Was There a Blitz Spirit Essay Example for Free

Was There a Blitz Spirit Essay * During the Blitz, there was a lot of bombings and damage which caused upset to many people. However in England, to a large extent it is believed that there was a Blitz spirit. There were mottos such as ‘keep calm and carry on’ which told people not to worry about the Blitz and just continue with their normal lives. Blitz spirit, defined as whatever happens you’ll stick to something until the bitter end. However, to some extent people believed there was no such thing as a Blitz spirit, just something that was intended to keep people working. * * The blitz spirit was influential to many people in the UK during the Blitz. It made sure that people weren’t disheartened by the fact that they were bombed. It is believed that the Blitz spirit brought out the true colours of the British people and was a representation of endurance and defiance. Over the eight months of bombardment, people were exhausted from carrying gas masks, and feeling to shelters and underground stations, but overall no one really panicked and the spirit made people continue with their everyday lives. The Blitz spirit did exist and without it, people wouldn’t have lasted the 57 consecutive raids, and because of this they were few calls for surrender, high morale and committed workers. The Blitz spirit brought a sense of national unity to Britain and the increase in morale meant no one was scared of the German Luftwaffe. They also believed the cheap Anderson shelters plus the natural soil could protect them from the bombs. * * On the other hand, to a smaller extent there were some people that believed the raid of Britain was a difficult period which couldn’t be controlled. During the Blitz, it is said that there was a ‘Blitz spirit’ which brought high morale and continuation of work, but really there were strikes and a lot more anti-Semitism. People who were affected the worst by the Blitz were the working class population due to their positions of homes in relation to where they worked. They believed the government owed them because they were near factories, docks and in poorly built houses. The Germans targeting these areas because they knew these are the main places which would affect Britain the most. There were also some cruel people who took advantage of the situation in Britain. They thought they could gain through this crisis by exploiting this. â€Å"Bomb chasers† would track the location of bombings and then loot affected shops. Others charged people for the safety in the underground which was immoral. * In conclusion, although to some extent it could be argued that there wasn’t a Blitz spirit; there are more arguments for the statement. Due to the defiance and endurance of British people, it raised moral and helped people to fight through the 57 consecutive nights of raids. They kept of fighting and going to work. The motto ‘keep calm and carry on’ really defined the Blitz spirit and helped unify Britain. *

Korean Pollution :: essays research papers fc

Deadly particles are circulating within our air supply. They are â€Å"the most life threatening for of air pollution.† These are tiny particles of soot and other matter released from diesel engines in lorries, buses, and coaches. They are believed to have played a role in the premature deaths of 8,000 people. Other pollutants known as GMM’s are causing such damage. GMM’s are genetically modified micro-organisms. These micro-organisms are released from factories and laboratories and go into the atmosphere, and water supplies. They are most life threatening to elderly, and already ill people. (McCarthy 1) Large clouds of these particles were originally believed to originate in Britain, but studies show now that they may also originate in continental Europe. These large clouds drift across the English Channel, and into the North Sea., thus contaminating the sea. Some of the main pollutants are as follows: Benzene, 1,2-butadiene, carbon monoxide, nitrogen dioxide, a nd sulfur dioxide. There have been different goals set to lower the amount of these pollutants, however some aren’t expected to be decreased until 2008. In this time many lives may be lost prematurely. England, who is still believed to be the primary contributor of such toxins is planning to take action, but slowly, still maintaining that cleaning these pollutants is â€Å"unachievable, even if every engine on British roads was turned off.† We believe that this is more harmful than Britain realizes, and more action must be taken. Such pollutants may kill animals, and lower the food supply, especially fish in the North Sea. More time and money must be dedicated to the immediate removal of such contaminants, and new emissions standards should be set.

Eugene Onegin Comparison

Eugene Onegin The transformation from a novel in verse to an opera Although written in the early 1800s, Eugene Onegin, a novel in verse written by Alexander Pushkin, is still regarded as one of the most influential and beautifully written pieces of work to this day. As it shifted cultural norms, opened new discussions, gave way to new forms of writing, and introduced novel approaches that envisioned life in a different light, Eugene Onegin was revolutionary.With its central theme revolving around the conflict between dreams and reality, the novel in verse caught the attention of readers all over the world, with over thirteen translations written. As well, other artists have adapted the work and interpreted it through their own art forms, including a ballet by John Cranko in 1965, and the famous opera by Pyotr Ilyich Tchaikovsky, which opened in 1879.Tchaikovsky’s interpretation in particular gathered much success and worldwide recognition, arguably more than that of Pushkinâ⠂¬â„¢s novel. While the characters and the storyline are mainly preserved, Pushkin’s main characters – Lensky, Onegin, and Tatyana – become more multi-dimensional and relatable in Tchaikovsky’s opera. Because he was an artist in the romanticism era, Tchaikovsky adds his own inspiration to the novel when changing it to an opera, creating many noticeable distinctions between the two.Compared to the novel in verse, the operatic version of Eugene Onegin has various deviations due to Tchaikovsky’s romanticism and character bias, which include changes in the duel scene, the increased favouritism of certain characters by Tchaikovsky, and the absence of a narrator. Throughout the course of Pushkin’s novel in verse, there are four main parts of the storyline that grab the attention of the reader and create the plot. One of the four scenes is a duel between Onegin and his best friend Vladimir Lensky, after Lensky caught Onegin flirting shamelessly wit h his fiancee.This scene was considerably altered between both artworks, as there was a very strong difference in the portrayal of Onegin’s guilt in the novel and in the opera. In Pushkin’s novel Onegin is very remorseful and heartbroken after killing his best friend. The narrator notes: Deluged with instant cold, Onegin hastens to the youth, Looks, calls him†¦ vainly: He is no more. The youthful bard Has met with an untimely end! †¦ In the ache of the heart’s remorse, His hand squeezing the pistol, At Lensky Eugene looks. â€Å"well, what – he’s dead,† pronounced the neighbor [Zaretsky] Dead!†¦With this dreadful interjection Smitten, Onegin with a shudder Walks hence and calls his men. In this piece, it is evident that Onegin is deeply conflicted with the crime he had committed. Dealing with the death of his friend, Onegin leaves town to find peace of mind. In the opera, however, Tchaikovsky leaves little time for Onegin†™s mourning. In the novel, Zaretsky, a friend of Lensky who attended the duel, is the first to speak after the fight finishes. Contrary to the novel, instead of Zaretsky being the first to speak of the death, it is Onegin who brusquely asks â€Å"Is he dead? In most stagings of this opera, Onegin simply walks to Lenksy’s body as if to double-check his passing. As scholar Julia Torgovitskaya states, â€Å"Because in an opera it would be difficult to convey a considerable length of time passing [i. e. for Onegin to mourn Lensky’s death], Tchaikovsky allows the scene to end right after Lensky has fallen. † The result of this change of scene from the novel to the opera is highly profound. In Pushkin’s story, readers are able to sympathize with Onegin in understanding his regret.Readers turn to Onegin and Tatyana’s communion as the happy ending they yearn for in the face of Lenksy’s tragic death. In the opera, on the other hand, the audience b egins to demonize Onegin, and there is a negative incline and desire for Onegin and Tatyana to be together. This single scene, being different between the two art forms, changes the entire mood of the story and the attitudes the audience would have towards its characters. The changes of certain scenes also come from Tchaikovsky’s bias towards specific characters, which result in a different presentation of their personalities on stage.Tchaikovsky, being an advocate of romanticism, presents the characters of Tatyana and Lensky in a more compassionate and sensitive manner. The opera differs from the novel as certain characters are viewed in a much stronger light, and their prominence has shifted. For instance, the character of Tatyana, a young, shy but passionate woman, was highly recognized and loved by Tchaikovsky. Due to this, the letter scene, where Tatyana spends an entire night writing and confessing her love for Onegin, was more emphasized and intimate, leaving the audie nce touched by Tatyana’s courageousness.With the addition of music, this scene was the longest and most complex solo section of the opera, further establishing the deep bond Tchaikovsky had for the character of Tatyana. After working on the writing of the letter scene, Tchaikovsky wrote â€Å"Being completely immersed in composition, I so thoroughly identified myself with the image of Tatyana that she became for me like a living person, together with everything that surrounded her. I loved Tatyana, and was furiously indignant with Onegin who seemed to me a cold, heartless fop. † With this magnetism, there was a shift in directive depiction between the main characters.It is important to note that in this opera, much of Pushkin’s text is cut out due to length (for it takes longer to sing a verse than utter written words or phrases), but the scenes with Tatyana and Lensky remained largely unchanged. For example, the night before the duel, Lensky writes to his wife a love letter pouring his heart out, knowing he is to die the next day. In the opera, Tchaikovsky has Lensky sing the contents of this letter in a heartfelt aria. Although it is very moving and beautiful, it is very far from Pushkin’s character of Lensky.In Pushkin’s work, instead of praising Lensky for his poetic nature and optimism, the narrator indicates that his romantic idealism stands as the result of his lack of world experience and naivete: He did his best to hold back the cynical comments that came to his lips, reflecting to himself, ‘It’s stupid for me to spoil his momentary bliss – it’ll vanish soon enough without my help. Meanwhile let him live on the belief that the world’s a perfect place. Youth is a kind of fever, and we must forgive the young their fire and their delirium.Although the narrator in Pushkin’s novel ridiculed this youthful euphoria, Tchaikovsky encourages and emphasizes the tenderness radiating from Lenksy. Thus, there is a considerable amount of romanticism added to both plot and character in Tchaikovsky’s opera in comparison to Pushkin’s novel. Finally, the most controversial deviation of the opera from the novel in verse is the absence of a narrator. This results in a critical difference between the two art forms, as the narrator’s input, digressions and lessons are not present in the opera, thereby changing the story’s defining attributes.In the novel, the narrator serves many roles, one being a voice of sarcasm and ridicule towards the characters, showing them the irony in which they live their lives. When reading the novel, readers were unsure of whether to be sympathetic to some characters, for it was possible that the narrator would interrupt with sarcasm or mockery revealing that the characters were undeserving of compassion. In the opera, the role of the narrator is removed, resulting in a more straightforward version of Pushkin’s ta le, where the characters clearly either deserve sympathy in their troubles or do not.In the novel, there was no need for characters to introduce themselves, due to the presence of a narrator, but in the opera, there are characters that have to introduce themselves to the audience. This happens, for instance, in the dueling scene (scene 5) where Zaretsky introduces himself: I am a pedant where the class duel is concerned, And I am naturally methodical. I do not allow a man to be stretched out Any old way†¦ In this scene, Zaretsky has to speak of himself to Onegin before the duel, explaining who he is and why he is there.This is completely different from the novel, where the narrator explains everything without awkward dialogue: Zaretsky, once a reprobate, Gambler-in-chief, an intimate And sage of inns, a philanderer; Kind and sober, now, instead, Father of many, still unwed†¦ Many scholars, such as Richard Taruskin, argue that in this opera, â€Å"the music, quite simply, is the narrator. From the very first sung notes†¦ the music acts as a very busy and detached mediator of situations and feelings. † This can be seen through the different musical pieces that play for each character, which in turn contribute to the audience’s interpretation of the character.For instance, Tatyana received the most colourful and lyrically driven music, while Onegin sings less memorable lines with simpler orchestral accompaniment. Although, one should note that the musical accompaniment of the characters’ actions are also biased, as the music that plays is the music that reflects how Tchaikovsky views them. Tchaikovsky, in one way, creates a new narrator by deciding how the characters will appeal to the audience, using music as his tool. For example, Tchaikovsky views Onegin as incapable of having genuine feelings, and so the music attributed to him is less inspired than that attributed to Lensky.In addition, the narrator in Pushkin’s nov el constantly interrupts the progression of the novel, which creates a storyline where two things occur simultaneously. In the opera this effect is achieved in a less destructive manner, because as novelists must arrange things in a sequential order, â€Å"musicians can simultaneously present and comment without recourse to digression. † When an event or conversation is happening on its own, it can be accompanied by music that tells a different story; consequently, two conversations can take place at the same time.The music plays, in this way, a role similar to a narrator, as it feeds information to the reader as events unfold, and gives insight on the situations through melodic remedies. Therefore, in the transition from novel in verse to opera, Tchaikovsky dropped the character of the narrator, and used music as a tool of explaining the story. In conclusion, the conversion of Eugene Onegin from a novel in verse to an opera includes many various deviations from the overall p lot and character emphasis in the story. With Tchaikovsky’s affinity and bond with the characters of Tatyana and Lensky, he portrays Onegin as demonic and insignificant.With this affinity, he manipulates the original storyline with romanticism to fool the audience into sympathizing with Tatyana and Lensky, whereas Pushkin’s narrator is notorious for ridiculed them. Furthermore, Tchaikovsky takes advantage of the absence of a narrator, and uses music’s capacity for emotional influence to further implement his bias for Tatyana, Lensky and Onegin. The narrator in Pushkin’s novel serves as a source of information to provide the readers with context concerning the setting, characters and story line where as Tchaikovsky uses character dialogue to provide such information.Overall the changes between Pushkin’s Eugene Onegin and Tchaikovsky’s operatic telling of the story were controversial but allowed for two different expressions of the same story. These deviations can be attributed to Tchaikovsky’s affinity for romanticism and his preference for Tatyanna and Lensky in comparison to his strong dislike for Onegin. Nevertheless, both versions of Eugene Onegin are still regarded as powerful pieces of artwork. Despite their differences, however, both tales leaves their audiences craving for answers to their questions: what happens next? Bibliography Brown, David.Tchaikovsky, The Crisis Years, W. W Norton; New York and London, 1983 Debreczeny, Paul. Social Functions of Literature: Alexander Pushkin and Russian Culture. Stanford, CA: Stanford University Press, 1997. Doran, Molly. The Transformation of Pushkin’s Eugene Onegin into Tchaikovsky’s Opera. Bowling Green State University, Ohio. 2012. Eugene Onegin. Wikipedia; Wikimedia Foundation. 2013. < http://en. wikipedia. org/wiki/Eugene_Onegin>. Pushkin, Alexandr. Translated by Vladimir Nabokov. Eugene Onegin. Princeton University Press: Princeton, 1990. Pushkin , Alexandr. Translated by A. S. Kline. Eugene Onegin. 2009.Pushkin, Alexandr. Eugene Onegin & Other Stories, Wordsworth Editions Limited; London, 2005 Taruskin, Richard. Defining Russia Musically. Princeton University Press: Princeton, 1997. Tchaikovsky, Peter Ilyitch. Eugene Onegin in full score. Dover Publications, Inc. : New York, 1997. Tchaikovsky, Peter Ilyitch. Eugene Onegin. Decca Recording with Royal Opera House; Coven Garen. Torgovitskaya, Julia. Eugene Onegin’s Journey Through Time: An Analysis of the Meanin and Effect of Major Themes in Pushkin’s Novel In Verse, Tchaikovsky’s Opera, and Other Adaptations of the Work and Their Relevance to Today’s World.Tuft’s University. 2009. ——————————————– [ 1 ]. Torgovitskaya, Julia. Eugene Onegin’s Journey Through Time; Tufts University, 2009, page 5 [ 2 ]. Pushkin, Alexandr. Eugene Onegin & Other Stories, Wordsworth Editions Limited; London, 2005, page XXXVI [ 3 ]. Torgovitskaya, Julia. Eugene Onegin’s Journey Through Time; Tufts University, 2009, page 5 [ 4 ]. Pushkin, Alexandr. Translated by Vladimir Nabokov. Eugene Onegin, 241, [Chapter 6, Part XXXI]. [ 5 ]. Pushkin, Alexandr. Translated by Vladimir Nabokov. Eugene Onegin. 43. [Chapter 6, Part XXXV]. [ 6 ]. Torgovitskaya, J. Eugene Onegin’s Journey Through Time; Tufts University, 2009, page 27 [ 7 ]. Doran, Molly. The Transformation of Pushkin’s Eugene Onegin into Tchaikovsky’s Opera, Bowling Green State University, Ohio, 2012, page 23 [ 8 ]. Doran, Molly. The Transformation of Pushkin’s Eugene Onegin into Tchaikovsky’s Opera, Bowling Green State University, Ohio, 2012, page 43 [ 9 ]. Quoted in David Brown, Tchaikovsky, The Crisis Years, W. W Norton; New York and London, 1983, 143 [ 10 ]. Torgovitskaya, Julia.Eugene Onegin’s Journey Through Time; Tufts University, 2009, page 24 [ 11 ]. Pushkin, Alexandr. Eugene Onegin & Other Stories, Wordsworth Editions Limited; London, 2005, page 25(10-15) [ 12 ]. Tchaikovsky, P. Decca recording of Eugene Onegin, Royal Opera House, Coven Garden, scene 5 [ 13 ]. Pushkin, Alexandr. Eugene Onegin, translated by A. S. Kline, 2009, 128 [Chapter 6, stanza 4] [ 14 ]. Taruskin, Richard. Defining Russia Musically, Princeton University Press; Princeton, 1997, 53-54 [ 15 ]. Taruskin, Richard. Defining Russia Musically, Princeton University Press; Princeton, 1997, 54

Preparing a Virtual Workstation Essay

Abstract To be able to launch Windows 7 virtual machine on any computer in our labs without triggering the WGA antipiracy warning. Lab 1 Worksheet: 1 Preparing a Virtual Workstation Question 1: What is the current screen resolution? My current screen resolution is 800Ãâ€"600. I would have prefer this resolution, because I can slide between the virtual machine and my main computer. Question 2: What security advantage does displaying the login screen on resume offer? Some security advantages that displaying the login screen on resume offer is that it offers security from anyone coming along and taking a look at what you were working on. As well as gaining access to your computer and all your data. Question 3: How did changing the theme affect your display? Changing the theme will affect the cursors color, selections and icons. Question 4: What other file type option are available? The other file type options that are available is CD .ISO or DVD .ISO. Conclusion Based on Lab 1, I was able to launch Windows 7 in the virtual machine without triggering the WGA antipiracy. To know how to adjust the current screen resolution and the benefits of having a login screen on resume for security purpose. Finding that changing the theme for personalizing the computer and how to create an .iso image with Roxio Creator DX. References Zacker, Craig. (2012). Windows 7 Configuration Microsoft Certified Technology Specialist Exam 70-680. John Wiley & Sons, Inc.

Mazhatlan Mexico essays

Mazhatlan Mexico essays Palm trees, long beaches, rolling waves, spicy Mexican food, margaritas, and relaxing in the hot sun is what people generally think of when they hear Mazatlan, Mexico. However, a person who has actually stepped off the airplane and felt the hot humid Mexican air blast them in the face would tell you differently. Mazatlan, Mexico is a place with beautiful beaches, however off of the beaches, its a city of poverty filled with people trying to survive. When our airplane was landing, I couldnt believe my eyes. I wondered, Wheres the beach? I even wondered, Wheres the airport? When we had safely landed, we were instructed in both Spanish and English to exit the plane. Instead of walking into a hallway, like most airports, we walked straight down the airplane steps onto the hot cement. Immediately, I could feel the difference in the air I breathed, the temperature I felt, and the surrounding environment. The Mexican air was hot, thick, and moist. When I looked around, all I could see was dirt, dry weeds, a couple of palm trees, the cement from the landing area, and the airport, which was a small, older looking building. It seemed as though we dragged our heavy luggage along the hot cement for what seemed like a mile until we finally reached the doors entering the airport. When I walked inside I felt no temperature change. It was still very hot and humid because they had no air conditioning. The atmosphere smelled like mildew. A s I looked around, I noticed that the chair I would be sitting in for the next hour was made of silver bars with a thin piece of leather laid across the top. I later realized that they were very uncomfortable. In just a couple of minutes, I found out just how poor their country was compared to ours. It didnt seem like the rich tourist city that everyone had made it out to be. The first day I was there, I went down to the beach to relax after the long...

#FreelancerFriday #3 - Maggie Lyons, Editor

#FreelancerFriday #3 - Maggie Lyons, Editor #FreelancerFriday #3 - Maggie Lyons, Editor â€Å"You want to make a piece of writing absolutely shine, but you have to be very careful not to squash the writers’ voice. If you destroy the writer’s voice you shouldn’t be editing.†Maggie Lyons is an editor and author of children’s fiction of Welsh extraction based in Virginia. With a background editing for Harvard University Press and Palgrave Macmillan, she spoke to us about her diplomatic approach to editing, and her experience being on the other side of the editor’s pen.–REEDSY What was it like starting as an editor in academic publishing?MAGGIE LYONS I got to edit an enormous variety of disciplines: everything from medieval history to an astronomy course. In the academic world a lot of disciplines can be edited by people who don’t have a degree in that subject. There are a few that can’t be - I’d have never agree to edit a course on relativity - but a lot can. Publishers trust that the academic writing the book is the ultimate expert, and that the editor’s job is not to check every fact in the book. I could do developmental editing for British History, Medieval History, there was a course on Churchill where I made some suggestions as well.When you’re talking about an academic volume that has multiple authors all contributing a chapter, I would not do developmental editing. For example, I’ve worked on books for Harvard University Press. By the time the manuscript gets to me the developmental editing has been done, and it’s been done by an academic in that subject, often someone cont ributing a chapter to that book. But the copy editor or line editor for an academic publisher like HUP wouldn’t do the developmental or content editing.REEDSY Do you have a process for working through a new project?MAGGIE LYONS Absolutely. The process is different depending on if I’m editing for an individual private client or a publisher. If I’m editing something for a private client, we start off with a brief discussion of the document to be edited, a contract goes back and forth, administrative things are involved, etc. Before I even accept the manuscript I’ll want to see a couple of sample pages so that I can see the amount of work involved, and obviously my fee is then based on the level or work involved. All that administrative and judgemental stuff comes first.I rarely ever edit hard-copy, I rarely mark-up paper. I much prefer to work online. I find it leads to better work - I pick up on things much more accurately when I work online. I have done work on paper, but that’s becoming very much a thing of the past. Some companies still do it, marking up everything in red ink, but that’s very unusual these days.I’ll look over the manuscript and let the writer or p ublishing house know how long it’ll take me to do. If I spot things that may be problematic, I need an answer from the writer before I even start editing. I go through the manuscript twice - I do a first and second pass, which could mean 80,000 words twice over, but I find it necessary. I’ll then put it through a spell check, and it goes back to the client. Almost always when I’m editing I put in a lot of comments and queries for the writer that need to be addressed. We get all the loose ends tied up and problems solved, and then we’ll finalise the manuscript. There’s a fourth pass through before it goes back to the client for submission.In terms of writing for a publishing house it’s slightly different - I’ll do the two passes and the spell-check, but someone else presents the author with my queries. When I work with a publisher I don’t have direct contact with the author. It’s unfortunate because that direct content te nds to give much better results.REEDSY What are some of things that need to be queried? That you can’t fix by yourself.MAGGIE LYONS For example, I was editing a manuscript by an author with HUP who was talking about places in central Asia. They had used different spellings for the same location throughout the text. So I had to check which one was correct, which do you prefer to use - he knows which one will be best, whether it’s less accents or more accepts, and so on. They have to be the one to decide that.REEDSY What are some common mistakes people make with respect to structure?MAGGIE LYONS The first thing that comes to mind is logic - sometimes sentences don’t flow logically, you need to move a sentence to the beginning rather than the end. You’re looking for things that might give the wrong meaning because of the way that they’re structured.REEDSY Is that the same for fiction? More difficult?MAGGIE LYONS I wouldn’t say more difficult, I would say you’re taking a different approach. By nature, fiction is going to involve things like plot and characterisation and points of view; you have to know how to address those differently to the issues you might have in non-fiction. It’s a different set of rules.REEDSY Is it difficult editing fiction while preserving the voice of a writer? Like, correcting problems while retaining stylistic inconsistencies.MAGGIE LYONS Dialogue will not be grammatically correct because people do not speak grammatically correctly! You want to make dialogue in fiction as natural as possible, so if there are grammatical mistakes you leave them in - it’s like hallowed ground. If everyone spoke grammatically perfect English you’d have rather boring dialogue; everyone would be the same person. That’s just one of the areas where fiction is very different from non-fiction - you’re going to have that off-the-chart stuff, while in non-fiction you can make everyone sound absolutely perfect. This is the difference between editors who specialise in either fiction or non-fiction.I’ve published children’s books myself, so I’ve seen that side as a fiction writer. When I published them I had an editor of my own, because no writer can edit themselves well - it’s psychological, you don’t want to see the mistakes you’ve made. You can’t deal with it. Itâ€℠¢s always best to have an outsider look at these things for you.REEDSY Can you talk more about being an editor undergoing editing yourself?MAGGIE LYONS I found the experience difficult for myself. I am a professional editor, I had a few ideas of my own with which my publisher’s editor did not agree - I went through a hard time with all of that. For one thing the process when you’re writing fiction is very exhausting; you seem multiple revisions, coming back to you and back again, which gets to be very tiring. Especially when you’ve already spent a lot of time writing the darn thing, and now you’re going over and over it again. It got to the point where I didn’t want to see this wretched story anymore.One of the problems is when you’re working closely with a writer you have to remember that this piece of work is their baby. If baby has an orange nose, how is the editor going to deal with that? You can’t just say â€Å"Your baby is an abomination† - you have to get the parent to realise they should be feeding the baby a few less carrots. Editors have to be diplomats. 99% of the t ime they’re right. The trick isn’t what they’re saying, but the way they’re saying it. The author is going to accept your advice much more easily if your communication and diplomacy skills are top-notch. But if you come in with a heavy hand you’re going to develop an adversarial relationship which is really death to working well.It’s much more of a partnership in the developmental or content edit stage, where the editor wants to help the writer be the best writer they can be. There’s less of that in the line-editing stage - when it comes to grammar, it’s either wrong. It’s less a suggestion, it’s more whether you want to put out a grammatically correct book, or an incorrect book.REEDSY And where do copyeditors sit on that spectrum?MAGGIE LYONS In a way, the writer is not the copyeditors client; the reader is the copyeditors client. What the editor and writer ares trying to do together is make everything as flowy and comprehensible for the reader’s sake. The goal is to create the best product for the reader.REEDSY So when preparing to work with you, what can an author do for you, as an editor?MAGGIE LYONS Before going to an editor, the writer of a work of fiction needs to go over a manuscript with a fine-tooth comb, and also to have submitted it to a critique group so that you’ve had the benefit of other people’s opinions on the whole thing. There can be years of work put into manuscripts before they reach an editor.There are many people who write, and they have wonderful ideas that should be in print - but they don’t have a good grasp of grammar. We expect to edit that - we call that mechanical editing. But their ideas and their style is something that will come from the writer, although a good editor can help with that. The copyeditor is the one that will smooth out those ruffles. There’s a mantra for copy editors: Comprehensibility, clarity, correctness, consistency, and concision.You want to make a piece of writing absolutely shine, but you have to be very careful not to squash the writers’ voice. If you destroy the writer’s voice you shou ldn’t be editing - that’s when you don’t want to obey all the rules in the book. You have to treasure a writer’s voice, especially a strong voice.–After our conversation, Maggie very kindly followed up with some comments on the degree to which exercising judgement makes all the difference in editing stylistic writing, especially fiction.–â€Å"In terms of what being a good or bad editor means, I’d like to add that being overzealous with the rule book can make pablum of a text or destroy the author’s intentions. For example, in a work of fiction, when writers want to intensify the dramatic action, they may wish to use use less commas and/or periods (full stops) and write more fragmented content. An editor who is determined to correct what seems to be sloppy style and grammar could slow down the momentum the writer has carefully built, or destroy it all together. In an academic or business context, an overzealous editor could re place all the technical jargon with standardized terminology (and at the risk of imposing the wrong meaning). When a book or a document is intended to be read by professionals serving a particular industry, the copy editor would be wise to retain the terminology the readers know and understand, regardless of whether its jargon.Good editors will respect a writer’s voice and not try to write the content in their own style. They’ll also be flexible with rules and willing to negotiate with the writer on arguable points. Points of editorial style are frequently negotiable. Points of grammar, however, much less so.I also do ESL editing (English as a second language) for clients whose mother tongue is not English. That may require some creative thinking! But I am in close touch with those clients and have plenty of opportunity to make sure I have interpreted their meaning correctly. Sometimes it can be quite a challenge because the clients have difficulty in explaining exactl y what they mean! But I love that kind of challenge.†

Eating Disorders Research Paper Example | Topics and Well Written Essays - 1000 words - 1

Eating Disorders - Research Paper Example However, the same study done in 2008 showed that eating disorders had become an affair for all: men and women, the rich and the poor, blacks and whites. This paper explores the various aspects of the globalization of eating disorders, factors favoring the globalization and whether at all there is a possibility of managing this trend. Eating disorders have existed for a long time in history, earlier than the 19th Century where people engaged in self-starvation (Bruch 89). However, as time goes by, the rate of the prevalence of the disorders has risen and varied in various demographics. Bruch in his article ‘The Golden Cage’ explains Anorexia Nervosa as disorder for teenage girls mostly from financially stable families. This notion has been disagreed upon as research by the American Psychiatry Association has shown that males, middle-aged and aging people, African-Americans and low-class population have reported cases of eating disorders. Contrary to the earlier notion, eating disorders are an emerging problem for the entire female fraternity in the world. In the African society, for instance, the ideal woman traditionally was voluptuous and fat. Thin women were seen as a sign of poverty, sickness or even death. As Frank Osodi points out in the ‘’Golden Cage’, African girls have hips, bums and are fleshy. For years, this was sustained as the optimal standard of measuring beauty among women in Africa. Conversely, in United States, thinness was associated with social status and as an evidence of moral virtue (Raisanen and Hunt 57). Fatness is associated with low status, laziness and gluttony. This contemporary definition of beauty has spread across the globe changing even the Africans beliefs on beauty. African women have become keener about their body shape and size. Practices such as cosmetic surgery, exercise, and strict dieting regimes have been adopted with the aim of controlling weight and becoming slender. Globally, being overweight is