Dear New APELC Student,
Welcome to AP English Language and Composition! This class may be one of the most challenging classes you have taken so far in your high school career, but don't fret–if my peers and I survived this year, I'm sure you will have no problem taking on the work that this course demands. This letter will hopefully clear up many misconceptions about APELC, give you many tips for this school year, and offer morale-boosting encouragement for when the going gets tough. First off, the workload is not as bad as one would think. Most of the homework assigned to us were either TOWS or readings, and there was the occasional multiple choice practice passage or essay. Be sure to always be on top of those assignments. Missing a TOW can affect your grade and keep you behind on developing the writing skills necessary for the AP exam. If you miss a reading assignment, you will have no idea what to do when you're handed a pop quiz on that assignment the next day.
Secondly, everything seems much harder in the beginning of the school year. The first test you take or timed essay you write may be one of the worst grades you've ever gotten, but with hard work, you will be able to take those tests and write those essays with no problems. I would say that I had a tough first marking period, but I think that was simply because I was just starting my junior year and I wasn't used to rigorous AP courses. By the end of the first marking period, I figured out how to balance out the work among all my classes and I saw a great improvement from my first to my second and third marking periods.
Timed essays were really hard for me to write in the beginning of the school year because I would always read the essay prompt and then get writer's block. 45 minutes was not enough for me to write just one essay, and on the AP exam, we're only given around an average of 40 minutes per essay (that's right: you have to write three essays on the exam.) However, once I practiced more and read challenging nonfiction pieces, I could outline my ideas faster. I found Analysis essays to be the hardest essays to write, and although I still find them hard to write, I was more confident in writing them on May 9 than I was in September, and I owe that to TOWs, IRBs, the Language of Composition, etc. Basically, I think the best way to get better at writing essays is to read more sophisticated nonfiction works and to practice analyzing them. Having to write three essays is very intimidating, but once you're sitting in the square gym and taking the AP exam, everything will easily come to you. Trust me. I hope this letter was helpful and that my impartial opinions gave you a good idea of what APELC really is and what you need to do to succeed. Good luck!
From,
Old APELC Student
Tuesday, June 10, 2014
TOW #29: Documentary Rhetorical Analysis (Part 2)
Directed by David Gleb, "Jiro Dreams of Sushi" is a documentary that has much to say about the importance of hard work. Jiro Ono, an 85-year-old man, is the owner of one of the most renowned sushi restaurants in the world, and he states the secret to his success is his determination and training. He is so involved in his sushi making that he claims to have even dreamed of making sushi. He trains his apprentices the way he feels is best: getting them up early in the morning to do their tasks, whether it's roasting seaweed or massaging octopi, and repeating that process for years before they perfect it. One apprentice even claimed that it takes about ten years before one can even dream of making a fried egg. "Jiro Dreams of Sushi's" claim that hard work and determination is the best way to achieve success is correct as shown through the lives of many, including my own parents.
Both of my parents grew up in India and lived there until they were in their 30's. When they were young, they obviously did not have access to the type of technology we have these days, and since they lived in a developing country, they often went without electricity and lived in poor conditions. My dad was the first in his family to attend college and have a professional degree. They were both completing their residencies when they had my older sister, and they moved to Saudi Arabia a couple years later, where they had my other sister. My mom stopped working for a bit, and my family moved to England, where both of my sisters grew up. In 1996, my dad got a job offer in the United States, and they all packed their bags to move for the final time. Unfortunately, the United States does not allow attending physicians to have practiced their residencies in different countries, so my mom and my dad had to do their residencies all over again while taking care of three children. They claim that growing up, they never had even thought about living in America or having lifestyles as good as the ones they have now. Because of all of their hard work, my mom and my dad got the successful lives they wanted, and they continue to pass down the value of hard work to me and my sisters.
Many people work hard in order to get what they want: Liz Murray went from being homeless as a high schooler to a Harvard graduate, Oprah Winfrey went from abuse and hunger to being one of the most well-known women in the world, and Jiro Ono went from being an unknown war veteran to the owner of one of the most successful sushi restaurants in the world. "Jiro Dreams of Sushi" is just one of millions of stories that claim one of the truest claims there is: hard work pays off in the end.
Both of my parents grew up in India and lived there until they were in their 30's. When they were young, they obviously did not have access to the type of technology we have these days, and since they lived in a developing country, they often went without electricity and lived in poor conditions. My dad was the first in his family to attend college and have a professional degree. They were both completing their residencies when they had my older sister, and they moved to Saudi Arabia a couple years later, where they had my other sister. My mom stopped working for a bit, and my family moved to England, where both of my sisters grew up. In 1996, my dad got a job offer in the United States, and they all packed their bags to move for the final time. Unfortunately, the United States does not allow attending physicians to have practiced their residencies in different countries, so my mom and my dad had to do their residencies all over again while taking care of three children. They claim that growing up, they never had even thought about living in America or having lifestyles as good as the ones they have now. Because of all of their hard work, my mom and my dad got the successful lives they wanted, and they continue to pass down the value of hard work to me and my sisters.
Many people work hard in order to get what they want: Liz Murray went from being homeless as a high schooler to a Harvard graduate, Oprah Winfrey went from abuse and hunger to being one of the most well-known women in the world, and Jiro Ono went from being an unknown war veteran to the owner of one of the most successful sushi restaurants in the world. "Jiro Dreams of Sushi" is just one of millions of stories that claim one of the truest claims there is: hard work pays off in the end.
Tuesday, May 27, 2014
TOW #28: Documentary Rhetorical Analysis (Part 1)
Reading/watching goals: identify purpose and devices/strategies used bey filmmakers to achieve it
Writing goals: don't spend too much time on the summary; focus on analysis
"Jiro Dreams of Sushi," a documentary directed by David Gelb, profiles Jiro Ono, an 85-year-old sushi chef who, despite his old age, is considered one of the most talented sushi chefs in the entire world. His restaurant, Sukiyabashi Jiro, has been rated three stars by Michelin Guide, a series of guidebooks published by Michelin annually. This documentary follows the life of Jiro Ono and contemplates the origin of his restaurant's success and popularity. Jiro himself believes that his hard work is the reason for his success: he and his workers claim that practice and repetition brings much improvement. His–and his restaurant's–story is a story of simplicity, discipline, and rigor. In fact, Jiro's two sons, Yoshikazu and Takashi, started working for their father as soon as they finished high school, even though both had hoped to attend college. Apprentices are said to wait many years before they can even touch a food that seems as simple as an egg; one scene of the documentary shows an apprentice recounting a time when he tried making an egg over 250 times until he was told that he finally made a good one. It was a while before Jiro called the man "shokunin," a Japanese word meaning "craftsman" or "artisan." Even though this surely took a lot of the man's time, he was ecstatic when he was praised by his boss. "Jiro Dreams of Sushi" is a film for those who have a dream or goal they want to attain, because it's story reminds them that with lots of hard work and discipline, they can achieve anything.
Jiro's, his sons', and his apprentices' stories all have one thing in common: they are all about their individual determination to achieve perfection. This documentary's purpose is to illustrate the importance of these traits. The filmmakers did much to recreate the simplicity of Jiro's life: there was no background narration in the film, and whatever music was playing was always very light and fitting for each scene. Overall, the film's tone was very natural and sincere. Pacing and framing also contributed much to the tone: everything was very genuine but also very refined, just like Jiro's lifestyle. These devices help the filmmakers achieve their purpose because they echo the entire message of the film that was delivered by Jiro himself: simplicity and hard work always pay off in the end. Without any narration or music, "Jiro Dreams of Sushi" tells a simple story.
"Jiro Dreams of Sushi" is told from the point of view of an outsider and is filled with interviews of co-workers, fish sellers, and old friends. This way, the viewer is able to make his or her own observations about Jiro and his work ethic while simultaneously getting stories and opinions from those who know him personally. When one first looks at Jiro, one simply sees an elderly man and may assume that he is retired. However, once the viewer watches the film and hears about Jiro through the eyes of Yoshikazu or Takashi or a renowned food critic, he or she sees him as more than an 85-year-old man: an 85-year-old man who dedicated 75 years of his life doing what he loves to do, hoping to pass it on to others around him.
Writing goals: don't spend too much time on the summary; focus on analysis
"Jiro Dreams of Sushi," a documentary directed by David Gelb, profiles Jiro Ono, an 85-year-old sushi chef who, despite his old age, is considered one of the most talented sushi chefs in the entire world. His restaurant, Sukiyabashi Jiro, has been rated three stars by Michelin Guide, a series of guidebooks published by Michelin annually. This documentary follows the life of Jiro Ono and contemplates the origin of his restaurant's success and popularity. Jiro himself believes that his hard work is the reason for his success: he and his workers claim that practice and repetition brings much improvement. His–and his restaurant's–story is a story of simplicity, discipline, and rigor. In fact, Jiro's two sons, Yoshikazu and Takashi, started working for their father as soon as they finished high school, even though both had hoped to attend college. Apprentices are said to wait many years before they can even touch a food that seems as simple as an egg; one scene of the documentary shows an apprentice recounting a time when he tried making an egg over 250 times until he was told that he finally made a good one. It was a while before Jiro called the man "shokunin," a Japanese word meaning "craftsman" or "artisan." Even though this surely took a lot of the man's time, he was ecstatic when he was praised by his boss. "Jiro Dreams of Sushi" is a film for those who have a dream or goal they want to attain, because it's story reminds them that with lots of hard work and discipline, they can achieve anything.
Jiro's, his sons', and his apprentices' stories all have one thing in common: they are all about their individual determination to achieve perfection. This documentary's purpose is to illustrate the importance of these traits. The filmmakers did much to recreate the simplicity of Jiro's life: there was no background narration in the film, and whatever music was playing was always very light and fitting for each scene. Overall, the film's tone was very natural and sincere. Pacing and framing also contributed much to the tone: everything was very genuine but also very refined, just like Jiro's lifestyle. These devices help the filmmakers achieve their purpose because they echo the entire message of the film that was delivered by Jiro himself: simplicity and hard work always pay off in the end. Without any narration or music, "Jiro Dreams of Sushi" tells a simple story.
"Jiro Dreams of Sushi" is told from the point of view of an outsider and is filled with interviews of co-workers, fish sellers, and old friends. This way, the viewer is able to make his or her own observations about Jiro and his work ethic while simultaneously getting stories and opinions from those who know him personally. When one first looks at Jiro, one simply sees an elderly man and may assume that he is retired. However, once the viewer watches the film and hears about Jiro through the eyes of Yoshikazu or Takashi or a renowned food critic, he or she sees him as more than an 85-year-old man: an 85-year-old man who dedicated 75 years of his life doing what he loves to do, hoping to pass it on to others around him.
"Jiro Dreams of Sushi" is available on Netflix
Tuesday, May 20, 2014
TOW #27: TOW Reflection
Reading goals: identify what I have improved on and what I need to work on in my previous TOWs
Writing goals: refrain from only answering the questions; elaborate on them
The first TOW of mine that I chose to take a look at was my very first: "Overpopulation is Not the Problem" by Erle C. Ellis. Upon reading this TOW, I noticed that I mentioned rhetorical concepts (ethos, pathos, and logos) instead of actual rhetorical devices. I also typed everything out as if I were fulfilling each TOW requirement like a checklist. When I looked at my TOW from the second marking period, "The Scream" by Edvard Munch, I was glad to see that I wrote about many rhetorical devices in visual texts, like color scheme and imagery, and I focused on expanding ideas on how those devices helped Munch achieve his purpose. My third and most recent TOW, "Castles in the Air" by Emily Nussbaum, was from The New Yorker, which demonstrates my progression through more challenging pieces. This particular piece was kind of tough because I was not sure about the purpose Nussbaum had in writing it. However, when I thought about the intended audience, the purpose came to me easily. My TOWs have progressed in such a way that I stopped worrying about satisfying the requirements and started worrying about writing a better blog post.
Looking at my more recent TOWs, I think I have mastered identifying rhetorical devices and connecting them to the author's purpose depending on the particular piece I choose to read. In addition to this, I think I've gotten better at making my posts seem more interesting and involved as opposed to the more formulaic way of writing I had in the beginning of the year. I still think I need to work on keeping them concise, because I think I went well over the desired word count a good number of times, and I could always work more on making my own writing effective and achieving my own purpose. Overall, I think I benefitted from writing TOWs because I was able to practice my writing every single week without having to write a full out timed essay. I think I definitely got better at writing and reading because of the skills that I improved by writing TOWs.
Writing goals: refrain from only answering the questions; elaborate on them
The first TOW of mine that I chose to take a look at was my very first: "Overpopulation is Not the Problem" by Erle C. Ellis. Upon reading this TOW, I noticed that I mentioned rhetorical concepts (ethos, pathos, and logos) instead of actual rhetorical devices. I also typed everything out as if I were fulfilling each TOW requirement like a checklist. When I looked at my TOW from the second marking period, "The Scream" by Edvard Munch, I was glad to see that I wrote about many rhetorical devices in visual texts, like color scheme and imagery, and I focused on expanding ideas on how those devices helped Munch achieve his purpose. My third and most recent TOW, "Castles in the Air" by Emily Nussbaum, was from The New Yorker, which demonstrates my progression through more challenging pieces. This particular piece was kind of tough because I was not sure about the purpose Nussbaum had in writing it. However, when I thought about the intended audience, the purpose came to me easily. My TOWs have progressed in such a way that I stopped worrying about satisfying the requirements and started worrying about writing a better blog post.
Looking at my more recent TOWs, I think I have mastered identifying rhetorical devices and connecting them to the author's purpose depending on the particular piece I choose to read. In addition to this, I think I've gotten better at making my posts seem more interesting and involved as opposed to the more formulaic way of writing I had in the beginning of the year. I still think I need to work on keeping them concise, because I think I went well over the desired word count a good number of times, and I could always work more on making my own writing effective and achieving my own purpose. Overall, I think I benefitted from writing TOWs because I was able to practice my writing every single week without having to write a full out timed essay. I think I definitely got better at writing and reading because of the skills that I improved by writing TOWs.
Sunday, May 4, 2014
TOW #26: "Hunger Games" by Sophie Brinkman
Reading goals: correctly identify author's purpose
Writing goals: keep everything concise and coherent
Our society is infatuated with all the latest fads: social networking sites, impossible iPhone games, and chia seeds. Sophie Brickman, editor, reporter for San Francisco Chronicle, and food enthusiast explores our country's obsession with food fads. She opens her article talking about the Cronut–"the croissant-doughnut hybrid, trademarked, to distinguish it from copycat Singaporean 'crodos,' British 'dosants,' and Venezuelan 'Mister Cronuts.'" As she continues her article, she mentions more recent fads, like cupcakes and Greek yogurt. She also mentions David Sax, another food enthusiast and journalist, who argues that successful food trends are a result of social conditions. Brickman's purpose is to explain our society's interest in food trends through involved tone. However, she fails to achieve her purpose as the use of specific examples would have been more effective and appropriate for her piece.
"Hunger Games," meant for an audience of curious adults, is written with involved diction as Brickman clearly showed interest in her topic. She does not only include Sax's opinions on food trends–she comments on them and adds her own ideas. Sax concludes that America's addiction to cupcakes stems from a "desire for comfort and childhood simplicity after 9/11" and that fondue became popular in the sixties "when people were moving out to the suburbs and wanted something that could make this living room in suburban New Jersey a little more sophisticated than...a Jell-O salad would." Brickman then follows this up by writing, "Of course, Jell-O salads and boxed cake mixes...were all the rage in [Sax's] grandmother's postwar kitchen." Through her involved diction, Brickman portrays her clear interest in food trends, but she does not exactly explain to her audience what kind of social conditions are explaining the sudden public demand for Greek yogurt. If she used specific current examples of food trends, Brickman would have more effectively achieved her purpose of explaining our society's interest in food trends.
Writing goals: keep everything concise and coherent
Our society is infatuated with all the latest fads: social networking sites, impossible iPhone games, and chia seeds. Sophie Brickman, editor, reporter for San Francisco Chronicle, and food enthusiast explores our country's obsession with food fads. She opens her article talking about the Cronut–"the croissant-doughnut hybrid, trademarked, to distinguish it from copycat Singaporean 'crodos,' British 'dosants,' and Venezuelan 'Mister Cronuts.'" As she continues her article, she mentions more recent fads, like cupcakes and Greek yogurt. She also mentions David Sax, another food enthusiast and journalist, who argues that successful food trends are a result of social conditions. Brickman's purpose is to explain our society's interest in food trends through involved tone. However, she fails to achieve her purpose as the use of specific examples would have been more effective and appropriate for her piece.
"Hunger Games," meant for an audience of curious adults, is written with involved diction as Brickman clearly showed interest in her topic. She does not only include Sax's opinions on food trends–she comments on them and adds her own ideas. Sax concludes that America's addiction to cupcakes stems from a "desire for comfort and childhood simplicity after 9/11" and that fondue became popular in the sixties "when people were moving out to the suburbs and wanted something that could make this living room in suburban New Jersey a little more sophisticated than...a Jell-O salad would." Brickman then follows this up by writing, "Of course, Jell-O salads and boxed cake mixes...were all the rage in [Sax's] grandmother's postwar kitchen." Through her involved diction, Brickman portrays her clear interest in food trends, but she does not exactly explain to her audience what kind of social conditions are explaining the sudden public demand for Greek yogurt. If she used specific current examples of food trends, Brickman would have more effectively achieved her purpose of explaining our society's interest in food trends.
Sunday, April 27, 2014
TOW #25: "Castles in the Air" by Emily Nussbaum
Reading goals: understand and correctly identify the author's purpose
Writing goals: include all information about the article and rhetorical devices in a concise, coherent writing piece
Talking shape-shifting dogs, kidnapping ice kings, scientific candy princesses–author Emily Nussbaum correctly describes all of these things as "dreamlike" but also "druglike." Whoever may come across these adjectives may think that they are being used to describe some crazy dream or a painting by a modern surrealist. However, Nussbaum is describing a TV show that airs on Cartoon Network: "Adventure Time." In her article "Castles in the Air," Emily Nussbaum discusses the complexity in a story that otherwise seems childish and harmless. By using vivid diction, Nussbaum achieves her purpose of illustrating what many may not know about the show "Adventure Time"–on the surface, the children's TV show seems very frivolous and trivial, but the background hints at something much larger and more complex than an everyday cartoon.
Emily Nussbaum is a writer who previously worked for New York but is now a TV critic for The New Yorker. She writes about various popular TV shows, including "True Detective," "Mad Men," and "Sherlock," telling adults who read The New Yorker about shows they may want to keep an eye on. "Adventure Time" sticks out on her list of reviewed shows because it isn't one that most adults have watched or even heard of. Nussbaum initially describes "Adventure Time" as a light-hearted story in which "a good-hearted human boy named Finn and his dog, Jake, a gruff-voiced wingman type, were brought up as siblings." Sounds simple enough. "But," she continues, "as the series progresses, an eerie backstory emerges." She reveals that the show is actually about a post-war world in which all humans have either died or mutated into something else, besides Finn. She continues this thought by studying some of the eccentric characters the show offers–the Ice King, "who keeps trying to kidnap princesses and marry them," and Marceline, "a punk-goth vampire [who] has a mobster-like dad." Behind what seems like a very quirky and cheery atmosphere is actually a world ruined by war and other conflicts: "the background hints at a ruined world: missiles poke out, and abandoned technology is everywhere. Bodies morph grotesquely–when Marceline's father gets angry, he transforms from a businessman into a demon with an ass face" Nussbaum writes, possibly hinting that no matter how ridiculous "Adventure Time" is, it is still as real as any realistic fiction TV show for adults. By describing parts of a children's show as "goofy" get "grotesque [at points,]" Nussbaum effectively achieves her purpose of showing adults that even a show about a little boy, his stretchy talking dog, frustrated lemon-heads, and southern elephants can have an insightful message.
Writing goals: include all information about the article and rhetorical devices in a concise, coherent writing piece
Talking shape-shifting dogs, kidnapping ice kings, scientific candy princesses–author Emily Nussbaum correctly describes all of these things as "dreamlike" but also "druglike." Whoever may come across these adjectives may think that they are being used to describe some crazy dream or a painting by a modern surrealist. However, Nussbaum is describing a TV show that airs on Cartoon Network: "Adventure Time." In her article "Castles in the Air," Emily Nussbaum discusses the complexity in a story that otherwise seems childish and harmless. By using vivid diction, Nussbaum achieves her purpose of illustrating what many may not know about the show "Adventure Time"–on the surface, the children's TV show seems very frivolous and trivial, but the background hints at something much larger and more complex than an everyday cartoon.
Emily Nussbaum is a writer who previously worked for New York but is now a TV critic for The New Yorker. She writes about various popular TV shows, including "True Detective," "Mad Men," and "Sherlock," telling adults who read The New Yorker about shows they may want to keep an eye on. "Adventure Time" sticks out on her list of reviewed shows because it isn't one that most adults have watched or even heard of. Nussbaum initially describes "Adventure Time" as a light-hearted story in which "a good-hearted human boy named Finn and his dog, Jake, a gruff-voiced wingman type, were brought up as siblings." Sounds simple enough. "But," she continues, "as the series progresses, an eerie backstory emerges." She reveals that the show is actually about a post-war world in which all humans have either died or mutated into something else, besides Finn. She continues this thought by studying some of the eccentric characters the show offers–the Ice King, "who keeps trying to kidnap princesses and marry them," and Marceline, "a punk-goth vampire [who] has a mobster-like dad." Behind what seems like a very quirky and cheery atmosphere is actually a world ruined by war and other conflicts: "the background hints at a ruined world: missiles poke out, and abandoned technology is everywhere. Bodies morph grotesquely–when Marceline's father gets angry, he transforms from a businessman into a demon with an ass face" Nussbaum writes, possibly hinting that no matter how ridiculous "Adventure Time" is, it is still as real as any realistic fiction TV show for adults. By describing parts of a children's show as "goofy" get "grotesque [at points,]" Nussbaum effectively achieves her purpose of showing adults that even a show about a little boy, his stretchy talking dog, frustrated lemon-heads, and southern elephants can have an insightful message.
"Adventure Time," a quirky, colorful children's show, can actually tell you much about the real world
Wednesday, April 23, 2014
TOW #24: Volkswagen Park Assist Advertisement (Visual Text)
Reading goals: identify many rhetorical devices/strategies present in the ad
Writing goals: keep things consistent and refrain from being too formulaic in writing
Volkswagen, a popular car company, effectively achieved its purpose of advertising its new precision parking feature in its new advertisement through the use of humor and analogy. The advertisement depicts a single porcupine surrounded by goldfish in plastic bags, with the only text being, "Precision Parking. Park Assist by Volkswagen." By using these animals, the advertisement has a very lighthearted and humorous nature that helps Volkswagen appeal to its audience of drivers of any age. The analogy of a porcupine to the viewer's car and the bags of goldfish to surrounding cars goes hand-in-hand with this humorous nature because although its use of animals is funny, its analogy is very real: parallel parking a car can be as dangerous as trying to fit a porcupine between delicate bags full of goldfish.
This text also plays a role as an enthymeme: it conveys an argument as its purpose is to persuade viewers to buy Volkswagen cars with the new Park Assist feature. The major premise states that a porcupine has to be carefully "parked" between bags of goldfish while the minor premise states that Volkswagen's Park Assist can park cars between other cars as carefully as the porcupine is parked between the goldfish. By using this analogy, Volkswagen can easily get its point across about its Park Assist feature without being as dull and overdone as other car advertisements.
Writing goals: keep things consistent and refrain from being too formulaic in writing
Volkswagen, a popular car company, effectively achieved its purpose of advertising its new precision parking feature in its new advertisement through the use of humor and analogy. The advertisement depicts a single porcupine surrounded by goldfish in plastic bags, with the only text being, "Precision Parking. Park Assist by Volkswagen." By using these animals, the advertisement has a very lighthearted and humorous nature that helps Volkswagen appeal to its audience of drivers of any age. The analogy of a porcupine to the viewer's car and the bags of goldfish to surrounding cars goes hand-in-hand with this humorous nature because although its use of animals is funny, its analogy is very real: parallel parking a car can be as dangerous as trying to fit a porcupine between delicate bags full of goldfish.
This text also plays a role as an enthymeme: it conveys an argument as its purpose is to persuade viewers to buy Volkswagen cars with the new Park Assist feature. The major premise states that a porcupine has to be carefully "parked" between bags of goldfish while the minor premise states that Volkswagen's Park Assist can park cars between other cars as carefully as the porcupine is parked between the goldfish. By using this analogy, Volkswagen can easily get its point across about its Park Assist feature without being as dull and overdone as other car advertisements.
IRB Post MP 4
Spook: Science Tackles the Afterlife is a humorous scientific book written by Mary Roach about the possibility of life after death. In this book, Roach takes a scientific approach when she investigates what a "soul" is and what happens to it after one dies. There is also research on reincarnation, mediums, and out-of-body experiences. Roach, aside from reviewing books in the New York Times and working with the Mars Institute, writes many best-selling non-fiction books that cover a range of scientific topics, including Stiff: The Curious Lives of Human Cadavers, Packing for Mars: The Curious Science of Life in the Void, My Planet: Finding Humor in the Oddest Places, and, more recently, Gulp: Adventures on the Alimentary Canal. All of Roach's books, although written about seemingly-serious topics, are very lighthearted and funny.
I chose this book because I am very interested in the supernatural and I'm interested to see a scientist's view of paranormal phenomenons, since many scientists probably do not believe in those kinds of things. By reading this book, I hope to learn about how Roach uses both humor and logical analysis to achieve her purpose throughout her discussions.
I chose this book because I am very interested in the supernatural and I'm interested to see a scientist's view of paranormal phenomenons, since many scientists probably do not believe in those kinds of things. By reading this book, I hope to learn about how Roach uses both humor and logical analysis to achieve her purpose throughout her discussions.
Sunday, March 30, 2014
TOW #23: M&M's Magazine Advertisement (Visual Text)
Reading goal: identify strong rhetorical devices in visual text and think about what kind of effect they have on the visual text's argument
Writing goal: effectively analyze and connect devices back to the thesis
M&M's are popular bite-sized, candy-coated pieces of chocolate that have been around for a very long time. Mars, Incorporated, the company that creates M&M's, often utilizes the colorful, whimsical nature of the candies in its advertisements. This particular magazine commercial depicts the yellow M&M weeping chocolate while reading a card that says, "Thanks For Being So Sweet!" A caption right above the M&M reads, "Deep down, they're all chocolate." This advertisement's purpose is to remind its audience that M&M's are just candy; the sole purpose of candy is to bring joy and delight to all of their consumers, and it achieves this purpose through its use of humor.
This advertisement uses humor in order to appeal to many candy companies' target audience: children. The yellow M&M's card is an example of humor because it plays on the fact that M&M's are sweet. Many people may find thank-you cards that say the same exact thing, but when the word "sweet" is used in the context of M&M's, it is given a whole different meaning. The M&M's tears have an effect very similar to that of the card's–in real life, people may shed tears when given a sentimental thank-you card, but the M&M is shedding chocolate tears. The caption reading, "Deep down, they're all chocolate" highlights the idea that M&M's may be hard on the outside with their candy-coated shells, but on the inside, they are soft, creamy chocolate. This advertisements achieves its purpose in stressing M&M's' role as candy through its use of humor as it is pretty much a parody of real life; a more eccentric, delicious version of real life. Its audience–particularly children–are reminded of the fun, unserious nature and deliciousness of M&M's.
Writing goal: effectively analyze and connect devices back to the thesis
M&M's are popular bite-sized, candy-coated pieces of chocolate that have been around for a very long time. Mars, Incorporated, the company that creates M&M's, often utilizes the colorful, whimsical nature of the candies in its advertisements. This particular magazine commercial depicts the yellow M&M weeping chocolate while reading a card that says, "Thanks For Being So Sweet!" A caption right above the M&M reads, "Deep down, they're all chocolate." This advertisement's purpose is to remind its audience that M&M's are just candy; the sole purpose of candy is to bring joy and delight to all of their consumers, and it achieves this purpose through its use of humor.
This advertisement uses humor in order to appeal to many candy companies' target audience: children. The yellow M&M's card is an example of humor because it plays on the fact that M&M's are sweet. Many people may find thank-you cards that say the same exact thing, but when the word "sweet" is used in the context of M&M's, it is given a whole different meaning. The M&M's tears have an effect very similar to that of the card's–in real life, people may shed tears when given a sentimental thank-you card, but the M&M is shedding chocolate tears. The caption reading, "Deep down, they're all chocolate" highlights the idea that M&M's may be hard on the outside with their candy-coated shells, but on the inside, they are soft, creamy chocolate. This advertisements achieves its purpose in stressing M&M's' role as candy through its use of humor as it is pretty much a parody of real life; a more eccentric, delicious version of real life. Its audience–particularly children–are reminded of the fun, unserious nature and deliciousness of M&M's.
Friday, March 21, 2014
TOW #22: "The Neglected Suicide Epidemic" by Emily Greenhouse
Six years ago, a man named Jonny Benjamin walked over to the
Waterloo Bridge in London, and prepared to end his life. He was
diagnosed with schizophrenia, and he had assumed that his life was never
going to get better. However, things changed when a stranger (later
found to be named Neil Laybourn) walked up to him and told him that
everything was going to be okay. Benjamin did not jump, stating: "When
he came along it burst the bubble of that world I was in. I felt faith,
like I could talk to him." Such instances occur many times a day, but
unfortunately most of the time there is no Neil Laybourn involved, and
those who are in trouble stay trapped in their own "bubble." Emily
Greenhouse's article "The Neglected Suicide Epidemic" was written in
order to raise public awareness of growing mental health issues and
remind everyone that they can make a difference in one person's life.
Greenhouse supports her argument that everyone should take action in the so-called "suicide epidemic" by employing anecdotes. Along with Benjamin's story, Greenhouse wrote about Jerome Motto, a California doctor who tried several times to have suicide barriers erected on the Golden Gate Bridge, the world's leading suicide location. Motto mentioned that in the 1970s, he had visited the apartment of a suicide victim and found a note that read, "I'm going to walk to the bridge. If one person smiles at me on the way, I won't jump." This inclusion reminds Greenhouse's audience that they–ordinary people–can make a huge difference in one person's life: they can have the same effect on one person that Neil Laybourn had on Jonny Benjamin.
Greenhouse also supports her argument by incorporating data and statistics in her article. She notes that in America, the suicide rates in middle-aged men and women have increased by 30% in the last decade, and that suicide has replaced car accidents in the number one injury-related cause of death. She states that this is not just an issue in the United States: 90% of those who attempt suicide in developing countries battle psychological ailments that do have cures. These facts and figures emphasize the horrifying truth that suicide is a rising health concern, but they also do the job of reminding the public that these maladies do have remedies, and that they can even help in finding these cures.
Greenhouse supports her argument that everyone should take action in the so-called "suicide epidemic" by employing anecdotes. Along with Benjamin's story, Greenhouse wrote about Jerome Motto, a California doctor who tried several times to have suicide barriers erected on the Golden Gate Bridge, the world's leading suicide location. Motto mentioned that in the 1970s, he had visited the apartment of a suicide victim and found a note that read, "I'm going to walk to the bridge. If one person smiles at me on the way, I won't jump." This inclusion reminds Greenhouse's audience that they–ordinary people–can make a huge difference in one person's life: they can have the same effect on one person that Neil Laybourn had on Jonny Benjamin.
Greenhouse also supports her argument by incorporating data and statistics in her article. She notes that in America, the suicide rates in middle-aged men and women have increased by 30% in the last decade, and that suicide has replaced car accidents in the number one injury-related cause of death. She states that this is not just an issue in the United States: 90% of those who attempt suicide in developing countries battle psychological ailments that do have cures. These facts and figures emphasize the horrifying truth that suicide is a rising health concern, but they also do the job of reminding the public that these maladies do have remedies, and that they can even help in finding these cures.
(Article and picture source here)
Saturday, March 15, 2014
TOW #21: "Me Talk Pretty One Day" by David Sedaris (Part 1)
In the first section of Me Talk Pretty One Day, David Sedaris writes much about his various struggles throughout his young adulthood, including his childhood ventures in Raleigh, North Carolina, attempts to become an artist, and job of working for a rich-yet-cheap foreign woman. Through all his short essays, Sedaris maintains the same idea of working through problems instead of giving up. His audience is made up of people who are willing to try new things, and his purpose is to remind those people that they should push through whatever stands in the way of their success.
David Sedaris is an author and comedian who has definitely had an interesting life; he grew up with five siblings, went through his childhood with a speech impediment, and experimented quite a bit with hard drugs in college. Being a comedian, he writes about his endeavors with a humorous, light-hearted tone. For example, when reminiscing about the time he worked as an English professor, he stated: "As Mr. Sedaris I lived in constant fear. There was the perfectly understandable fear of being exposed as a fraud, and then there was the deeper fear that my students might hate me" (86). In the same essay, he included an incident when he and one of his students had a disagreement, but instead of giving in and apologizing, he stood his ground and reminded each of his students that he was who was in charge. "Who am I?" he asked. "I am the only one who is paid to be in this room." The student then asked him how much he was paid to teach, and Sedaris recalls, "I answered honestly, and then, for the first time since the beginning of the school year, my students came together as one. I can't recall which side started it, I remember only that the laughter was so loud, so violent and prolonged that Mr. Sedaris had to run and close the door so that the real teachers could conduct their business in peace" (95-96).
Sedaris's humorous, light-hearted tone helps him achieve his purpose because it demonstrates the effect of staying optimistic through difficult situations. Even though Sedaris did not like teaching, he kept an optimistic view of it. After his students laughed at his salary, he might as well have gotten angry or sad, but instead he "close[d] the door so that the real teachers could conduct their business in peace." His use of the term "real teachers" implies that he is not a real teacher, and his self-deprecating humor has the effect of showing his audience that like many of them, he has had his fair share of struggles, but instead of giving up, he kept his sense of humor handy and accomplished his goals with an optimistic mindset.
David Sedaris is an author and comedian who has definitely had an interesting life; he grew up with five siblings, went through his childhood with a speech impediment, and experimented quite a bit with hard drugs in college. Being a comedian, he writes about his endeavors with a humorous, light-hearted tone. For example, when reminiscing about the time he worked as an English professor, he stated: "As Mr. Sedaris I lived in constant fear. There was the perfectly understandable fear of being exposed as a fraud, and then there was the deeper fear that my students might hate me" (86). In the same essay, he included an incident when he and one of his students had a disagreement, but instead of giving in and apologizing, he stood his ground and reminded each of his students that he was who was in charge. "Who am I?" he asked. "I am the only one who is paid to be in this room." The student then asked him how much he was paid to teach, and Sedaris recalls, "I answered honestly, and then, for the first time since the beginning of the school year, my students came together as one. I can't recall which side started it, I remember only that the laughter was so loud, so violent and prolonged that Mr. Sedaris had to run and close the door so that the real teachers could conduct their business in peace" (95-96).
Sedaris's humorous, light-hearted tone helps him achieve his purpose because it demonstrates the effect of staying optimistic through difficult situations. Even though Sedaris did not like teaching, he kept an optimistic view of it. After his students laughed at his salary, he might as well have gotten angry or sad, but instead he "close[d] the door so that the real teachers could conduct their business in peace." His use of the term "real teachers" implies that he is not a real teacher, and his self-deprecating humor has the effect of showing his audience that like many of them, he has had his fair share of struggles, but instead of giving up, he kept his sense of humor handy and accomplished his goals with an optimistic mindset.
Sunday, March 2, 2014
TOW #20: "Killing My Body to Save My Mind" by Lauren Slater
Reading goal: carefully close read and analyze to find multiple instances of rhetorical devices in the reading; apply HECTOR to the reading
Writing goal: avoid being too formulaic in the TOW; make things flow naturally
French philosopher Descartes once defended the concept of Cartesian Dualism: the idea that the mind and the body exist in separate realms. He believed that if one thinks, one surely has a mind, but does not necessarily have a body. Psychologist Lauren Slater ponders this idea in her essay “Killing My Body to Save My Mind,” in which she writes about her struggle between her depression and the physical health problems associated with her medication. Originally published in Elle, a pop culture magazine usually read by women, Slater’s story goes deep into the topics of mental and physical health issues. With her use of vivid imagery and juxtaposition, Lauren Slater effectively achieves her purpose of demonstrating the importance of mind over body.
Slater uses vivid imagery when describing her crippling depression: “In the summer, my psychosis worsened, in part because I could not stand the contrast between my blackness and all the beauty everywhere around me and utterly inaccessible. From the window of the kitchen I could see my garden… this beauty seemed somehow menacing to me” (para. 5). To combat her psychosis, Slater started taking medication called Zyprexa, some of its side effects being excessive appetite and weight gain. She was desperate to feel better, so she took the medication and gradually started to enjoy life again. However, along with her new love of life came an extra 80 pounds. Once she realized how much weight she had gained, Slater began to juxtapose her new, happy-but-overweight self with her old, thin-but-depressed self. Remembering her pre-Zyprexa days, she notes, “When I was trim and healthy, I silently assumed...that I’d live well into my nineties” (para. 18), but as she currently looks into her future, she states that she does not see herself living past her seventies. However, she continues, she thinks she made the right choice: “Every day I step on that scale and every day it stays the same... But that’s just one sort of scale. In reality, my life is full of scales, what one might call the measure of our days, and on that scale I think I’m winning. I am tremendously grateful to be free of mind-distorting depression” (para. 19).
Slater’s use of vivid imagery helps her achieve her purpose of demonstrating the importance of mind over body because her dark descriptions effectively convey her experience with depression. As one reads her descriptions, one cannot help but agree with Slater’s choice: that she should be a “happy elephant [rather] than a miserable hominid” (para. 8). Slater’s use of juxtaposition also aids her in achieving her purpose; she acknowledges the fact that she could live a longer life, yet she chooses a shorter-but-happier life instead. In a society with growing mental health issues particularly pertaining to body image, Slater’s essay can truly inspire people to make the right choice: mind over body.
Sunday, February 23, 2014
TOW #19: "The Garden of Earthly Delights" by Hieronmyous Bosch (Visual Text)
Hieronmyous Bosch is sometimes considered as the very first Surrealist because of his use of vibrant symbols and images that are out of the ordinary. Painted in the middle of the Renaissance period, Bosch's "The Garden of Earthly Delights" deviates from the common themes of Realism and Classicalism because of Bosch's detailed depictions of both the creation and the devastation of Earth. Little is known about Bosch's life and the meaning behind many of his paintings, so it is hard to know exactly what Bosch's purpose was in the painting of "The Garden of Earthly Delights." However, since the painting is presented as a triptych, a three-paneled painting, it's meaning seems to run along the lines of past, present, and future; the rightmost panel (the leftmost to one looking at it) depicts Adam and Eve in the Garden of Earthly Delights, and as the painting progresses, more people are pictured in the setting. The ladst panel depicts the end of life on Earth: Hell. Through his presentation of the painting and its lively, chaotic tone, Bosch achieves his purpose in painting "The Garden of Earthly Delights" of depicting a scene that shows Biblical morals—one should always avoid earthly temptations unless he or she wants to end up in Hell.
"The Garden of Earthly Delights" also has a very lively and chaotic tone, especially in the middle and leftmost panels. The middle panel depicts a large number of people giving into temptation in the Garden of Earthly Delights, and the left panel depicts not only a large amount of people but also those people being tortured and chained up in the depths of Hell. Combined with the lively and chaotic tone, Bosch's use of a triptych gives the painting a cause-and-effect nature that helps I'm achieve his purpose. "The Garden of Earthly Delights" warns current art appreciators and past God-fearing citizens about the sins and temptations of Earth and shows them the effect of finally giving in.
"The Garden of Earthly Delights" by Hieronymous Bosch
Wednesday, February 12, 2014
TOW #18: "Czar Vladimir's Illusions" by Mikheil Saakashvili
This year's Winter Olympics have been receiving lots of press not only on the account that they're the Olympics but also to the fact that they are being held in Sochi, Russia. Russian President Vladimir Putin has particularly been put under the spotlight because of his recent declaration that Russia needs to be "cleansed" of homosexuality. In the article "Czar Vladimir's Illusions," Mikheil Saakashvili studies Russia's progress as a country socially, economically, and politically. As former President of Russian neighbor Georgia, Saakashvili immediately establishes credibility when he compares the growth and maturity of his own country to that of Russia.
Saakashvili uses data and juxtaposition to achieve his purpose of demonstrating the "illusion" of wealth and democracy that President Vladimir Putin has created for the Sochi Olympics. Although Russia is a wealthier country, Saakashvili notes, in the past nine years, Georgia has experienced a much greater rate of growth than Russia. He also adds that Georgia has no oil, it is eighth in the World Bank Index for "ease of doing business" while Russia is up in the nineties. Saakashvili also employs juxtaposition when comparing the Georgian regions of Abkhazia and Adjaria. He notes that Abkhazia, after being seized by the Russians for illegal military occupation, has its capital half in ruins. Adjaria, a few kilometers away from Abkhazia, however, was taken from Putin's hand in 2004. Since then, the Georgian government has managed to turn the region into a much more relaxed and luxurious city than it had previously been. Saakashvili compares Abkhazia and Adjaria to note the fact that Russian occupied Abkhazia has fallen to pieces while free Adjaria "has more new luxury hotels than Sochi" (para. 13). With this combined use of juxtaposition and data, Saakashvili effectively portrays the reality of Russia's condition, which is very different than the one we all currently see on our television screens.
Saakashvili wrote this article for The New York Times for American civilians who are most likely watching the Winter Olympics so that they can really understand that the nation is not as advanced as Sochi makes it out to be. By comparing Russia's data with Georgia's data and the region of Abkhazia with the region of Adjaria, former Georgian President Saakashvili effectively removes Russia's mask of wealth and progress.
Saakashvili uses data and juxtaposition to achieve his purpose of demonstrating the "illusion" of wealth and democracy that President Vladimir Putin has created for the Sochi Olympics. Although Russia is a wealthier country, Saakashvili notes, in the past nine years, Georgia has experienced a much greater rate of growth than Russia. He also adds that Georgia has no oil, it is eighth in the World Bank Index for "ease of doing business" while Russia is up in the nineties. Saakashvili also employs juxtaposition when comparing the Georgian regions of Abkhazia and Adjaria. He notes that Abkhazia, after being seized by the Russians for illegal military occupation, has its capital half in ruins. Adjaria, a few kilometers away from Abkhazia, however, was taken from Putin's hand in 2004. Since then, the Georgian government has managed to turn the region into a much more relaxed and luxurious city than it had previously been. Saakashvili compares Abkhazia and Adjaria to note the fact that Russian occupied Abkhazia has fallen to pieces while free Adjaria "has more new luxury hotels than Sochi" (para. 13). With this combined use of juxtaposition and data, Saakashvili effectively portrays the reality of Russia's condition, which is very different than the one we all currently see on our television screens.
Saakashvili wrote this article for The New York Times for American civilians who are most likely watching the Winter Olympics so that they can really understand that the nation is not as advanced as Sochi makes it out to be. By comparing Russia's data with Georgia's data and the region of Abkhazia with the region of Adjaria, former Georgian President Saakashvili effectively removes Russia's mask of wealth and progress.
The Illusion of the Olympics
Monday, February 10, 2014
IRB Post MP3
"Me Talk Pretty One Day" by David Sedaris is a collection of essays about his adolescent years and the challenges he faced growing up, one of them being his speech impediment. Sedaris is known for writing about these issues with lots of humor and sarcasm. Throughout his life, Sedaris often found himself stuck in situations he badly wanted to get out of or doing odd jobs just for the sake of doing them. Although he initially did not want to be a writer, he had been discovered by radio host Ira Glass while reading a diary he had written in as a young adult. Sedaris's ability to use humor throughout his experiences clearly makes him popular among those who enjoy comedy.
I chose this book because it is a collection of essays and it is unlike any other book I read independently. I was also interested in it because I had heard about it before and read many positive reviews. Sedaris's use of comedy additionally makes this book intriguing because he manages to look at things like his childhood speech impediment and his love for crystal meth in a very lighthearted way. By reading this book, I hope to gain knowledge about the use of humor as an emotional appeal and how it can be employed to evoke a response from an audience.
Sunday, February 2, 2014
TOW #17: "The Naked Face" by Malcolm Gladwell
Many people do not realize how important it is to be able to read others' body language, much less facial expressions. "The Naked Face" is an essay by Malcolm Gladwell about the research that goes into the Facial Action Coding System, or FACS, and how this research can be applied to real life, whether its through the creation of Pixar movies or through a Q-and-A between a cop and murder suspect. Malcolm Gladwell achieves his purpose of portraying the importance of recognizing certain emotions through facial expressions in "The Naked Face" by using anecdotes and supplying the various pieces of research that went into creating the FACS.
Malcolm Gladwell is a well-known journalist, author, and speaker. He is best known for his books about various phenomenons and what impact they have on society, such as The Tipping Point and Outliers. "The Naked Face" follows this pattern of social impacts by explaining to readers of The New Yorker and various science enthusiasts the importance of facial expressions. Gladwell includes anecdotes throughout his piece, the most prominent one being about a police officer in L.A., Bob Harms, who happened to be a master at reading facial expressions. He was out with his partner one evening when he spotted a suspicious looking man walking down the side of the road. As the man approached his car, Harms asked the man what he was doing. "I was out for a walk," the man replies. "I have something to show you." Harms then shot the man through an open window. His partner was astonished and asked him why he did it. Harms replied that he knew the man's motives were not good. It was later known that the man had actually been very unstable and he had taken a walk after his failed suicide attempt, carrying a makeshift flamethrower, and he was planning on setting fire to the very car Harms and his partner were sitting in. Gladwell effectively employs this device because it shows how being able to read peoples' faces can be used practically and that it can even save lives.
Gladwell also includes information about the research that went into the FACS. He mentions that the created of the FACS, Paul Ekman, conducted his research by finding the answer of one of his main curiosities: are these facial expressions universal? He then traveled to countries all over the world, including Japan, Brazil, Argentina, and countries with very remote villages such as Paupa New Guinea. It was found that when the locals everywhere were shown pictures of people with various facial expressions, they understood the emotions and feelings that were associated with the facial expressions. This helps Gladwell achieve his purpose because it emphasizes how facial expressions are recognized globally and thus can be used anywhere.
Malcolm Gladwell is a well-known journalist, author, and speaker. He is best known for his books about various phenomenons and what impact they have on society, such as The Tipping Point and Outliers. "The Naked Face" follows this pattern of social impacts by explaining to readers of The New Yorker and various science enthusiasts the importance of facial expressions. Gladwell includes anecdotes throughout his piece, the most prominent one being about a police officer in L.A., Bob Harms, who happened to be a master at reading facial expressions. He was out with his partner one evening when he spotted a suspicious looking man walking down the side of the road. As the man approached his car, Harms asked the man what he was doing. "I was out for a walk," the man replies. "I have something to show you." Harms then shot the man through an open window. His partner was astonished and asked him why he did it. Harms replied that he knew the man's motives were not good. It was later known that the man had actually been very unstable and he had taken a walk after his failed suicide attempt, carrying a makeshift flamethrower, and he was planning on setting fire to the very car Harms and his partner were sitting in. Gladwell effectively employs this device because it shows how being able to read peoples' faces can be used practically and that it can even save lives.
Gladwell also includes information about the research that went into the FACS. He mentions that the created of the FACS, Paul Ekman, conducted his research by finding the answer of one of his main curiosities: are these facial expressions universal? He then traveled to countries all over the world, including Japan, Brazil, Argentina, and countries with very remote villages such as Paupa New Guinea. It was found that when the locals everywhere were shown pictures of people with various facial expressions, they understood the emotions and feelings that were associated with the facial expressions. This helps Gladwell achieve his purpose because it emphasizes how facial expressions are recognized globally and thus can be used anywhere.
A chart from the FACS
Read "The Naked Face" here
Monday, January 20, 2014
TOW #16: "The Glass Castle: by Jeannette Walls (Part 2)
The second half of the memoir The Glass Castle by Jeannette Walls consists of her life as a young adult and is filled with themes and ideas pertaining to growth and the loss of innocence. Once the Walls pack up their ruined life in Phoenix, they plan to move to Jeannette's father's hometown of Welch, West Virginia. There, Jeannette and her siblings, Lori, Brian, and Maureen, meet their paternal grandparents, Erma and Grandpa, and their Uncle Stanley. The Walls are forced to live in the basement of Erma's and Grandpa's house, where they can stay safe from Erma's cold personality. There, Jeannette learns many lessons about racial discrimination, family life, and why her father is the way he is. At the end of the book, Lori discovers what it is like to be a normal kid and decides to move to New York City. She is then followed by Jeannette, Brian, and Maureen. Walls wrote The Glass Castle for those who had normal childhoods so she could share the story of her eccentric childhood. In the last section of her novel, Jeannette Walls uses juxtaposition to achieve her purpose of conveying the themes of hypocrisy and selfishness in her mother's and father's parenting.
Throughout the novel, Walls characterizes her father as an erratic and aggressive alcoholic and her mother as an aloof, irresponsible bystander. In fact, in one section of the book, Walls wrote about how her father once came home in the middle of the night and asked her to stitch up his arm, regardless of her obvious disgust and reluctance. Walls also wrote about how she and Brian once found a diamond ring, but rather than selling the ring to pay for food and other necessities, their mother wanted to keep it to "boost her self-esteem." Walls later contrasts these moments of selfishness with her and her siblings' hard work and determination in their work. As adults, Jeannette, Lori, and Brian made so many sacrifices in order to do what was right for them and their loved ones. With this use of juxtaposition, Walls effectively achieves her purpose of conveying the themes of hypocrisy and selfishness throughout her childhood.
Throughout the novel, Walls characterizes her father as an erratic and aggressive alcoholic and her mother as an aloof, irresponsible bystander. In fact, in one section of the book, Walls wrote about how her father once came home in the middle of the night and asked her to stitch up his arm, regardless of her obvious disgust and reluctance. Walls also wrote about how she and Brian once found a diamond ring, but rather than selling the ring to pay for food and other necessities, their mother wanted to keep it to "boost her self-esteem." Walls later contrasts these moments of selfishness with her and her siblings' hard work and determination in their work. As adults, Jeannette, Lori, and Brian made so many sacrifices in order to do what was right for them and their loved ones. With this use of juxtaposition, Walls effectively achieves her purpose of conveying the themes of hypocrisy and selfishness throughout her childhood.
Saturday, January 11, 2014
TOW #15: The Golden Globes Promo (Visual Text)
Tomorrow night, the red carpet in Hollywood will be filled with various television and movie stars who come together to celebrate their successes in acting, writing, and directing. The 71st annual Golden Globe awards will be held at 7pm ET/4 pm PT on NBC and will be hosted by actresses Tina Fey and Amy Poehler for the second year in a row. An assortment of promos have been aired on the Internet and on TV for several months. These promos show Fey and Poehler goofing around together and having a good time. The comedic affect of these promos really appeal to TV-watching audiences, because who wants to watch an award show hosted by dull, boring characters? Particular promos (posted below) depict Fey and Poehler in a very formal setting, which contrasts with the somewhat unserious nature of the two. The Golden Globes were created by the American Foreign Press Association in order to recognize achievements in television and film, and these entertaining promos were created to pull audiences into watching the program.
These promos are effective in achieving the American Foreign Press Association's purpose because they take the name of a very well-known, glamorous award show and make everything seem so much less elite and elaborate; the use of humor reaches out to audiences and makes them feel like they are a part of the celebration. Tina Fey and Amy Poehler are definitely the right people to be hosting the Globes because they are very well-known comedy actresses (who, I might add, both star/starred on two of my favorite TV shows) who add a more welcoming feel to the otherwise seemingly exclusive award ceremony. Promos portraying Fey and Poehler also reach specific target audiences of comedy-lovers and women. If someone hears that the actress from his or her favorite TV show is hosting an award show, they are more likely to tune in, even if they don't really care about the actual awards. Women are also a target audience; they are also more likely to watch the show because it is being hosted by two successful, hard-working women who serve as role-models for girls everywhere.
These promos are effective in achieving the American Foreign Press Association's purpose because they take the name of a very well-known, glamorous award show and make everything seem so much less elite and elaborate; the use of humor reaches out to audiences and makes them feel like they are a part of the celebration. Tina Fey and Amy Poehler are definitely the right people to be hosting the Globes because they are very well-known comedy actresses (who, I might add, both star/starred on two of my favorite TV shows) who add a more welcoming feel to the otherwise seemingly exclusive award ceremony. Promos portraying Fey and Poehler also reach specific target audiences of comedy-lovers and women. If someone hears that the actress from his or her favorite TV show is hosting an award show, they are more likely to tune in, even if they don't really care about the actual awards. Women are also a target audience; they are also more likely to watch the show because it is being hosted by two successful, hard-working women who serve as role-models for girls everywhere.
The Biggest Hollywood Party of the Year
Watch the Golden Globes tomorrow night, January 12, at 7pm ET/4pm PT on NBC!
Sunday, January 5, 2014
TOW #14: Subaru Car Advertisement (Visual Text)
Car commercials are one of the most popular kinds of advertisements found on the TV, internet, and in magazines. While some of these commercials appeal to audiences through the use of "cool" images—the car racing down curvy mountainside roads, being driven by tough, masculine men, or sometimes even flying through the air, they are missing one important factor in a person's decision to buy a car: the car's overall worth. The car company Subaru effectively achieves the purpose of demonstrating why people should buy its car in its commercial through its use of facts and juxtaposition.
This advertisement is found on many car dealership websites, so its audience is made up of people who are looking for cars to buy. Subaru takes advantage of this by first of all stating, "Well done to Audi and BMW for winning the beauty contest. From the winner of the 2006 International Engine of the Year." This ad juxtaposes luxurious car companies like Audi and BMW to the more casual Subaru—beauty versus brawn. Juxtaposition effectively helps Subaru in its pursuit of finding more consumers because it reminds those consumers that value is more important than looks and it guarantees them that they will get more bang for their buck. This ad additionally employs the fact that Subaru won the title of the 2006 International Engine of the Year, which appeals to both the audience's ethos and logos. It establishes credibility because the company was awarded this title by car professionals who know what they are talking about, and it once again stresses the importance of a good engine over the importance of how the car looks. Subaru overall effectively achieved its purpose of demonstrating why people should buy its car by evaluating the importance of how well the car runs as opposed to what the car looks like and by stating that it won the title of the 2006 International Engine of the Year.
This advertisement is found on many car dealership websites, so its audience is made up of people who are looking for cars to buy. Subaru takes advantage of this by first of all stating, "Well done to Audi and BMW for winning the beauty contest. From the winner of the 2006 International Engine of the Year." This ad juxtaposes luxurious car companies like Audi and BMW to the more casual Subaru—beauty versus brawn. Juxtaposition effectively helps Subaru in its pursuit of finding more consumers because it reminds those consumers that value is more important than looks and it guarantees them that they will get more bang for their buck. This ad additionally employs the fact that Subaru won the title of the 2006 International Engine of the Year, which appeals to both the audience's ethos and logos. It establishes credibility because the company was awarded this title by car professionals who know what they are talking about, and it once again stresses the importance of a good engine over the importance of how the car looks. Subaru overall effectively achieved its purpose of demonstrating why people should buy its car by evaluating the importance of how well the car runs as opposed to what the car looks like and by stating that it won the title of the 2006 International Engine of the Year.
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