How Can I Live - 1274 Words

(left align) Savannah Siebenhaar 24 October 2014 Health 110-95/I96 Video Assignment (center) How to Live to Be 100 (Double Spaced, 12 pt. Times New Roman) In today s world, everyone seems to be asking the same question: How can I live longer? In a video entitled How to Live to Be 100, Dan Buettner gives a presentation that attempts to answer this question. In the presentation, he explains a few myths about longevity before discussing three Blue Zones that exist in the world, where living to be over one hundred years old is most common. This information was gathered through research by National Geographic and the National Institute on Aging in which they discovered many facts about†¦show more content†¦The term that he gives for this concept is procreative success, and he explains that this mostly involves genetics. The second myth that Buettner discusses is the myth that treatments can help a person live longer. He says that this myth is false because there are several things that can age us. For example, the thirty five trillion cells that we have in our bodies are replaced every eight years. When this happens, the damage tha t is done builds up over time, which causes aging. That s why a sixty five year old person is aging at a rate of about one hundred and twenty five times faster than a twelve year old person, says Buettner. According to the video, it is not possible to stop this natural process with treatments. These two myths show that most Americans have been misinformed about the process of aging and the way to longevity. The next subject that Buettner discussed was the three Blue Zones where more people live to be over one hundred and the life expectancy is higher than any other locations in the world. The first Blue Zone is located off the coast of Italy, in the Nuoro Province of Sardinia. These people have many habits that make it possible for them to live well over one hundred years old. Some of these habits include physical activity related to their jobs as shepherds, plant-based diets that include special cheeses, breads, and

Joshua Gaugler Essay - 789 Words

The Concert of a Lifetime nbsp;nbsp;nbsp;nbsp;nbsp;The concert has begun after a fifteen minute delay caused from the powder snow that started early on in the day and continued through the evening. There I stood up in front of the small crowd on this snowy Sunday evening. I glanced out upon the crowd as the piano picked up speed and intensity. I knew that I was about to strike that F chord in a few measures. I quickly removed the moisture from my fingers with the cloth I brought with me. nbsp;nbsp;nbsp;nbsp;nbsp;The band had a special meeting planned after we played the music for our church’s Thanksgiving Supper. We showed up to the church on a cold Saturday morning, making our way to the auditorium. We began to discuss the†¦show more content†¦NFL draft style, the selections rolled on until we had picked out close to one hundred songs. Now we must eliminate certain songs based on the instruments that they use, the difficulty of the song, and making sure the song was church appropriate, since that was were the concert would be held. We picked four of the TSO songs, one of the Mannheim Steamroller songs, and a few carols for after the concert, so everyone could join in. nbsp;nbsp;nbsp;nbsp;nbsp;Now the concert was in place, we picked out our music, but now we were missing our other guitar player. He told us that he was going down to Tennessee to record an album with his other band and would be gone for two weeks. If this wasn’t bad enough, our other guitarist was nowhere to be found. This forced us to make different roles for each member to fill. I had to play lead guitar for the TSO songs, including the famous Christmas Eve Sarajevo, better known as Carol of the Bells. Practices began with a piano, bass, one guitar and the drums. We were in desperate need of a keyboard player to imitate the orchestra’s part in the concert. Running out of options, we looked to the church and found a keyboardist that had long been a friend and supporter of the band. Things began to look up for the concert, but the worst was about to happen to the band. The next month, about two weeks away from the performance date, as everyone set up their instruments for another day of practice, the

American Film History 1930-60 Free Essays

The chief technological innovation during the 1930s was the development of deep focus cinematography. Deep focus involved the expansion of depth of field, resulting in images that maintained sharp focus from objects in the extreme foreground to those in the distant background. Deep focus was achieved by filming with extremely wideangled lenses whose apertures had been stopped down. We will write a custom essay sample on American Film History 1930-60 or any similar topic only for you Order Now This sort of cinematography was made possible by a variety of developments in related fields of film technology. In 1939 the introduction of lens coatings, which permitted 75 per cent more light to pass through the lens to the film inside the camera, enabled cinematographers to decrease the lens aperture an additional stop, facilitating greater image definition. The results of these developments can be seen in Orson Welles’ Citizen Kane (1941). This and other films which were shot in exteriors took advantage of relatively short focal-length lenses and abundant sunlight to produce ‘deep’ images. According to this new code, the film stock’s greater sensitivity to the full range of colours signified a greater realism. On Citizen Kane the Toland style is most pronounced, most systematically and effectively employed, and most widely recognized. Although he had been refining his methods in the films with Wyler and Ford, Toland had yet satisfactorily to combine his technical and stylistic interests within a single picture. He saw Citizen Kane as a chance to experiment on a large scale. In a June 1941 article in Popular Photography entitled â€Å"How I Broke the Rules on Citizen Kane†, Toland related that ‘the photographic approach †¦ was planned and considered long before the first camera turned’, which was itself ‘most unconventional in Hollywood’, where cinematographers generally have only a few days to prepare to shoot a film. Robert L. Carringer, in his indepth sudy of the production, writes that Welles and Toland ‘approached the film together in a spirit of revolutionary fervor’, and that ‘Welles not only encouraged Toland to experiment and tinker, he positively insisted on it’ (Nowell-Smith 45). The work indicated something of a shift to a more documentary-style realism. Citizen Kane was, then, an opportunity for Toland to make flamboyant deep focus identified with his own work. Welles had come to Hollywood with no professional film experience, and (according to Welles) Toland had sought out the Kane assignment. After the filming was completed, Toland was at pains to claim several innovations. For greater realism, he explained, many sets were designed with ceilings, which required him to light from the floor. Since the sets were also deep, he relied on the carrying power of arc lamps. Furthermore, since Welles and Toland had decided to stage action in depth, Toland sought great depth of focus by using Super XX film, increasing the lighting levels, and using optically coated wide-angle lenses (Bordwell 45). The result shifted the traditional limits of deep space. In yielding a depth of field that extended from about eighteen inches to infinity, Toland’s ‘pan-focus’ made it possible to have a sharp foreground plane in medium shot or even close-up and still keep very distant background planes in focus. Fifty years on, Kane remains contentious. French critic Andre Bazin, who saw it in 1946 at the same time as Italian neo-realism, argued that its extensive use of deep focus promoted the reality of the phenomenal world of the film, but subsequent critics have noted that the film is also highly self-conscious, artificial, and even baroque. The use of deep focus was not unique, and director of photography Gregg Toland had already experimented with it on other productions. Welles’s role as ‘author’ of the film has also been hotly contested, notably by Pauline Kael (1974), who argued, probably incorrectly, that the script was solely the work of Herman J. Mankiewicz. But even if Kane was not completely novel in its structures or techniques, it remains the fact that these techniques are masterfully integrated in the film’s complex texture. Bazin, for example, argued that Citizen Kane was a film of high quality in that it was a film of realism. Realism was an axiom of his aesthetic position. But the statement which links this axiom with the specific aesthetic judgement of Citizen Kane raises problems. The realism of the film, Bazin argues, derives from its use of deep-focus photography and minimal cutting. Such techniques minimize fragmentation of the real world. The trouble is that this could be a definition of realism as nonfragmentation, or an assertion that films employing such techniques are perceived as more real. The latter, unlike the former, is open to empirical test, although Bazin uses it as a selfevident aesthetic judgement. Thus, although there is nothing inherently wrong with the argument, it does involve different sorts of statements with consequent different criteria of adequacy. Bazin does share a considerable admiration for the achievements of Italian neo-realism; in particular. And yet Bazin rarely falls into the trap of seeming to formulate a puritan aesthetic which will include neo-realism at the expense of all else. Unlike Kracauer (formally, at least) he admits to different forms of realism. Thus, for example, the distinction he draws between the ‘documentary’ realism of Scarface and the ‘aesthetic’ realism of Citizen Kane, both forms allegedly finding their unification in La Terra Trema (Bordwell 90). This willingness to speak of different types of realism can lead to problems in interpreting his position. In Signs and Meaning in the Cinema, Wollen takes to task two contemporary inheritors of Bazin’s views (Barr and Metz) over their opposition of Rossellini and Eisenstein. The villain for Bazin, he points out, was not Eisenstein, but German Expressionism. But the real problem is that at different times, and in different ways, Bazin occupies both positions. He starts life invoking a case similar to Kracauer’s in favour of a ‘purist’ realism. But this proves too limiting for his much more catholic tastes, and so he also develops a second case as spatial realism. Unfortunately, he never really brings the two conceptions face to face; never really resolves the strains between them. It seems useful here to take a closer look at these basics of his argument: The realism of the cinema follows directly from its photographic nature. Not only does some marvel or some fantastic thing on the screen not undermine the reality of the image, on the contrary, it is its most valid justification. Illusion in the cinema is not based as it is in the theatre on convention tacitly accepted by the general public; rather, contrariwise, it is based on the inalienable realism of that which is shown. All trick work must be perfect in all material respects on the screen. The `invisible man’ must wear pyjamas and smoke a cigarette (Bazin 108). Andre Bazin puts Welles in his pantheon of realist directors, along with Renoir, Rossellini, De Sica, Stroheim, Flaherty, and even Murnau (whom he praises for choosing the moving camera over editing in the construction of many of his filmic scenes). Yet Citizen Kane is also a film in the tradition of German Expressionism. Like Murnau, Welles externalized the subjectivity of his characters (and especially of Kane) by means of psychologically charged settings, acute camera angles, distorting lenses, and disconcerting camera movements (Tudor 56). The demented architecture of Xanadu in the mist-enshrouded shots at the beginning of the film recalls Howard Hawks’ Scarface (1932). Near the end of the film both Susan and Kane are dwarfed by the oversized ornaments and statuary that furnish Xanadu, and serve as external projections of Kane’s inner deadness and mindless materialism. The gargantuan rooms through which their voices echo—they nearly have to shout at each other to be heard—reflect the distance that has grown between them. When Kane steps into an enormous blazing fireplace and informs Susan that â€Å"Our home is here,† he metaphorically becomes the host of hell. After Susan leaves him, Kane, now utterly alone, wanders past a structure of double reflecting mirrors which reflect his image into infinity. As far as he looks, all he can see are images of himself, a perfect physical representation for a man trapped within his own narcissism. Welles also used extreme camera angles and strange camera movements in conjunction with his expressive mise-en-scene. In the year of its release, Citizen Kane was a radically experimental film—fully twenty years ahead of its time—and was widely recognized as such by American critics. Citizen Kane is surely the most celebrated and analyzed of all English language films and, arguably, the greatest – at least as measured by periodic surveys of critics and scholars. We saw that in the 1940s a realist aesthetic somewhat modified classical practice. This was conceived as partly an ‘objective’ verisimilitude, especially of setting and lighting. Location shooting, taken in conjunction with low-key (‘mood’) lighting, helped define one distinct postwar cinematographic practice. This practice did not fundamentally violate classical principles of causal and generic motivation. This conception of ‘realism’ also owed something to a standardization of deep-focus shooting. Certain traits became common to many ‘realistic’ films of the 1940s and 1950s. Finally, Bazin sees both forms of realism in spatial realism of Welles. Certainly Citizen Kane preserves the unity of space through Toland’s deep-focus photography. Certainly the cuts are minimized by use of dissolves and joins across the soundtrack. But Welles is, nevertheless, the true inheritor of expressionism, the specialist in the distortion by camera angle, the mysterious shadows once painted but now created through lighting, the grotesque, and the baroque. Works Cited Bazin, Andre, What is Cinema? op. cit. Bordwell, David, The Classical Hollywood Cinema: Film Style Mode of Production to 1960. Routledge: London, 1988. Nowell-Smith, Geoffrey The Oxford History of World Cinema. Oxford University Press: Oxford, 1997. Tudor, Andrew, Theories of Film. Viking Press: New York, 1974. How to cite American Film History 1930-60, Papers

Misinterpretation of Childrens Poetry Essay Example For Students

Misinterpretation of Childrens Poetry Essay Misinterpretation of Childrens Poetry vassals Poetry Is meant to be Interpreted In many deferent ways. This Is what makes poetry so diverse when compare to other writings. The many interpretations of poetry is a good thing, but also a bad. Too much interpretation can destroy the true meaning of the poem. This can happen with all kinds of poetry, but It is more likely to happen with childrens poetry. Jack Pressures is a famous childrens poet. Premenstrual named the first Childrens Poet Laureate by the Poetry Foundation in 2006. He spends much of his time presenting poetry to children, and sometimes even sings out his poetry. However this doesnt mean his poetry is only Intended for children. Persecutes poetry does have meaning towards an older audience. His poetry has a wide range of audiences, and with all these ranges of audiences. There will be a wide range of interpretation of his poems. With so much different interpretations of the poem, the true meaning of the poem is mask behind the hundreds, and even thousands of other meanings we put In. One of the most widely interpreted poems by Pressures is Bleeders Ice Cream. The poem is about a person name Benzene Bleeder, and this person owns an ice cream shop with 28 unique divine flavors. As a child, they will only understand the silliness off the poem. As they will compare to walking Into an Ice cream store with unique flavors, but an adult will interpret this much more differently. In the first stanza the name Benzene as interpreted by an adult would mean the helping stone. In the book of Samuel Benzene meant, thus far the lord has help me, but most commonly referred to as the helping stone. As In the filth line of the first stanza 28 divine creations Is well connected to the biblical meaning of Benzene. While an adult would call say the twenty eight divine creations are human beings, on the other and children would consider these creations as unique flavors of ice cream. The two meanings are so widely interpreted it destroys the meaning of the poem. If the meaning of the poem Is gone, then there Is no valid meaning to the poem. If this is so the poem would no longer be consider a poem, but rather words on paper. Truth is there is meaning, and that meaning comes from the author. The modern critic has faithfully and closely examined the text to Its independent meaning Instead of Its supposed significance to the authors life (2). The person who wrote the poem gave it its meaning, and those who interpret it cannot give the poem meaning, because they are not the author of the poem. Many interpreters use logic or history, such as the history of the author to draw its meaning. However this does not always mean the meaning of the poem Is right. The Interpreters have no way of knowing what the author is feeling as he writes the poem, and also how he feels when revising it. Readers maybe believe they have the right meaning of the poem, but in fact this also causes false interpretations and leads to false meanings of the poem. With so much false Interpretations of poetry we almost mistrust any kind of meaning towards a poem. All meanings of the poem are then seen as peoples FIFO Morris Henry Parted, an assistant professor at University of California, stated Plats consistent mistrust of art in his explicit consideration of art must take his tacit enjoyment and his use of poetry (209). Therefore we mistrust poetry because we know poetry is a kind of art. .u5b52977e42351c1063a1a02a34584398 , .u5b52977e42351c1063a1a02a34584398 .postImageUrl , .u5b52977e42351c1063a1a02a34584398 .centered-text-area { min-height: 80px; position: relative; } .u5b52977e42351c1063a1a02a34584398 , .u5b52977e42351c1063a1a02a34584398:hover , .u5b52977e42351c1063a1a02a34584398:visited , .u5b52977e42351c1063a1a02a34584398:active { border:0!important; } .u5b52977e42351c1063a1a02a34584398 .clearfix:after { content: ""; display: table; clear: both; } .u5b52977e42351c1063a1a02a34584398 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5b52977e42351c1063a1a02a34584398:active , .u5b52977e42351c1063a1a02a34584398:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5b52977e42351c1063a1a02a34584398 .centered-text-area { width: 100%; position: relative ; } .u5b52977e42351c1063a1a02a34584398 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5b52977e42351c1063a1a02a34584398 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5b52977e42351c1063a1a02a34584398 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5b52977e42351c1063a1a02a34584398:hover .ctaButton { background-color: #34495E!important; } .u5b52977e42351c1063a1a02a34584398 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5b52977e42351c1063a1a02a34584398 .u5b52977e42351c1063a1a02a34584398-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5b52977e42351c1063a1a02a34584398:after { content: ""; display: block; clear: both; } READ: Compare and Contrast John Betjeman's EssayKnowing this, we then get the notion that art is interpreted in different ways. This leads to why we misinterpret poetry the way we do. The opinions of these people which led to misinterpretation of the poem, are their feelings towards the type of poetry. Joan Peskiness of University of Toronto said Taken to an extreme, an assumption that poetry reading is personal and natural would blur any distinction between an experience or inexperienced reader (236). No matter how experience you are at reading poetry, there is always the chance that you let your feelings take over. When that happens, we lose all sight of what the true meaning of the poem is. Instead we let our emotions analyze the meaning of the poem. Our emotions only see what it wants to see, and this can misinterpret poetry to a great extent. We dont truly analyze the words, and try to understand what it means. Rather we read the poem, and we gave it meanings which coincide with what we feel. Everybody feels differently, and if one person feels it this way, it doesnt mean the other person will too. We see poetry as art, and art is form by using pictures. Pressures is an imagery poet, his poems paints pictures in our heads. Persecutes poem as soon as Fred gets out of bed, in the first stanza fourth, and fifth line it states a heads no place for underwear! But near his ears, above his brains. We can picture a child who has an underwear on his head, but since art is interpreted in many ways. We find another meaning for what this means. An adult would interpret this as someone who is finishing up unfinished work. If the underwear was on his head, then he would be in over his head. Someone has dump too much on the person. This is not so as he lift the underwear over his head, and doing so he lift the heavy load off of him. Another example would be from the second stanza where it states At night when Fred goes back to bed, he deftly plucks it off his head. As a child they would picture a boy who takes his underwear of his head. While an adult would interpret it as Fred has had a long day, and by plucking it off his head he takes the weight of the Eng day off him before going to bed. If imagery really set us up for misinterpreting poems, then why does the author do this? The truth is imagery actually lessens the effects of misinterpretations of the poem. S. L. Bethel said in his lecture Shakespeare Imagery Unfortunately without them (imagery) the story itself is liable to misinterpretation (71). We all heard the saying a picture is worth a thousand words. Meaning a picture can be described in a thousand ways. Its true that imagery can make us misinterpret poems, but the effects of the misinterpretations are much bigger. We can visualize what is going on n the poem, but we only see one picture. Then we use that picture to describe the meaning of the poem. The images we picture in our minds we give it only one meaning. While others also have the same picture in their minds, and creates their own meaning. Adding it all together a picture which has thousands of meaning, escalates to many more different meanings. Presented to the reader. Pressures uses a lot of rhyme schemes in his poem, which are directed at children. In his poem Dora Dilled, which is a four line poem, and a rhyme scheme of ABA. In this traditional rhyme scheme we look for meaning between the two Ass, and the two Bis. According to A. .u360a6dd75fa71380c8781501bdd16412 , .u360a6dd75fa71380c8781501bdd16412 .postImageUrl , .u360a6dd75fa71380c8781501bdd16412 .centered-text-area { min-height: 80px; position: relative; } .u360a6dd75fa71380c8781501bdd16412 , .u360a6dd75fa71380c8781501bdd16412:hover , .u360a6dd75fa71380c8781501bdd16412:visited , .u360a6dd75fa71380c8781501bdd16412:active { border:0!important; } .u360a6dd75fa71380c8781501bdd16412 .clearfix:after { content: ""; display: table; clear: both; } .u360a6dd75fa71380c8781501bdd16412 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u360a6dd75fa71380c8781501bdd16412:active , .u360a6dd75fa71380c8781501bdd16412:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u360a6dd75fa71380c8781501bdd16412 .centered-text-area { width: 100%; position: relative ; } .u360a6dd75fa71380c8781501bdd16412 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u360a6dd75fa71380c8781501bdd16412 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u360a6dd75fa71380c8781501bdd16412 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u360a6dd75fa71380c8781501bdd16412:hover .ctaButton { background-color: #34495E!important; } .u360a6dd75fa71380c8781501bdd16412 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u360a6dd75fa71380c8781501bdd16412 .u360a6dd75fa71380c8781501bdd16412-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u360a6dd75fa71380c8781501bdd16412:after { content: ""; display: block; clear: both; } READ: The movie dead poet's societys neil EssayC Bradley who is a professor of poetry at University of Oxford said in his Journal Poetry for Poetrys Sake claimed There is no such thing as mere form in poetry. All form is expression (9). The form of poetry is how it is presented to our eyes. According to Bradley, the form of poetry is not a factor when it comes to finding meaning within a poem. Literary theorist Jonathan Culler stated that reading poetry is not a natural activity but is charged with artifice, that is, assimilated by a special set of expectations that the reader assimilated (238). We as a reader come into poetry expecting to find some mind of meaning. This according to Culler is a way we deceive ourselves, and find false meaning too poem. If we expect to find meaning in a poem before we read it. Then it would be very easy to find a false meaning, because we are so sure that there is a true meaning. We overlook the possibility that the meaning we found can mean something else. Another possibility according to Culler is that inexperience poetry readers find it difficult to construct a meaning when reading poetry (239). We think that since childrens poetry is meant for children, we overlook the fact that the meaning should be easy to locate. Persecutes poetry is not only intended for children, but also adults. The inexperience readers will have a hard time finding the meaning to a childrens poetry. Then they will make up a meaning based on what they thought the poem meant. The meaning does not coincide with the true meaning of the poem, and therefore this is a misinterpretation of the poem. All in all analyzing poetry is different for everyone, and we all interpret it different ways. Childrens poetry is more vulnerable to misinterpretation due to its wide range of audiences. The readers have different ways of interpreting poetry, but most of hose interpretations are false. They give meaning where there isnt one, and some even make up their own meaning. The meaning of poetry only comes from the author, and since the reader did not write the work. They would not know what the true meaning of the poem is, and even though they are free to make interpretations. These interpretations are mostly misinterpreted. With so much misinterpretation the true meaning of a poem is masked within these interpretations. Just like a needle in a hay stack, we have to continuously search for that true meaning. At the same time we have to understand other readers will create new meanings.