Explore The Significance Of The Monsters Voice in Mary Shelleys Novel - Free Essay Example

From the novel Mary Shelleys Frankenstein (1818) edition Chris Baldick argues that the monsters most convincingly human characteristic is of course his power of speech. Explore the significance of the monsters voice in Mary Shelleys novel. Few texts have pervaded the cultural consciousness to take on the afterlife of a haunting myth, as with Mary Shelley’s Frankenstein (1818). To a twenty-first century reader, the image of ‘Frankenstein,’ often wrongly identified as the creature rather than creator, has become conflated with that of Boris Karloff, an actor in a 1931 filmic representation, which, in a true expression of creative license, was a non-speaking role. However, readers of the text will remember the creature as both intellectual and articulate in voicing his account of life through to the projection of his death. This paper seeks to explore the significance of the creature’s voice, arguing that it adds a philosophical and moral dimension to the novel that would have otherwise been absent. The narrative structure of Frankenstein involves imbedded stories, where tales appear nested within other tales. Even the very epistolary nature of the text itself is fraught with tension, as the final pages reveal the letter-writing to align itself more closely with journal entries, with the poetic ending to the text neglecting either a form of signing off to the reader or a self-reflexive ending common to diary entries. This makes us question whether Walton’s sister, Margaret, was indeed the intended reader of the entire narrative, which notably and often conceals the letter-writing format to allow the action of the narrative to take precedence. The narrative structure thus problematises any interpretation of language as straightforward and individually assigned and distinct. A st udy of Frankenstein as a gothic novel would introduce readings of cultural binaries, where the juxtaposition of normal and human with monstrous and inhuman would suggest that the creature’s voice was intended to sharpen these distinctions. However, as Joyce Carol Oates argues, ‘everyone in Frankenstein sounds alike’ (1983: 549). All events are relayed retrospectively; conversations have often been mediated by knowledge of more recent events, and have been filtered, in the creature’s case, through an expanding consciousness. Voices echo one another, in a blurred and indistinct fashion. This is largely because the epistolary format means that the only voice we hear is actually Walton’s own, and even this has been mediated for a selected female readership. The monster’s voice is largely heard through his petition to the one who seeks his ruin, and even the reliability of Walton’s tale is mediated and arguably jeopardised by his ear nest desire for friendship and his wish that Victor would fulfil that role. Noticeably, the voice of the creature appears identical in both Walton’s account of Victor’s story and of Walton’s narration of his own encounter with the creature. This is largely attributable to the fact that all events are filtered through multiple layers, including Walton’s own memory. Interestingly, Oates further argues that it is naive to read Frankenstein as one would a novel, for it contains no characters, only points of views; its concerns are pointedly moral and didactic (1983: 549). Baldick interprets this as ‘dialogical openness,’ (1997: 44) whereby the moral framework of the novel is an open debate between the perspectives of Victor, the creature and Walton. The employment of multiple narrations is an effective tool for undermining verisimilitude, as it compromises the certainty of identity and narration, proving these to be unknowable and always mediated. These ‘contrasting’ points of view do not hold fast; the monster is both sympathetic and vengeful, and his reflections are unreliably mediated by his transformation into a heightened state of consciousness. In terms of the creature’s identity as a gendered being, many feminist critics have argued that the creature is constructed as a woman through his acquisition of language. The creature’s passive surveillance of domestic life mirrors the female sphere, and his education is largely informed by Felix’s tuition to his intended bride, Safie. As one criticism that is oft levied against Mary Shelley is that her female characters do not take an active stance but conform to traditional ideas of femininity, we have no reason to believe that Safie’s education is atypical or controversially aligned with the masculine sphere. Although it is outside of the remit of this essay to speculate on a gendered construction through language, i t is important to note that the creature’s voice is a product of an education largely intended and deemed suitable for the domestic sphere. As a foreigner, Safie is allowed access to the shared collective that is language; however, her right of access is granted on the grounds that she has a musical voice and a ‘countenance of angelic beauty and expression.’ (Shelley, 1993: 93) She does not posit a challenge to conventional definitions of normality. Indeed, the blind De Lacey permits a conversation with the creature before his impressions become mediated through the eyes of the dominant group. Participating in a shared system of language is thus only effective in generating empathy or connection up until the moment that sight is introduced. Shelley reveals here that language may be knowledge, but it is not wisdom. Indeed, De Lacey mimics the reader, for the oral nature of storytelling restricts visibility and privileges the command of language. The cr eature becomes highly articulate, and is also considered persuasive by both Walton and Frankenstein. Walton responds to the monster’s declaration by stating, His voice seemed suffocated; and my first impulses, which had suggested to me the duty of obeying the dying request of my friend, in destroying his enemy were now suspended by a mixture of curiosity and compassion. (Shelley, 1993: 187) However, Walton can only register the persuasiveness of the monster’s words whilst he is neglecting the sensation of sight. To sustain communication with the creature, he must avert his eyes, for as soon as his eyes encounter the deformed being, his indignation returns and his sympathy dissolves. Likewise, Frankenstein destroys the female being that he is creating, after gazing upon the monster’s distorted features and being consumed by a fit of passion. The monster’s articulate powers of persuasion are thus rendered subservient to sight, which takes precede nce over a convincingly human-sounding tongue. Echoing the villagers, who pass condemnation before allowing the monster to speak, Victor states upon first encountering the monster in his bedchamber; ‘he might have spoken, but I did not hear’ (Shelley, 1993: 40). The creature correctly articulates that ‘the human senses are insurmountable barriers to our union’ (Shelley, 1993: 119). Indeed, the word monster, which Shelley frequently repeats, is derived from the Latin word mon-strare, which means ‘to show†¦ bodily anomaly signified’ (Ingebretsen, 2001: 211). It thus implies an element of display, of visual difference. Interestingly, the way that the monster interacts with humans throughout the course of the novel alters from being visually sighted to, as in the last few encounters, his presence being heard or detected through sound. This calls into question the very notion of his monstrosity, as he has been transformed from an objec t on display to a being, endowed with the powers of communication. Baldick argues that the ‘monsters’ most convincing human characteristic is of course his power of speech (1997: 45). Harold Bloom echoes this premise: the creature is both more ‘intellectual and more emotional’ and ‘more human than his creator’ (1965: 613). The ability to experience and convey pain is transmitted entirely through the creature’s use of language: voice enlightens where the narratives of others fail. The creature is portrayed as thoroughly a product of the grand narratives that were central to the Romantic period, born a blank slate with works of cultural standing subsequently informing his mind. His moral and intellectual compass is largely shaped by the reading of three texts, which form what Peter Brooks refers to as a ‘Romantic cyclopedia universalis’ (1993: 205). Mastering the Romantic worldview enables him to speculate and self-i dentify as a sympathetic figure. One such influential text that forms his education is Milton’s Paradise Lost, which seeks to recast the tragedy of creation on a scale of mythological and biblical magnitude. The creature views his struggle through the lens of Milton’s epic, as a victim of the violation of the natural order. Indeed the epigraph of the novel, also from Paradise Lost, laments his very existence: Did I request thee, Maker, from my clay To mould Me man? Did I solicit thee From darkness to promote me? (Milton, 1873: 743-745) Borrowing a line from such an epic work underpins the central argument of a disgruntled creation wrestling with his creator. By allowing the monster’s viewpoint to dominate the epigraph and frame the novel, Shelley provides an authorial and sympathetic sanctioning to the monster’s plight of unsolicited existence. The techniques that Shelley uses to construct the monster’s voice are both informed by and a comment on the philosophical views held by leading figures at the time of writing. The creature is not merely presented as a sympathetic character, but as a portrayal of emerging consciousness. In the act of relating his narrative, the creature does not repeat the incident that had originally formed such an unfavourable impression upon Frankenstein. That is to say, the creature does not begin his tale from the scene where he invades his creator’s bedchambers and is rejected in his quest to seek community. Shelley thus sacrifices an opportunity of soliciting sympathy from the reader through allowing the monster to offer an explanation of innocence that would have added colour and dimension to Victor’s account. The creature’s story leaves Frankenstein’s account unmodified, neglecting the tale of rejection for a higher purpose. Shelley instead commences the monster’s narrative from his dawning of consciousness, and compares it to that of a newborn. Arguably, Shelley plays with philosopher John Locke’s idea that we are born as a blank canvas, with the mind a ‘white paper void of all character’ (1952: 11, 1, 2). The monster actively sets out to acquire language out of his need for human intimacy, mirroring the acquisition of language of a child. Infancy has its stem in the Latin word infans, which translates to one ‘who cannot speak’ (Brookes, 2004: 606). He thenceforth learns language through imitation, as a child would; learning is thus how one forms human consciousness. The creature learns through causation and effect, often experiencing pain and learning how to address the sensation by taking action. Upon mastering language, the creature retrospectively constructs a narrative out of a flood of competing sensory signals that characterised his early days of education. By relaying his past impressions through an enlightened state of consciousness, the monster shows that he has the emotional sensitivity of a baby who weeps upon first entering the world. This evocation is not just using heavily emotive language to elicit sympathy from Victor, but through the narration of his initial sensations, the reader is positioned to view him as one would a vulnerable, abandoned child. As Jones argues, Shelley ‘emphasise[s] the importance of learning to the emergence of human consciousness and understanding’ (2003: 158). The monster hypothesises that a mastery of language will bring him into communion with humans, and compensate for deficiencies of countenance. In this aim, he acquires articulacy and understanding of the cultural codes that construct human civilisation. The acquisition of education results in producing a voice that ultimately proves ineffectual, as it only heightens his disconnection to the social group that he desires communion with. Importantly, the relationship between Felix and Safie demonstrates that romantic attachments can transcend language barriers. However, as Jones argues, the cultural discourses that the creature seeks to emulate ‘are borrowed from the very ideology that excludes him’ (2003: 211). Shelley shows that language is artificial, a cultural construction that benefits only the ruling class. In Frankenstein, the creature’s voice has been intricately crafted by Mary Shelley to aid her portrayal of a sympathetic character, who refuses to conform to our expectations of the ‘other’. Shelley problematises conventional ideas of what is monstrous, revealing a character whose speech at the very least simulates human consciousness, but also is inseparably connected with and filtered through another’s way of seeing. The creature’s narrative is a profound philosophical and moral comment on the Romantic consciousness, ultimately revealing that no perspective reigns supreme, and labels and perceptions of difference collapse at their very bor ders. Bibliography: Baldick, C., (1997) In Frankensteins Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Clarendon Press. Bloom, H., (1965) Frankenstein, or the New Prometheus, Partisan Review, xxxii, 618. Brookes, I., (ed) (2004) Chambers Concise Dictionary. New Delhi: Allied Chambers. Brooks, P., (1993) What is a Monster(According to Frankenstein) In Body Work. Cambridge: Harvard Univ. Press, pp. 199-220; reprinted in Frankenstein/Mary Shelley (1995) ed. Fred Botting. New York: St. Martins Press, pp. 81-106 Ingebretsen, Edward J., (2001) At stake: monsters and the rhetoric of fear in public culture. Chicago: Univ. of Chicago Press. Jones, Jonathan D., (2003) Orphans: childhood alienation and the idea of the self in Rousseau, Wordsworth and Mary Shelley. PhD thesis, University of Warwick. Locke, J., (1952) â€Å"An Essay Concerning Human Understanding† in Great Books of the Western World 35 ed. Robert Maynard Hutchins. Chicago: Encyclopedia Britannica. Milton, J., (1873) Paradise Lost. London: Basil Montagu. Oates, Joyce C., (1983) Frankensteins Fallen Angel. Critical Inquiry, Vol. 10, No. 3 Mar., pp. 543-554. Shelley, M., (1993) Frankenstein: or the Modern Prometheus: The 1818 Text, ed. Marilyn Butler, London: William Pickering.

Zinc Facts - Periodic Table of the Elements

Atomic Number: 30 Symbol: Zn Atomic Weight: 65.39 Discovery: known since prehistoric time Electron Configuration: [Ar] 4s2 3d10 Word Origin: German zinke: of obscure origin, probably German for tine. Zinc metal crystals are sharp and pointed. It could also be attributed to the German word zin meaning tin. Isotopes: There are 30 known isotopes of zinc ranging from Zn-54 to Zn-83 . Zinc has five stable isotopes: Zn-64 (48.63%), Zn-66 (27.90%), Zn-67 (4.10%), Zn-68 (18.75%) and Zn-70 (0.6%). Properties Zinc has a melting point of 419.58Â °C, a boiling point of 907Â °C, a specific gravity of 7.133 (25Â °C), with a valence of 2. Zinc is a lustrous blue-white metal. It is brittle at low temperatures but becomes malleable at 100-150Â °C. It is a fair electrical conductor. Zinc burns in air at high red heat, evolving white clouds of zinc oxide. Uses: Zinc is used to form numerous alloys, including brass, bronze, nickel silver, soft solder, Geman silver, spring brass, and aluminum solder. Zinc is used to make die castings for use in the electrical, automotive, and hardware industries. The alloy Prestal, consisting of 78% zinc and 22% aluminum, is nearly as strong as steel yet exhibits superplasticity. Zinc is used to galvanize other metals to prevent corrosion. Zinc oxide is used in paints, rubbers, cosmetics, plastics, inks, soap, batteries, pharmaceuticals, and many other products. Other zinc compounds are also widely used, such as zinc sulfide (luminous dials and fluorescent lights) and ZrZn2 (ferromagnetic materials). Zinc is an essential element for humans and other animal nutrition. Zinc-deficient animals require 50% more food to gain the same weight as animals with sufficient zinc. Zinc metal is not considered toxic, but if fresh zinc oxide is inhaled it can cause a disorder referred to as zinc chills or oxide shakes. Sources: The primary ores of zinc are sphalerite or blende (zinc sulfide), smithsonite (zinc carbonate), calamine (zinc silicate), and franklinite (zinc, iron, and manganese oxides). An old method of producing zinc was by reducing calamine with charcoal. More recently, it has been obtained by roasting the ores to form zinc oxide and then reducing the oxide with carbon or coal, followed by distillation of the metal. Zinc Physical Data Element Classification: Transition Metal Density (g/cc): 7.133 Melting Point (K): 692.73 Boiling Point (K): 1180 Appearance: Bluish-silver, ductile metal Atomic Radius (pm): 138 Atomic Volume (cc/mol): 9.2 Covalent Radius (pm): 125 Ionic Radius: 74 (2e) Specific Heat (20Â °C J/g mol): 0.388 Fusion Heat (kJ/mol): 7.28 Evaporation Heat (kJ/mol): 114.8 Debye Temperature (K): 234.00 Pauling Negativity Number: 1.65 First Ionizing Energy (kJ/mol): 905.8 Oxidation States: 1 and 2. 2 is the most common. Lattice Structure: Hexagonal Lattice Constant (Ã…): 2.660 CAS Registry Number:7440-66-6 Zinc Trivia: Zinc is the 24th most abundant element in the Earths crust.Zinc is the fourth most common metal used today (after iron, aluminum, and copper).Zinc exposed to air will form a layer of zinc carbonate by reacting with carbon dioxide. This layer protects the metal from further reactions with air or water.Zinc burns white-green in a flame test.Zinc is the last period four transition metal.Zinc oxide (ZnO) was once called philosophers wool by alchemists because it looked like wool when collected on a condenser after burning zinc metal.Half of the zinc produced today is used to galvanize steel to prevent corrosion.The U.S. penny is 97.6% zinc. The other 2.4% is copper. Sources Los Alamos National Laboratory (2001), Crescent Chemical Company (2001), Langes Handbook of Chemistry (1952), CRC Handbook of Chemistry Physics (18th Ed.) International Atomic Energy Agency ENSDF database (Oct 2010)

Women s Impact On Young Girls And Adult Women - 1438 Words

Having insecurities and flaws impacts almost anyone and also commonly on young girls and adult women. Many people think that having insecurities is just a phase that every young teen goes through that will eventually turn into confidence, but that isn’t always the case. Many women struggle daily with the way their appearances and even try to seek for approval as a way to boost their confidence. In today’s society, majority of young adults especially women are constantly on social media, looking through photos of women with the perfect body shapes and having the ideal life. But in reality, most of these women do have flaws of their own that is just unknown to the viewers. As a young adult, who has dealt with body image issues, it can†¦show more content†¦Janine DeMichele who was a web designer and actress, featured magazine called â€Å"Psychology Today† magazine, was never satisfied with the way she looked. As she start stumbling upon through online ph otographs such as on a social media platform such as Instagram, and search â€Å"fitspiration† or â€Å"fitspo† included pictures of women with a slender and toned body, thinking it would help her mental push in need to run an extra mile, as a way to motivate herself to make the effort to get herself fit. She describes, â€Å"‘I would look at the accounts of women posting their perfect pictures and then stand in front of the mirror comparing myself†Ã¢â‚¬â„¢(34), which also lead her to think that she would make a lot of progress with getting the â€Å"perfect† body that she wanted. Because social media has become a huge part of a young adults lives, many professional models will promote themselves through their fitness, giving other people motivation into working out more. Another genre of pictures called â€Å"thinspiration† which includes photos of women, showing off their extreme skinny bodies and could also lead to women to self-esteem and even causes them to eating disorders as an influence to think they are overweight or not skinny enough. At a young age from middle school to high school, I’ve also personally dealt with body image and feeling dissatisfied with the way I looked. At the age of 12, I

I dont know what I did wrong Essay Example For Students

I dont know what I did wrong Essay I dont know what I did wrong. I asked Amir agha, but he said I hadnt done anything. I would have stopped doing it, then maybe father and I wouldnt have had to leave. Before the kite tournament, Amir was my best friend, and we would always play together, but then he didnt want me around any more. There was nothing I could do to rekindle our relationship, Amir agha wouldnt let me. The last time I was properly with him, I really thought things might return to normal. We spoke like we used to; he told me about school and the teachers, but then he turned nasty. He started throwing pomegranates at me, screaming at me to fight back. But how could I ever do that to him? I remember at his party, his thirteenth, he ignored me all night. And I had to serve drinks to Assef. I knew I had to act as though nothing had happened. After all, it was Amirs night and I couldnt ruin it for him. Assef hit me, in the chest. It was nothing compared to what happened last time I saw him, and it was dark, so once again no one saw. I am thankful for that. After all we have done together; playing games and running in the streets, growing up together, I do not know what I have done for Amir agha to feel so angry at me. If feels as though I have lost my brother, as well as my best friend. There is nothing I would not do for him. I would eat dirt, if he asked me. We had planned to be friends forever, Amir agha and me. Hed even promised me he would buy me a television one day, and I would have kept it on the side where I keep all of my drawings. But that is no longer my home. My father plans for us to go and live with his cousin in Hazarajat. I am unsure as to what will happen to us then. Hopefully we will find a new master who is as kind as Baba sahib, although I am doubtful of that. I feel responsible for everyones pain, now. It is my fault that Amir agha is upset. I did not want him getting in to trouble, for putting the money under my mattress, and although I cannot understand why he did that, I know if I did not take responsibility for it, he would surely be blamed. As he is my best friend, brother, and master, I had to say it was me. But now, my father is deeply hurt at the loss of Baba sahib, as they grew up together and he was such a good master to us. Baba agha begged father to stay, he even cried for him, and that is also my fault. If I had been better to Amir agha, he would still like me, and none of this would have happened. I do not know what it was that made him hate me. It was after the kite tournament, and he won that, and I ran the kite for him. I know how much it meant to him, and I knew he wanted Baba to be proud of him, so I did everything I could to get him that kite. So why does he hate me? I dont think he saw what Assef did. If he did, surely he would have stopped them. I would have, had the situation been different. But since then, since I handed over the kite to him, he couldnt look me in the eyes. And now this. I feel betrayed by him, but if I knew what his reason was for it, then I am sure it would have been justifiable. .ud975a8efb11c8dac451debd7b956fca8 , .ud975a8efb11c8dac451debd7b956fca8 .postImageUrl , .ud975a8efb11c8dac451debd7b956fca8 .centered-text-area { min-height: 80px; position: relative; } .ud975a8efb11c8dac451debd7b956fca8 , .ud975a8efb11c8dac451debd7b956fca8:hover , .ud975a8efb11c8dac451debd7b956fca8:visited , .ud975a8efb11c8dac451debd7b956fca8:active { border:0!important; } .ud975a8efb11c8dac451debd7b956fca8 .clearfix:after { content: ""; display: table; clear: both; } .ud975a8efb11c8dac451debd7b956fca8 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud975a8efb11c8dac451debd7b956fca8:active , .ud975a8efb11c8dac451debd7b956fca8:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud975a8efb11c8dac451debd7b956fca8 .centered-text-area { width: 100%; position: relative ; } .ud975a8efb11c8dac451debd7b956fca8 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud975a8efb11c8dac451debd7b956fca8 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud975a8efb11c8dac451debd7b956fca8 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud975a8efb11c8dac451debd7b956fca8:hover .ctaButton { background-color: #34495E!important; } .ud975a8efb11c8dac451debd7b956fca8 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud975a8efb11c8dac451debd7b956fca8 .ud975a8efb11c8dac451debd7b956fca8-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud975a8efb11c8dac451debd7b956fca8:after { content: ""; display: block; clear: both; } READ: caeser EssayI will always hope for a time where he forgives me for whatever it is I have done, and we can be brothers once more. The Sultans of Kabul, again. Until then, I will wait for him, and pray that he is safe.

Is The Draft Necessary Essays - Reserve Forces, Military

Is The Draft Necessary Throughout history, there has been a large controversy over whether or not it is justified to have a draft system to recruit soldiers into the military. I personally believe it's necessary to have this draft because, it could be necessary in a large scale world conflict. In modern times there's political strife in all corners of the globe. Tensions rise as world leaders start to get more extreme. It's not too unreasonable to believe that there's a major world conflict on the horizon. Having a draft system in place, as a way to recruit personnel for a reserve force for foreign campaigns is a way to ensure that a country will have a fighting force after the regular forces have been fighting for too long. The advantage of this reserve force is that they don't have to be deployed right away after joining, it's more of a backup plan in case things go south. It never hurts to be prepared. A good example of this was in WWII, the regs would be the first in the field, but when reinforcements are required, reservists are deployed to bolster the ranks and keep the fight going. In the end what it all boils down to, is that winning a war is impossible without the numbers to sustain it. Following a similar philosophy, in case a country where to be invaded, it helps to have a well trained militia, ready to fight for their home, and what it stands for. When the enemy's at your doorstep, you don't have time to train new soldiers. That's what's useful about a reserve force. You see this happen in Israel, with their mandatory military service. Young men and women at age 16 join the IDF, so that in case of foreign invasion, they have personnel who know which end of the rifle to point at the enemy. In conclusion, a draft is important,not as a primary means of recruiting for a regular force, but as a way to bolster a reservist force. It's possible that without some form of draft in place, a country would be left poorly defended, and therefore open to invasion from foreign powers.

Free Essays on Variations On The Word Love

Response to â€Å"Variations on the Word Love Margaret Atwood explores the word Love in her poem, â€Å"Variations on the Word Love.† She question people’s use of the word love and its various meanings. I really enjoyed Atwood’s poem because made me think and ask questions. I often use the word love, yet I don’t always mean the same thing when I use it. I had never really thought about this until I read her poem. Atwood first speaks about the overuse of the word. She introduces the poem by saying how we use the word love as a filler. When we can’t think of anything to say, we often fill in space with the word love. The first line begins with â€Å"This is a word we use to plug/holes with. It’s the right size for those war/blanks in speech†¦Ã¢â‚¬  (line 1-3). People often use the word love when they don’t know what else to say. Atwood also speaks about how the word love is often used as an advertisement. The word love is very marketable. We have two holidays to celebrate it, Valentine’s Day and Sweetest Day. We also us love on billboards to sell things completely unrelated. Atwood points out how we have entire magazines that only speak about love. I believe our overuse of the word love takes away from its true meaning. We market it and say we love so many things. This devalues the word love and its meaning. The second stanza, Atwood begins by talking about what I consider the true meaning of the word love, Then there’s the two Of us. This word Is far too short for us, it has only Four letter, too sparce To fill those deep bare Vacumes between the stars (lines 21-25). I agree with Atwood. Love is not enough to explain what two people can fall into. The word love is so overused its meaning depreciates. It is so commonly heard that it is not taken seriously. I think that in some ways the word love doesn’t explain â€Å"love between two people† or give it justice. However, I... Free Essays on Variations On The Word Love Free Essays on Variations On The Word Love Response to â€Å"Variations on the Word Love Margaret Atwood explores the word Love in her poem, â€Å"Variations on the Word Love.† She question people’s use of the word love and its various meanings. I really enjoyed Atwood’s poem because made me think and ask questions. I often use the word love, yet I don’t always mean the same thing when I use it. I had never really thought about this until I read her poem. Atwood first speaks about the overuse of the word. She introduces the poem by saying how we use the word love as a filler. When we can’t think of anything to say, we often fill in space with the word love. The first line begins with â€Å"This is a word we use to plug/holes with. It’s the right size for those war/blanks in speech†¦Ã¢â‚¬  (line 1-3). People often use the word love when they don’t know what else to say. Atwood also speaks about how the word love is often used as an advertisement. The word love is very marketable. We have two holidays to celebrate it, Valentine’s Day and Sweetest Day. We also us love on billboards to sell things completely unrelated. Atwood points out how we have entire magazines that only speak about love. I believe our overuse of the word love takes away from its true meaning. We market it and say we love so many things. This devalues the word love and its meaning. The second stanza, Atwood begins by talking about what I consider the true meaning of the word love, Then there’s the two Of us. This word Is far too short for us, it has only Four letter, too sparce To fill those deep bare Vacumes between the stars (lines 21-25). I agree with Atwood. Love is not enough to explain what two people can fall into. The word love is so overused its meaning depreciates. It is so commonly heard that it is not taken seriously. I think that in some ways the word love doesn’t explain â€Å"love between two people† or give it justice. However, I...

Assignmet 2 Essay Example | Topics and Well Written Essays - 2250 words

Assignmet 2 - Essay Example Communication refers to passing of information and getting appropriate feedback in the process. In case of communication problems, the information may not reach the intended individual or there maybe feedback failure. In other words, the recipient might fail to understand the sender or might misinterpret the message thus cause poor responses or inappropriate feedbacks. These are often experienced in various organizations and thus have effects on the effectiveness and the overall performance of the organization. My experience with the communication problem in an organization was in a milk-producing firm that had several branches, employees and managers. There was a massive communication problem between managers, the workers, the managers, and other managers. This had tremendous effect in the flow of information thus causing several negative consequences in the overall performances. The major causes of communication problems were due to many reasons including people were not aligned with the mission or vision of the organization, lack of understanding on what managers were trying to achieve. People had poor work habits, indiscipline among people about timeliness; people were not responsible for performance networking, people in the organization required micro-management. Due to the communication problems, various actions and reactions were evident among people in the organization. These symptoms included: reduced or no level of communication among the members, improper planning or increased workload, lateness that was repetitive and rampant, low quality of work, poor working atmosphere due to people lacking accommodating personality. Perception maybe defined as procedural way in which people put in order and make interpretations of their sensory impressions. This is meant to give reflection to their surroundings. It is an important in ensuring that people’s behaviors is kept on check. This is