoré chce reklamou dosiahnuť, potom môže pristúpiť aj k vypracovaniu rozpočtu na reklamu podľa jednotlivých výrobkov. Náročná je však otázka, koľko finančných prostriedkov má podnik na reklamu použiť. Pokiaľ firma investuje málo, účinok môže byť nepatrný. Ak vkladá do reklamy príliš veľa, peniaze by mohol využiť radšej v iných oblastiach firemného pôsobenia. Nové druhy výrobkov si spravidla vyžadujú väčší objem rozpočtu, aby vytvorili uvedomenie u obyvateľstva a získali si tak náklonnosť zákazníkov. Vybudovať trh alebo získať lepší podiel na trhu od konkurentov, si vyžaduje vyššie náklady na reklamu, ako na udržanie existujúceho podielu.
Na trhu, kde existuje už veľa konkurentov a výdavky na reklamu sú vysoké, sa musí značka propagovať oveľa výraznejšie, aby prenikla informačným šumom, ktorý je na trhu. Rozpočet reklamy zvyšuje aj potreba opakovaného sprostredkovania reklamného apelu a náklady na prípadnú diferenciáciu výrobku oproti podobným výrobkom vo svojej kategórii. Reklamu je potrebné vždy dokonale premyslieť. Povaha reklamnej správy by mala byť prispôsobená tiež zvyklostiam cieľovej skupiny zákazníkov, charaktere produktu a predpokladaným nákladom na reklamu. Pri tvorbe reklamy si firma nemôže dovoliť chybovať, pretože tu platí zlaté pravidlo, že zlá správa sa šíri rýchlejšie ako dobrá. Musíme si ujasniť aký je cieľ našej reklamy.
