Censorship Of Knowledge Perpetuates Uniformity - 1682 Words

Lloyd Kili Agamaite Mrs. DiBella English MYP 5 3 November 2015 Tyrannous Freedom The censorship of knowledge perpetuates uniformity in a community. In Fahrenheit 451 by Ray Bradbury, banning and burning books is the people’s and government’s way of censoring knowledge. Through books, Guy Montag, the main character and fireman, develops individual thought, and becomes one of the most dangerous human beings in the society. Information and knowledge allows people to think for themselves. Therefore, the censoring of information by banning books prevents expression of individuality, advances in society, and any questioning of authority. Through his work, Montag discovers the endless learning that is possible through books. His later†¦show more content†¦This means almost all of the firemen look and act the same. When a group is the same, it is extremely easy to control, therefore it is necessary for the firemen to be be identical in order for the government is to have complete control over them. With Montag’s new individual thought in the mix conflicting with the other firemen’s views on uniqueness, Montag becomes a target of elimination for the firemen. Captain Beatty expresses to Montag the reason for the role of the fireman, â€Å"‘We stand against the small tide of those who want to make everyone unhappy with conflicting theory and thought†Ã¢â‚¬â„¢ (59). Beatty believes individual expression makes everyone unhappy, and so does most of the brainwashed society. Books are put to blame for the â€Å"evil† self expression some citizens display. This is because most books, es pecially nonfiction, are written in a different perspective even if they are written about the same thing. This leaves the reader with a decision to make about which side or perspective to believe in. These types of decisions heavily perpetuate â€Å"conflicting theory and thought† (59), the enemy of uniformity in a society. The firemen are meant to burn and destroy these collections of controversy, because if there is nothing to perpetuate it, all of society will conform to the instruction and regulations of the government. In other words, the government, or

First Place Healthy Attitudes Rather - 843 Words

first place healthy attitudes rather than simply giving information to try to change inappropriate behaviour that has been formed previously. http://www.noo.org.uk/uploads/doc/vid_4865_rudolf_TacklingObesity1_210110.pdf Effects Economy In 2007 the estimates of the NHS costs of treating obesity and other overweight related disease in England were  £4.2 billion and it was estimated to go up to  £6.3 billion and the modelled projections of indirect costs of obesity could be as much as  £27 billion (year 2015) and the same experts estimates that by 2050 the total costs of obesity and other overweight diseases would be  £49.9 billion (at 2007 figures) http://www.noo.org.uk/LA/impact/economic Calculating future costs of elevated BMI ( £ billion/year) 2007 2015 2025 2050 Total NHS costs of diabetes 2.0 2.2 2.6 3.5 Total NHS costs of coronary heart diseases 3.9 4.7 5.5 6.1 Total NHS costs of stroke 4.7 5.2 5.6 5.5 Total NHS costs of other related diseases 6.8 7.4 7.8 7.8 Total cost (all related diseases) 17.4 19.5 21.5 22.9 NHS cost increase above current due to elevated BMI (overweight and obesity) - 2.1 4.1 5.5 NHS costs attributable to elevated BMI (overweight and obesity) 4.2 6.3 8.3 9.7 NHS costs attributable to obesity alone 2.3 3.9 5.3 7.1 Wider total costs of overweight and obesity 15.8 27 37.2 49.9 Projected percentage of NHS cost at  £70 billion 6.0% 9.1% 11.9% 13.9%Show MoreRelatedThe Effects Of Stricter Law On Agriculture1494 Words   |  6 PagesAlthough there are many groups interested in an issue such as this, the large majority fall under 5 categories. 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The Cockney Dialect free essay sample

The History, Dialect, and Slang of East London Christopher Sharpe Ohio University November 7th, 2011 It’s rhyming slang you know, like bee’s honey†¦ money. Like I could say give me the bee’s (TV Movies, 2011). This is an example of the Cockney Rhyming Slang from the dialect of the same name produced in East London. The Cockney dialect has not only been prominent in East London but in London as whole. The lower working class of London has spoken the Cockney dialect for centuries, while the upper classes of England spoke a standard dialect of English called Received Pronunciation (Baugh, 1983). Historically the Cockney dialect was considered the ‘poor mans’ speech and was frowned upon by the upper echelon of not only London but in England as a whole. Almost reminiscent of how the language of the Appalachian area of the United States for centuries has also been considered in negative tones. In the sense that they are from the â€Å"poor† part of the country and that their dialect portrays that of ignorance. Until recently, the Cockney dialect has endured through years of sporadic abandonment and various social pressures (Baugh, 1983). The reason for this is the strong will from the community who speak with this accent and their willingness to fight for the general populations’ rights at-large (Baugh). One of the major factors behind the Cockney language surviving, as long as it has, is due in part to the romantic poetry called ‘The Cockney Style’ (Cronin, 2002). During the early 1800s many romantic poets began to use the Cockney dialect, as well, as the Cockney society as a whole to form a style of poetry (Cronin). One of the founding members and front-runners of this ‘Cockney style’ of poetry was John Keats (Cronin). Not much is known about John Keats’ early child hood; however, it is known he was born on the outskirts of Northern London in 1795 (Bate, 1963). It is known how Sharpe 2 strongly Keats worked and strived to help the Cockney community, dialect and politics of his time. Until he began to write poetry and push for changes in the viewpoints of the London community on the ‘Cockneys’ they were considered non-human (Bate, 1963). After Keats work began to get published and his voice heard the attitude toward the ‘Cockneys’ began to change, and the majority of Londoners began to change their speech to sound more like the speakers of East London (Cronin, 2002). The legend of the Cockney dialect suggest it was first heard and spoken within earshot of the bells of St. Mary-le-Bow church in East London, but it had quickly spread to the rest of the capital of England (Economist, 2011). Where it has survived and even prospered for many centuries. According to the Economist (2011) the Cockney accent is fading, and is no longer commonly used even within the vicinity of the St. Mary-le-Bow church. It is predicted that by 2030 the Cockney-influence, Estuary English will dominate most of the East and South-East of London. Although the capital of London will have a new dialect inspired by immigration called ‘multicultural London English,’ influenced by Jamaican and West African immigrants, becoming the prominent dialect spoken (Economist, 2011). The Cockney dialogue itself is one of a kind. The readers may not know what the dialect is called but the writer can guarantee that the majority of the civilized world has heard it. Anytime someone listens to music from England or watches a movie with an actor portraying a common Englishman, more often than not the dialect that they hear is Cockney or has Cockney origins. Sharpe 3 The language has a prominent glottal stop [? ] (catch in the throat) instead of the T sound in certain positions, as in take it off [,teIK I? af] (Wells, 1997). This is one of the most tell tale signs of the Cockney dialect along with â€Å"h-dropping† (omitting the [h] sound) in most words, so that hand on heart becomes more like ‘and on ‘eart (Wells, 1997). Wells (1997) also tell us; that the Cockney dialect has an l-vocalization, in that they pronounce the l sound, not immediately following a vowel-sound, more like [w]. In his example, milk bottle becomes miwk bottoo and football becomes foo’baw (Wells). Notice how in the example their pronunciation of football you also have that glottal stop of the T sound showing up again. Wells (1997) suggests the language has a slight tensing of the Y endings on words such as Happy, coffee, and valley from more of a lax short [I] to the tense long [i:] sound. It also has what Wells considers Yod Coalescent, so Tuesday becomes more like Chooseday, replacing a TY sound with more of a CH sound. The last prominent speech pattern of the Cockney dialect is called th-fronting. Which is where the speaker uses more of a labiodental fricative instead of dental fricatives for the TH sound. For an example I think turns more into I fink and mother becomes more like mofer (Wells,1997). The grammar of the Cockney language is just as special as the sounds coming from the mouths of the speakers. Wells in another one of his journals, on the Cockney Dialect, tells us there is a strong multiple negation in the speech patterns such as, I ain’t never done nothing. Along with a verb morphology as in, You seen ‘im. – I never! – They done it. – You was (Wells, 2004). Sharpe 4 There is also, in the Cockney dialect, a push towards reflexive pronouns such as, ‘Ell ‘urt ‘imself. – That’s yourn. As well as a push towards demonstratives, ex: them books, adverbs without the –ly ending, ex: Trains are running normal. Their prepositions have the form of, down the pub, up her nan’s, and out the window. Other non-standard forms of the Cockney grammar are; runnin’, mornin’, ain’t it, and Where’s me bag (Wells, 2004)? Along with the beginning history of the Cockney dialect, the Cockney grammar is also similar with the grammar of the Appalachian dialect of the United States. Within the Appalachian region it is common for the word ain’t to be used and the letter g to be dropped from various words. All of this definitely leads to the most complex and entertaining part of the Cockney language, which is the Cockney rhyming slang. The Cockney rhyming slang could be more appropriately named Cockney jargon, because of it being around since the late 1800s, is the construction of â€Å"replacing words with a rhyming phrase of two or three words; in almost all cases, omitting the secondary rhyming word in a process called hemiteleia making the origin and meaning of the phrase elusive to listeners who are unaware of its use (Wikipedia, 2011). † The history of Cockney Rhyming Slang falls in line with the founding of the Cockney dialect, as in its based only on legends. There are two prominent legends on the beginning of this jargon. The first legend suggests it started in the mid 19th century somewhere around the 1840s (Wikipedia, 2011) when it was formed by traveling salesmen around the Cockney area. According to the legends the jargon allowed the traveling salesmen to talk among themselves without their customers knowing what they Sharpe 5 were discussing (Wikipedia). The second legend proposes that the jargon started among criminals during the 1530s in order for them to speak between each other so that their criminal activities would be unknown amidst the general populace (Wikipedia). Whether the First or the Second legend is true they are both based on the same underlying principle, which is to discuss their business without the conventional knowledge of the public. The most highly used example of Cockney Rhyming Slang, even though it is rarely used anymore, is that of the word â€Å"stairs. † The rhyming of stairs is â€Å"apples and pears† where pears is the rhyming word for stairs, but since we omit the second part of the rhyme we end up with, â€Å"I’m going up the apples (Wikipedia, 2011). † Another good example of this rhyming is â€Å"eyes. Which the rhyme is â€Å"meat pies†, where again we exclude the second part of the rhyme and conclude with, â€Å"I can’t believe my meat (Wikipedia). † In the present day most of the Cockney Rhyming slang is used to replace Taboo words such as, â€Å"You’re a James. † Referring to James Blunt and the rhyme that consists of it, (a derogatory name for a female). Another rhyme of that nature would be, â€Å"Go Daffy yourself. † Which refers to Daffy Duck and the reader can see where that is going. When it comes to Taboo words there is many different variations of rhyming that can replace the exact same word. In conclusion the history, dialect and slang of the Cockney area, is by far one of the most exciting places that a linguist, historian or even a common person looking to expand his/her own vocabulary can find. It is a shame that it is losing its foothold even in Sharpe 6 the region it was created. The Cockney dialect is one of the very examples of a dying dialect that has been recorded by audio, film and written for the whole world to view the magic.

John Proctor and Joe Keller as Tragic Heroes free essay sample

In his work Poetics, the Greek philosopher Aristotle defined tragedy by its various elements and structure. One of the most notable of these elements was the concept of the tragic hero, a central model in Greek tragedy, yet one that carried on into several modern literary traditions. Arthur Miller, a prominent 20th century playwright drew much influence from Greek tragedy. This influence is evident in several of his works including The Crucible and All My Sons. The protagonists of these works seem as though they could have come out of a Sophoclean drama: the outstanding citizen who speaks out against injustice or the father who watches helplessly as his empire collapses around him. Though they differ in situational and ethical ways, John Proctor and Joe Keller are very similar in their roles as tragic heroes. John Proctor is a man of moral force in The Crucible; he is an upright citizen who becomes a sinner, a sinner who becomes a voice of reason, a voice of reason who becomes a raging prophet, and a raging prophet who becomes a martyr. We will write a custom essay sample on John Proctor and Joe Keller as Tragic Heroes or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In his past he committed lechery, a shameful crime in Puritan culture. Proctor is haunted by his past misdoing throughout the play, ultimately breaking down in tears from guilt. He is later used as a scapegoat, and falsely accused of witchcraft. After refusing to confess to a crime that he did not commit, he is brought to the gallows to be hanged. In the eyes of the community, this action places Proctor on a martyr’s pedestal; he is brought forth as a victim of injustice. Even his own accusers wish him to confess to the crime, saving his life, and giving them absolution to their error. He is, himself, wronged by the law, and chooses not to place blame on a scapegoat. In the end, John Proctor is a man who sacrifices his life for the integrity of his name. Joe Keller is a man who loves his family; it is his top priority and moral absolute. He is a man who will stop at nothing to ensure the future of his sons. This fanatic devotion to family would drive him to any length to protect his legacy. During the war, his factory put out an entire shipment of cracked cylinder heads, resulting in the death of 21 pilots. This made him a murderer. However, Keller had long since buried his guilt, justifying the action by telling himself that by doing it, his factory was able to stay in operation, protecting the business he would pass onto his sons. A federal investigation resulted in the conviction of Joe and his business partner, Herbert Deever. Keller blamed the whole thing on Deever, and was eventually exonerated, while Deever went to prison. Joe Keller sacrifices his integrity for the sake of his legacy and in doing so pays the ultimate price. He loses the respect of his sons and, in disillusionment and grief, takes his own life. Unlike John Pr octor, Keller is guilty of the crime he is accused of, but chooses to place the blame on a scapegoat. By doing so, rather than being wronged by the law, he chooses to wrong another through the law. Joe is not seen as a victim of injustice, he is instead viewed as guilty by his neighbors, causing him to be the subject of much scorn. Furthermore, the underlying motives of the characters differ greatly. Proctor is driven by a pursuit of justice and of integrity; this pursuit would lead him to challenge the authority of man and their institutions. Keller, however, is driven by a single moral absolute: his family. To him family is the only thing that matters, and the only thing worth fighting for. His reaction when he discovers his sons’ rejection of this idea is one of devastation. There is a common thread between these contrasting characters, and that is the characters’ roles as tragic heroes. Both fit Aristotle’s definition of a tragic hero. They are men of prominent status in the community: Proctor as a force of reason, Keller as the head of a family. However, they possess a tragic flaw: John’s shame and repression of his past sins, and Joe’s dedication to family regardless of the situation. This flaw ultimately leads to their downfall, a result of their free choice, not fate or unalterable forces. John Proctor chooses to rip up his confession, so too does Joe Keller choose to commit the crime and injustices that lead to his demise. Despite all of this, however, the observer feels pity for these tragic heroes in that the feel the severity of the punishment exceeds the crime committed. The observer of the characters feels uneasy about their former actions, but at the same time sorry for them on account of their suffering. From the ir downfall, both men learn that the fault is within themselves, thus reaching a point of self actualization. John Proctor and Joe Keller, two of Miller’s most notable characters are closely related in terms of their roles in their respective plays, The Crucible and All My Sons. However, they are placed into completely different situations and given contrasting priorities and values. They are two separate archetypes who both fit the Aristotelian model of a tragic hero. They are portraits of men faced with inevitable conclusions, able to see the downfall ahead of them yet unable to stop it. From this, the brilliancy of Miller’s adaptability as a playwright is undeniably evident.