Our Town

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Thorton Wilder's play Our Town is about a typical lifestyle of a small town life. In the story he links the similarities of two families, the Webb and Gibbs family. Wilder wrote the play in way to show people that even the smallest events in our daily life has great values. This paper will gives examples of how Wilder showed values in regular events but first we must justified what small events are. The smallest events in daily life is really in the eye of the person examining the event, for example a promotion to one person can be a milestone that persons life while to somebody else it is just everyday events that takes place over time. So small events are actually equivalent to a milestone depending on a persons opinion.

The first example to be brought up is when Dr. Gibbs talk with Joe Crowell Jr. fine doc I never think about it at all. Only like you said, it always tells me when it's going to rain. said Joe What's it telling you today? Going' to rain? said Dr.Gibbs No, sir saids Joe ¦.. knee ever make a mistake? ask Dr. Gibbs No sir replied Joe. This is a daily conversation which is the smallest event in daily life. The values it holds is this boy at first never being wrong about the weather end up never being wrong and graduates head of every class he takes. This conversation is the foundation of the Joe which is now a paper boy that becomes a smart guy and later just dies at war. This conversation will be important to Dr. Gibbs later because he knew this boy who died in war. To Joe Crowell after he dies he will remember the times when he studied to be a waste and remember the conversation when he enjoyed life.

Another example in which Wilder shows value in daily event is When George and Emily talk to each other from their windows. Yeah Emily, what do you think? We might work out a kinda telegraph from your window to mine; and once in a while your could give me a kinda hint or two about one of those algebra problems. I don't mean the answers, Emily of course not¦. Just some little hint¦. Said George Oh I think hints are allowed¦. George you whistle to me and ¦. Emily replied. This conversation is ordinary but has values to what will happen in the future. When George ask if he can ask Emily for help on homework, it serve as a reason for George to chat with Emily regularly and so they got the chance to know each other, then love each other and eventually gets marry.

Small event are gateways to important milestones in life.

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The next example is when George invites Emily for an ice cream. This event holds value because this is the time period in which Emily started not to like George because of his time is being spent in baseball. They have ice cream and talk it about the fault of George and college. When they talk he decides not to go to college because of Emily, so when George invites Emily for ice cream it was like fixing all the problems Emily had about George and it kept George from leaving for college in the future.

The last example Wilder shows value in daily event is when George is Mrs. Gibbs talk about him getting married and how George will always visit her on Thursday night. This has great value, in the future the family will spend time on Thursdays and so the family bond will stay strong and they will always take care of each other.

There that was the four example that I found to show how Wilder succeeds in his attempt to show value of daily life.

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Punk Rock - an informative essay

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For those who are familiar with it, Punk Rock is a popular style of music because it allows for more freedom than the mainstream genres. Lyrically, artists of this genre can express themselves without fear of being criticized for their radical ideas. Also, most punk rock bands are on independent, widely unknown labels. This is a benefit in that they do not have to worry about how their image or behavior affects the image of their label, as do artists on major labels such as Sony or Warner Brothers. Another advantage of punk rock is that the artists are free to musically try new things and explore new styles. Similarly, since the birth of Mtv is the 180s, pop music has seemed to move in a direction which favors pretty faces over talent, this is not true for punk rock. Finally, many people would prefer the intimate setting of a punk rock show to the massive stadium concerts of a more mainstream artist. Because they are not seen on tv or played on the radio, punk rock bands rely on fans to share music they enjoy with other people and the relationship that is formed, and the appreciation from the bands, gives punk rock a whole new aspect that might not be enjoyed in other genres.

We all saw how recently many pop or country artist who expressed unfavorable political views were condemned for voicing these opinions. However, artists like the Clash, Anti-flag, Propaghandi, Bad Religion, and others have been expressing political and social oppositions for years, free from media backlash. Controversy is the essence of punk rock. The movement was started by bands like the New York Dolls and the Sex Pistols, in the late 170s, with a conscious effort to go against the norm. More than a musical style, punk rock is a vehicle for artists to express opinions, question authority, and challenge listeners to think for themselves.

Since its birth, punk rock has developed in multiple directions. Because they have so much creative freedom, artists continue to musically reinvent the genre. With more popular genres, there is pressure to write music that will sell the most records, leading artist to write music similar to that which has been popular in the past. So many terrible carbon copied bands saturate the airwaves, manufactured by record labels trying to capitalize on trends and fads. Weary listeners may find relief in the fresh, ever changing punk rock scene. From the Pixies, to the Misfits, to Saves the Day, the punk rock genre offers a wide spectrum of musical and lyrical styles. Divided into countless sub-genres such as emo, hardcore, ska, pop-punk, etc., punk rock offers music for every taste.

When you look at the popular artists off today, you have to wonder how many of them would be famous if they were not so physically attractive. It makes no sense that people would listen to someones music because of the way they look, but that is the current trend. The pop music industry knows this, that is why they created Milli Vanilli in the Eighties, and why they manufacture boy bands today. Punk rock has not yet felt the wrath of the Mtv generation and still favors creativity and talent over tight bodies and skimpy outfits. However, punk rock music does have its sex appeal, apparent in the Distillers Brody Armstrong, Vice Squads Beki Bondage, and Bouncing Souls Greg Attonito.

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Finally, the intimate settings of punk rock shows offers the intimacy and personal connections that over-crowded concerts can not. Smaller audiences allow for more interaction and more of a connection between artists and fans, without having to pay exorbitant amounts of money for front row tickets. Punk rock fans have the opportunity to witness the development of infant bands from their local scene as they gain world wide recognition. Also, without the benefit of radio and television this growth is facilitated almost entirely by the fans. The fans recognize this and feel a connection to the bands they helped make popular, and the bands recognize this and show the appreciation for their fans.

Although other genres of music all have their advantages, punk rock music allows freedom that the other, more popular genres can not. Whether or not you are a fan of this particular genre, you have to appreciate the musical creativity and refreshing lyrical freedom that punk rock offers. In the late 180s and early 10s many people thought this genre was dead, but it has continued to grow and develop in the underground scenes and the garages of aspiring musicians. Although these artists may never gain the recognition of the general public, or substantial financial gains, they continue to play the music that they love. Everyday another young person is enlightened to the world of punk rock music, ensuring that this genre will be around for years to come.

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We all fall down

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Robert Cormier writes pessimistic novels shown in the novel "We All Fall Down" where it deals with pessimistic themes. The definition of "pessimistic" is "emphasising the negative aspects of a situation, expecting unpleasant endings". The arguments that could be put forth to prove the novel deals with pessimistic themes is the Alcoholism, Power and Peer Group, the character Buddy Walker's Love for Jane Jerome and the language where it was written in a police style report.

The theme Alcoholism that is dealt with by Buddy Walker in his escape from reality through the family problems he has been having and the trashing. Buddy uses the booze as a way of avoiding the problems he will face. This is seen when his family started having problems the to the divorce of his parents, buddy takes on drinking as a way of "provided the escape " he needed from the situation he was in. after the trashing, buddy feels that the damages he had caused was devastating and drinks to his guilt. The way Cormier has put the theme alcoholism in a pessimistic way by using alcohol as a way of avoiding the matter and not dealing with the responsibilite4s one must face.

Power and the peer group is a strong theme in the novel as the outcome is if you "fall down", redeem yourself and not let the peer group get you down. As everybody has fallen down by the power of persuasion, but it is about the way you pick yourself up and rise above the peer group as you have the power to do so. Buddy is show to be pessimistic as he is lead by the mob mentality towards the trashing through the power Harry Flowers has upon him.

Guilt is another theme in the novel, which Cormier has put forth in the novel to show the theme pessimistic. Jane Jerome deals with guilt after she finds her sister Karen Jerome battled and bruised and left in a coma from the workings of the trashers. Jane she feels guilt on the night before she had a argument with her sister Karen, and feels that if they hadn't had an argument that Karen will not be the one lying on a bed in a coma in a hospital. Jane looked a t the situation of her sister in a negative perspective and she feel its her fault that what had happen to Karen and not knowing that there could be anybody in hospital as Karen was at the wrong place at the wrong time or if the trashing never happened it will even be a better outcome.

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Another person that deals with guilt is buddy walker he knew he shouldn't trashed the Jerome's home, he knew what he was doing was wrong as he questioned himself "Harry was Frankenstein, but I'm not a monster, or is that what all monsters say?" this shows buddy's guilt towards the trashing of the Jerome's home. This has lead buddy to be a alcoholic as he try to avoid reality, as it provided the means of escaping reality. Buddy tries to apologise to Jane but hasn't got the guts and only manages to say, "I'm sorry" but Jane not knowing who was it from. He's way of dealing with guilt is by spying on Jane, this is pessimistic, as a normal person will not go through what turmoil has experienced. As a normal person will have the courage to take the responsibility and will not feel guilt for their own actions

The language which Cormier has written the novel at the beginning is a police style report where "They entered the house at 0pm on the evening of April Fools Day". The purpose of using police style reports is an objective language where it is the complete description of the trashing" they shit on the floors and pissed on the walls and trashed their way through the seven cap cod cottage". What is pessimistic about this police style report is that it is written negatively towards the housing saying that such a beautiful house could have such damages done to it ' there were four of them.. their vandalism was scattered and spontaneous… and invaded every room in the houses damaging everything the touched".

The character Buddy Walker is the epitome of pessimistic; this is evident in his relationship with Jane Jerome. Buddy thinks that his relationship with Jane is a ticking time bomb as he does not no when Karen Jerome will wake up from her coma and identify Buddy as one of the trashers that trashed their house and brutally injured her. Whenever Jane would mention about the trashing or about Karen, Buddy would change the subject avoiding what horror would unfold. If only Buddy had confessed and explained to Jane about the trashing and taken up the responsibility for his actions, maybe the outcome of the novel would have been different, maybe Jane would of forgave Buddy. But Buddy had been pessimistic about the situation thinking that Jane would never forgave Buddy for what damages he had caused.

Make you own conclusion… me too sleepy to finish…

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Introduction to writing

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I chanced upon a BBC (British Broadcasting Corporation) radio production of the story, "Tales of Narnia The Magician's Nephew" after a lazy Sunday siesta in the year 188. Like any 11-year-old kid, I was enchanted by the "Chronicles of Narnia" series that I looked forward to the following episodes with zeal, until all seven stories of the series came to a close many months later! At that time, there were numerous words that I was unable to comprehend, although I had constantly achieved high grades in my spelling tests; I pondered on this 'inadequacy' and finally, I concluded that I needed to work at my major weakness in mastering the English language, which was simply writing! And I never look back since besides accumulating a wealth of vocabulary, I started diary-writing and reading my tales periodically. To supplement my fluency in writing, I began reading the local English newspaper, "The Straits Times" at least twice a week. Months later, I was delighted that my essay marks rose dramatically!

My second experience appeared somewhat materialistic. In order to win attractive prizes from the Bookworm Club, I submitted many articles to the "Bookworm Digest" editorial team every month; short stories used to be my forte. Initially, I was disappointed (naturally) as none of my articles landed me a prize. Thus, I visited the school library frequently and read more fiction books than I usually did. To expedite my writing process, I discarded my basic dictionary and replaced it with an advanced one. Unfortunately, my best efforts only secured me a consolation prize at the end of my primary school days; but by then I already considered myself to be proficient in my writing skills.

The twin experiences I mentioned above were truly memorable - they have made me confident in translating my thoughts into writing with minimal effort. Hence, I enjoy writing (and reading) so much that I sometimes pen poems in my personal letters and electronic mails. I also detest 'lazy writing', other than writing common acronyms, such as unintelligible SMS (Short Message Service) vocabulary and incessant language mixing.

I learnt that the apparent simple process from thinking to writing involved other competencies, such as listening, speaking and reading (Cox 00). Thus it is natural to assume that writing and the other linguistic competencies are intricately linked - one can rarely excel in one aspect without doing so in the others.

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My primary school English teachers imprinted the what-I-considered as 'traditional methods of writing' onto me. Spelling tests were primarily conducted to avoid pesky spelling mistakes, nothing more. Before deciding on a topic to write on, there must firstly be sufficient contents in my mind and secondly, proper composition planning (Cox 00). I should also be mindful of the minimum word length; it also seemed to be the case of 'the more words there are, the merrier'. Regarding the comments from my teachers, they were often clichd and short - much to my frustration as I relied heavily on them to enhance my writing skills. I feel that teachers need to replace vague commentary and references to abstract rules and principles with text-specific strategies, directions, guidelines, and recommendations (Zamel 185).

I hope to impart the skill of effective writing to all my students with the same vigour that I have had enjoyed! To me, writing is predominantly associated with the writer's imagination and self-expression. To crank up my students' creative juices, I will urge them firstly to read as widely as possible, so as to heighten their self-awareness of the vast world around them. The second aspect of effective writing stems from the mundane use of the English language in our daily lives - fine writers must be able to converse in standard English. I do not ignore the technicalities of writing, but I wish to emphasize this to my students regardless of the amount of red ink spilled on their graded essays, technicialities are not the most important thing in writing; instead, a holistic feel is what it really matters to any marker (Zamel 185). I will hold conferences with pupils during writing workshops so as to guide them through the decision-making process before they start writing their compositions (Cox 00). Last but not least, I shall list my comments pertaining to my students' works as accurately as I can, so that their future assignments will, hopefully, surpass their last ones.

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Tony blair's leadership

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Tony Blairs not on his way out, but its not clear where hes going

THERES something rather thrilling about watching Tony Blair on form. There he is, facing his partys annual conference, bloodied by the failure to find any Iraqi weapons of mass destruction, the corrosive effect of the Hutton Inquiry and the wars messy aftermath; with Labour traditionalists who oppose his market-oriented policies out to pull his domestic agenda apart; with the press announcing his imminent replacement by his ambitious chancellor of the exchequer, Gordon Brown. And yet his brilliant showmans sense catches the audiences mood with a speech that is bruised, touched with humility, but above all defiant. He is unrepentant about Iraq and apparently determined not to give an inch of ground on his domestic agenda to his critics. I have no reverse gear, he said. Most of the audience loved it, though the metaphor doesnt bear too much consideration as a BBC commentator pointed out afterwards, if you are on the edge of a cliff, a reverse gear is quite useful.

Still, displays of bravado do not answer the fundamental question. Is Mr Blair now so damaged that he is no longer an asset to his party, but a liability? The trust of the electorate is hard to earn and easy to lose. If poll after poll is to be believed--according to an NOP poll this week (see chart, above), nearly two-thirds of voters believe he lied to them over Iraq--the prime minister has forfeited it. Some people think that this loss of moral stature will, and should, bring Mr Blairs political career to an end.

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It wont and it shouldnt. While Mr Blair--arguably Labours most successful leader ever--deserves criticism for the way the government presented its case for war with Iraq, there is no evidence that he lied. For all the obsessive interest in the minutiae of September 00s dossier on Iraqi capabilities and intentions, nothing has emerged to suggest that Mr Blairs belief in the threat posed by Saddam Hussein was anything other than heartfelt. Whether or not it was right to fight the war remains a matter of judgment. But although hindsight shows how the prime minister might have done some things differently and better, his sincerity should not be in question.

This is crucial for Mr Blair. For all the passionate opposition to the war among some Labour Party activists, even those who think that he made a terrible mistake appear ready to concede that at least he thought he was doing the right thing, and that he thought he had good grounds for that belief. Mr Blairs explanation in his speech to the conference of his decision to go to war was listened to with respect, understanding and even some applause. His reception overall, culminating in a seven-minute standing ovation at the end of a speech in which he had not ducked any of the difficult issues, was a deliberate message to the outside world. The Labour Party still wants Mr Blair to be its leader and will not allow him to be destroyed over Iraq. His achievement is to have made Labour feel for the first time in its 10-year history that it can be the natural party of government and it is sufficiently grateful for that not to desert him in his hour of need.

None of which means that the prime ministers recent difficulties are at an end. Mr Blair remains at odds with much of his party and the trade unions over his plans for public services. In particular, he still faces intense opposition to his efforts to give hospitals some independence from bureaucrats, within the National Health Service. A motion opposing these foundation hospitals was passed at the conference. That wont make any difference to government policy; but a possible Commons defeat over its plans to charge students some of the costs of a university education certainly would.

In the course of his speech, Mr Blair talked about the need for a government half way through its second term of office, and with every prospect of achieving a third term, to find the resources to renew itself. If that means more of what Mr Blair says he believes in, it will mean more competition between providers in health and education; looser Whitehall control on pretty much everything that goes on in the public sector, including greater powers for local government to raise money and decide what to do with it; an end to the centralisation of public-sector pay which means that teachers in expensive London get paid pretty much the same as teachers in western Scotland. Such changes would do the country a lot of good, and be fiercely resisted by the party and the unions.

Here lies Mr Blairs difficulty. Although the Labour Party made it clear this week that it is happy for him to be its leader, it has made it equally clear that it is unwilling to go where he wants to go. He says hes not reversing. The Labour Party doesnt want to go forward. Unless he can resolve that problem, Britain is not likely to go anywhere.

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Dear America

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What have you learnt about "The Institution and Individual Experience" from your study of the text, Dear America?

An institution is defined as either an organisation for the advancement of a particular purpose, or as any established law or custom in a particular culture. The texts, Dear America, composed by Bill Coutrie, Michael Moore's Bowling for Columbine, and Pink Floyd's song, "The Wall", expose many things about the individual's experience with "the institution", from the positive effects of some institutions, to the overwhelmingly negative effects of the majority of institutions and institutional practice.

Based on a book of the same name, Dear America was commissioned by the New York Veterans Memorial Commission. This fact informs the purpose and influences the perspective of the text Dear America decries the effect of institutional policy and power, with the individual portrayed very much as a victim of the institution. It is clearly a text that communicates its information, ideas, attitudes and belief systems in a way very specific to a particular area of society- it clearly adopts a sympathetic attitude towards American soldiers in Vietnam.

Dear America is a compilation of the letters of certain American soldiers who fought in Vietnam, together with images including photographs of soldiers who died after writing their letters home, footage, newsreel footage from war correspondents, newspaper headlines and excerpts from television coverage of politicians and protestors at home. The film documents the experiences of American soldiers at war, at the same time portraying the change in public opinion towards American involvement in the war, with anti-war sentiment growing as the war progressed.

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The film claims to be a documentary the opening sequence of the film features a split screen divided between a photograph of a young man in uniform and a slow-rolling textual accompaniment which reads "Every scene, every shot in the film is real. Nothing has been re-enacted". Coutrie makes a claim for total truthfulness, reinforced by the honour-roll of actors who are thanked by the producers not for acting, but for "bringing these letters to life". The audience is positioned to sympathise with the American soldiers by matching actor's voices (reading real letters) with actual footage of American soldiers throughout the film. The addition of actors' voices to the photographs or footage causes the letter-writers to become almost "characters" in the film.

The happiness and sense of purpose of the young American soldiers filmed playing on a beach in Vietnam in the following sequences of the film is reflected in the voice-over and music- "Under the Boardwalk". The war seems to be a rightful war. This initial euphoria- the idealised, positive images of Vietnam which may have existed at the beginning of the war- is contrasted with the wartime reality of ever-imminent death which is exposed as the film progresses.

As the film unfolds, the human cost is measured in statistics to each year's end, and the initial euphoria and excitement changes to disillusionment. The scene cuts directly to graphic images of "soldiers at work", manning machine guns as helicopters strafe the jungle below. The soundtrack changes to Creedence Clearwater Revival's "Fortunate Son" which decries the cost of patriotism Some folks are born to wave the flag/Ooh they're red, white and blue/ And when the band plays "hail to the chief"/ Ooh they point the canon at you". This lyric highlights the idea that the cost of patriotism in war is not paid by "senator's sons" but by ordinary folk. The visuals focus on images of injured and dead soldiers being saved or retrieved by their comrades. The scene then cuts to a well-groomed news reporter, representative of institutional power, who clinically, and in well-modulated tones, details the extent of American casualties. Those who have died are statistics. The sympathies of the responders are directed towards the soldiers against the faceless institutional powers who determine their fates. The film continues in this way using carefully constructed montages, interspersing "real" soundtrack (bullets, helicopters, etc.) with the music of the era overlain by "acted" readings of letters and mixing in actual footage of GIs with newsreel footage and commentary, to manipulate the audience's response. The responder becomes aware of the profoundly negative effect of institutional policies on the individual.

The film further presents itself as an accurate historical narrative with the use of subtitles which appear at the bottom of the screen at regular intervals. The viewer is informed of the historical progress of the war. The most consistent means of doing this is the regular "head count" which rises dramatically as the film unfolds. These subtitles are carefully juxtaposed with the letter-readings and footage which chart the emotional or personal progress of the war.

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Euthanasia

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Euthanasia is based on the idea of compassion and is the committing of an act or the omission of an act that will result in death. Active euthanasia in an act that directly causes death. Passive euthanasia is the non-performance of an act that causes death. The American Medical Association's rules allow a physician to practice passive euthanasia but not active euthanasia. In James Rachel's paper "Active and Passive Euthanasia", Rachel's arguments concerning active and passive euthanasia disagree with the American Medical Association's view. The main premise of Rachel's paper is there are no moral differences in passive and active euthanasia. Therefore, in a situation where passive euthanasia is acceptable, active euthanasia should be acceptable.

Rachel's first argument is that passive euthanasia is not more moral than active euthanasia, and may actually be considered less moral. This is based on the premise that the decision of euthanasia for the patient has been made. Rachel does not argue the morality of euthanasia, only the type. Rachel states that active euthanasia, having a quicker outcome of death, causes less pain and suffering. Passive euthanasia can be slower and more painful and therefore crueler to the patient, thus leaving active euthanasia the more humane and moral choice.

The second argument is based on Rachel's assumption that passive euthanasia decisions may be based on irrelevant grounds and leads to decisions that are not made based on equal logic. The example Rachel gives is the withholding of food from a baby born with Down's syndrome and an intestinal obstruction. Rachel states that the Down's syndrome should be irrelevant when making a decision of euthanasia for the baby. Some parents will chose passive euthanasia, and the withholding of life saving surgery, based on their logic of a diminished quality of life for the child because of the Down's syndrome. Other parents will choose to have the surgery for their baby based on their concept of quality of life.

Rachel questions whether letting someone die is worse than killing someone or is there no difference in the morality of active and passive euthanasia. The example given discusses whether there is a difference in the morality in watching a child drown in a bathtub and not helping save the child (passive) or holding the child's head under the water in the bathtub and causing the child to drown (active). If the withholding of help to a dying patient is acceptable according to The American Medical Association, then Rachel states the person watching the child drown should have a defense they played no role in the drowning of the child, they only omitted giving help. Rachel disagrees with the American Medical Association and says this is not a defense, thus concluding there are no moral differences in withholding help and actively participating in the death.

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One of the weaknesses of Rachel's argument is that his basic premise is based on an incorrect argument. He argues that there is no moral difference in letting someone die and in performing active euthanasia. Active euthanasia is the participation in the killing of the patient. The active act of killing someone is worse than permitting the patient to die. Therefore there are more moral conflicts in the active act versus the passive omission. Rachel would argue against this weakness with the child drowning in the tub example. Both the behaviors in the drowning example were reprehensible and one is not worse that the other.

Another weakness in Rachel's arguments is that the cause of death is not an issue. With active euthanasia, the doctor is actually killing the patient. In passive euthanasia, the disease is killing the patient. Rachel's rebuttal would be the cause of death is not as important as the good done by the euthanasia. The active killing of the patient by the physician is not wrong if the outcome is better for the patient than the traditional American Medical Association's approach of passivity.

After the decision is made to participate in euthanasia, Rachel reasons that active euthanasia should be as acceptable, if not more so, that passive euthanasia. The patient should be able to determine the method of euthanasia and not the physician. Rachel makes a case that if the American Medical Society permits passive euthanasia, then active euthanasia should be permitted as well. There are weaknesses in Rachel's reasoning that lend support to the American Medical Society's position that physicians may only participate in euthanasia by omission. Intent cannot be separated from the act. Our culture holds human life as sacred and considers the intentional killing of a person, except in defense of another human life, as wrong. The consequences of active participation in the death have more serious consequences as seen by the incarceration of Dr. Kevorkian for his participation in active euthanasia. Our society is still examining the morality of euthanasia. In general, if someone accepts the idea of euthanasia, passive euthanasia is generally acceptable for our society.

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