Political Equality Essays - Egalitarianism, Social Inequality

Political Equality The beginnings of political equality were dim. America was just beginning to set up a political system when ideas of equality began to arise. Questions concerning citizenship, rights, and civil liberties made plans for the American political system seem overwhelmingly complicated. The idea of political equality itself was a theory of very limited scope -- a foundation rather than a structure. Different convictions as to the obligations of government were buried in it from the beginning, and no clear original intent could be extracted. (Pole 45) But the founders of this country were sure that America would be a nation composed of values and equal rights. There was some debate over the idea of how the states were to be represented. Interestingly enough, the idea of equality, on a political scale, was only implied by the Constitution, rather than outwardly stated. The principle of equality of political individuals, which translates into that of one man, one vote -- and ultimately into one person, one vote -- in approximately equal electoral divisions, was implicit in the Constitution of the United States, rather than being expressly declared by it. (Pole 47) One vote per person: this created some controversy, but was later accepted as the most equal method of voting. During the creation of the Constitution, there were many disputes and disagreements regarding various methods for creating equality among American citizens, but overall, the Federal Constitution did more than any other instrument to define political equality as a fundamental principle of American government. (Pole 50) The structure of the Constitution was perhaps as meaningful to the ideal of equality than the words themselves. The political thought surrounding the Constitution converged on this principle; nothing in the text led in any other direction. In this sense the Constitution may be said to have contained provisions pertained more explicitly to the expression of these implicit values. (Pole 63) The use of language, clauses, and any other implications the document might entail, make the Constitution itself a symbol of equality. The words decree it, but the document stands for it. The question about different types of equality came about in South Carolina when a committee joined to discuss this matter. They thought that equal rights would rightly produce unequal results, which could be represented by a comparison of the lower and upper classes. Equality, its members declared, was the natural condition of man, the basis of his moral excellence and political happiness, not the amount of money one had. (Pole 154) This group reasoned that the upper-class would be given more rights and advantages because of their social status... that political equality did not coincide with equality of opportunity. They thought that because the upper-class had more money, therefore they had more political weight. And, likewise, the lower-class would not have as much pull on the American political system. It was an argument that would have profound resonance in the very different context of American Reconstruction, when equality of political rights for the freedmen (together with e quality before the law) became, for a time, the key to all others. (Pole 155) Another event that helped shape equality in America's political system began with a land crash in 1819. This event devastated many people's hopes for ever owning any significant amount of property in life. American economics were in an uproar, yet people did not question the foundations of the country... on which they could very well have blamed the entire incident. Americans just hoped for the best as the economy gradually recovered. The effects of this event were outstanding. Workers organized into political sects and rallied not to let this unfortunate occurrence happen in the future. They made laws protecting themselves and their families and used the American political system to maintain what little they had left in the aftermath of this disaster. Political equality has been part of America ever since the founders of this country created the Constitution. It has come a long way since the 18th century, and probably still has a long way to go. America has achieved political equality, however, there are some aspects of that idea that can be improved upon, and yet others that will remain a constant reminder of

Regional Trade and Trading Block Agreements essays

Regional Trade and Trading Block Agreements essays The North American Free Trade Agreement: The North American Free Trade Agreement (NAFTA) was signed into law in October of 1992, and went into effect on January 1st, 1994. This tripartite trading bloc of North American countries established tariff-free trade, while removing many of the barriers to cross-border investment, expanding the earlier Canada- US Free Trade Agreement, created in 1989.. With tariff eliminations and duty-free status of a variety of products from favored nation suppliers, NAFTA has created the worlds largest free trade areas (Fugate). Several benefits have been noted, especially for member nation, Mexico. The benefits accruing to Mexico from the agreement include growth in national output, falling unemployment rates, and increasing trade with the U.S. The benefits of the agreement to Mexico are also reflected in the rapid growth of the Mexican maquiladora industry (Fugate). However, it is not all positive news. As real wage increases take hold in Mexico, some maquiladoras are no longer able to operate cost effectively. As such, there has been a disturbing trend of moving low-wage jobs out of the country and to China. In addition, it is feared that NAFTA has increased trade between the member countries at the expense of other nations, concentrating wealth in both Mexico and the United States (North American). As such, other trading bloc agreements have become to form, to counter this economic loss. The European Union was created in 1992, by the Treaty on European Union, otherwise known as the Maastricht Treaty. The finalized treaty had slowly evolved, since 1951, and many relationships that had developed during that forty-year period, beginning with the European Coal and Steel Community, formed by Belgium, West Germany, Luxembourg, France, Italy, and the Netherlands. Unlike NAFTA, the EU not only removes trade barriers, but also involves a single ...

Current Events and the U.S Diplomacy Assignment - 3

Current Events and the U.S Diplomacy - Assignment Example An emphasis on United States foreign policy after it discovered that there was Oil in the Persian Gulf, but other threats such as the Soviet Union using their troops were attempting to secure the region. As such, the doctrine stipulates that the United States had already declared its interest in the region (Carlsnaes, Risse-Kappen & Simmons 2013). According to Barfield (2010), the relationship between the United States and Afghanistan dates back to the 18th century although it was officially sealed in 1921 when a treaty was signed to confirm the diplomatic relations that had begun gaining ground. However, the relations between these two countries became much stronger during the Cold War, after the then President Turman declared that the diplomatic relations that had already started growing were going to be strengthened by the fact that senior diplomats from Afghanistan would be placed in each capital in the United States. Between 1948 and 1953, the two countries exchanged numerous diplomatic visits which greatly improved their relations. As a result, the United States began giving Afghanistan economic support in order to build infrastructure especially in major cities since the country had been rated as one of the poorest among the third world countries. Once the economic aspect had begun improving, the United States gave further support on the technical aspect, which was meant to develop skills that would later lead to a modern economy. Nevertheless, the United States declined to give Afghanistan any defense cooperation at the time. In a general sense, the end of the cold war relation between the two countries was characterized by the invasion of educated people from the United States who took over the hospitals, schools and other economic related aspects (Bacevich, 2002). Interestingly, the current relationship between the U.S and Afghanistan is quite complicated especially after the United States was boomed in 2001 by Osama Bin Laden.

White-collar crime and criminal theories Essay Example | Topics and Well Written Essays - 500 words

White-collar crime and criminal theories - Essay Example Based on the rational choice theory, individuals engage in crime deliberately, and they have the conscious that the act they engage in is criminal. The theory also holds that people engage in white-collar crime on their own and as a result of their own free will (Shover & Hochstetler 2). The rational choice theory states that individuals willing to engage in white-collar crime first evaluate their actions. Based on their evaluation of the situation, the individual then makes an assessment on whether there is a possibility that they will complete the action without any sanctions. The rational choice theory is also states that people who carry out white-collar crime tend to be motivated to do so because of the desire to make illegal gains (Shover & Hochstetler 4). The theory further argues that the entities and individuals engaging in white-collar crime know the consequences of such a crime, but they choose to ignore these consequences and engage in crime regardless of the consequences. For example, a white-collar crime like fraud is carried out intentionally with the aim of getting unscrupulous gains. Corporate entities also engage in white-collar crime intentionally since they know the consequences of such crime (Vito and Jeffrey 63). The other theory, which explains white-collar crime, is the social disorganization theory. According to this theory, the factors around a person have a profound impact on the possibility to commit a crime. The conflicts and inconsistency of institutions play a key role in determining whether the white-collar crime will be committed (Payne 224). The key theorist who advanced the social disorganization theory was Edwin Sutherland. According to him, the social disintegration of society can be regarded as the basis upon which white-collar crime takes place. The disorganization of institutions contributes to white-collar crime since it enables criminals to have an easy way.

Television Drama And Its Narrative Complexities Media Essay

Television Drama And Its Narrative Complexities Media Essay This assignment will examine the extent to which quality television drama is conceptually adventurous and narratively complex. By doing this, I shall use the television series, 24 as a case study. It will also demonstrate the relationship audience has with quality television and its complexities in its narratives. This assignment will endeavour to support all points and observations by appropriate scholarly research including work by John Peacocks Reading 24: TV against the clock and other various authors from the bibliography. The term quality television is very critical if it is used in an important perspective or within theoretical matters of television categories. It took on an added detailed implication when it was raised by television academics in the institute when they tried to clarify the defining features of broadcasts that gain quality characteristics. There is the theory that quality television is public television which is television broadcasts where the country is completely uncomfortable while it articulates itself, its past and unclear prospect (Bronk, Simons and Elsaesser, 1994: p.66). There is also the theory that a genre in drama is the quality television standard. Quality television has production expenditures, entertainment significances, performance and scripting which appeals mass audiences (Bronk, Simons and Elsaesser, 1994: p.66). The broadcast resilience is a subsequent importance of stylishness which presents and signifies the quality classification that frequently characterizes t he self-confident ability of those who produces certain broadcasts. Therefore, quality enhances a procedural requirement but furthermore establishes an institutional and independent requirement. If quality television can be defined by an educated medium, then television producers can comprehend what a good broadcast should be (Bronk, Simons and Elsaesser, 1994: p.66). Quality television materializes as a way of producing television programs. It originates from a reproduction on what has succeeded suitably from history and how it could be developed. Certain definition has suggestions and one of them is that quality television is pricey. Suitable money provision obtains modern equipment and pays for good performers, directors, writers and producers. It confirms high-quality production costs. This definition is institutional but it insinuates that quality television cannot be defined by a particular broadcast whether it is reliable by a specific genre. The broadcaster asserts that qual ity should have a general broadcasting procedure like an intense timetable (Bronk, Simons and Elsaesser, 1994: p.67). Quality television is created in a variety of various genres broadcasts which appeals to different kinds and sizes of audiences at different times of the day. Quality television is furthermore a television signal to high-tech advancement which allows an expensive artistic representation and improved sound model. The importance on high-tech advancements may highlight the quality television explanation by a specific broadcast production constitution and its delivery across reputable institutions that obtains both stability and creativity of producing television programmes but certain creativity may theoretically be attained through liberalization and a circumstance because a mass of channels is provided by a variety of independent producers to confirm a range of broadcasts while they focused themselves onto a mixture of audiences (Bronk, Simons and Elsaesser, 1994: p.6 7-p.68). By arguing and explaining peoples view of quality, it requires the exploration and argument of certain broadcasts or its tactics. If this is to be succeeded, involvement from television producers, audiences and reviewers would be essential. People will understand quality television needs an ongoing social discourse regarding the medium. Examples of Quality Television are series such as Seinfeld, Law and Order, The Sopranos, Ally McBeal, The X-Files, NYPD Blue and ER. These series are popular American Quality Television among other series that comes into view of audiences. In order for these series to come into the audiences view, exhilarating and pristine creation will be essential to appeal the audience and market publicity if there are cable stations and networks (Akass and McCabe, 2007: p.117). Local production will maintain to produce the predominant audiences globally. Nevertheless, the digital channels creation indicates that there will always be high-quality global broadcasting. Operating commercial channels finances confirms that broadcasting which appeals to high-class audience with sufficient expenditure influence will continuingly be the highly appealing choice for a consumer. That is why creative television series from the United States are developed. There are variations in program releases, new product ion approaches, financial redistribution centred around product impartiality and promotion diversity and the development to the fame of Home Box Office (HBO) which was centred around a totally distinct commercial representative than main broadcast networks such as ABC, NBC and CBS along with their associations and the nations respective stations which all marketed specific audiences to promoters (Akass and McCabe, 2007: p.3), (Lavery, Howard and Levinson, 2011: p.8). The broadcasting on HBO is not only restricted to high-end cable consumers but it also influences non-cable audiences. In the modern period, targeting specific niche audiences expendably and differently from creating a mass audience, HBO wanted elevated production benefits with excessive funds to endure costly shooting techniques and post-production editing but it associates itself with the modernist instead of popular, cinematic custom, classifying itself as an artistic style because it is at the high-end of parent com pany, Time-Warners range but its slogan is Its Not TV. Its HBO describes its quality sign and it defines the network period after 1996 (Nelson, 2007: p.180), (Akass and McCabe, 2007: p.3). This statement has included an analysis of the whole American commercial television structure. It has gained disparagements as it opposes the disrespectful movement of daily television. HBO was securely isolated from commercial television disruptions but nevertheless, HBO drama audiences are allowed to separate themselves from the television programming characteristic styles (Edgerton and Jones, 2008: p.25). All program networks are obliged by government ruling and associated agreements with partner stations and promoters to present a wide program facility that amasses the audience through a public and demographic variety classification (Edgerton and Jones, 2008: p.31). While HBO never used this model, other broadcasters have defended their company model that employs broadcasting to produce numero us customers to promoters as they see variations in media skills and culture. There are principles for quality television which alternates the stylistic self-reflexivity and liberal humanism to the ensemble cast, series fusion, complex character-based narratives and serialized construction (Peacock, 2007: p.15). It also involves debatable themes and is clear that quality television targets an organization with cinema as a better art quality characteristic to television as the quality genre developed. By the 1990s, quality television developed an important term settling with finances and aesthetics to become a genre within itself (Peacock, 2007: p.15). The cinematic filmic style may be the most important clear quality television feature. It has succeeded narrative complexity as the popular American television main characteristic by the late 1980s and early 1990s. Established quality television genre models have broadcasted their feature with evident recognizable cinematic filmic styl e which can be understood as a deliberate difference to the regular television broadcasting impassive style (Peacock, 2007: p.16). What quality television might be meant by conceptually adventurous is that television broadcasting is generally intense with adventure representations and the themes where people can relate to adventure. Television is always regarded as a writers medium and it establishes antagonism between an aesthetically traditional television principle as determined by dialogue and character as well as a more adventurous significance in style and narrative mode in cinema. Adventurous cable broadcasting and new markets have stimulated progression (Douglas, 2005: p.26). It has furthermore revolutionized television programming and presented new openings for writers. There are also rising audience division on specific cable networks which allowed niche broadcasting that would never be part of the three networks which limited casting is making adventurous and high quality shows such as Battlestar Galactica on the Sci-Fi channel, The Shield on FX and Dexter on Showtime. They generally run for an hour e ach week and keep the audience in suspense and guessing as to what would happen on the next episode. This strong timing, real-time importance and ticking clock all aided to tie the week-long inequality between episode programming and conceal the narrative combined in a series way (Peacock, 2007: p.20). Modern broadcasts targets audiences interests outside the limited timing television hour structure. They aim to appeal audiences that give themselves completely on their preference viewing. Quality television drama series are presented once a creative idea infiltrates the thoughtful industry activity. It is believed that drama has to be conceptually adventurous because without it, itll lack the quality expectations audience will be hoping for. There are other quality television characteristics which help the audience appreciation and action such as its scholarly consumption, fluent, specialized and perceptive speech, complex narrative construction and its rapid style (Akass and McCabe, 2007: p.26), (Richardson, 2010: p.22). People are carried between scenes and instances. This means more innovative concept and industrial talent are advanced. It also confirms the requirement the audience focuses (Akass and McCabe, 2007: p.27). This action complexity is regarded as another high quality television characteristic. It also puts the audience in the situation where they elevate when making a decisive conclusion. Every broadcast helps people explain and value it. Television series became more complex as it engages more actors and narratives which uses from one episode to few years to finish. From the year 2000 and onwards, American television drama has been creative and it has also been highly remarkable at the high-end of the series and its topic which lasts one hour long. This is assisted by the evident achievement of suggestive authorized cable models. American television drama episodes can cost over US$3 million respectively while these drama that lasts one hour long includes a variety of broadcasting styles and costs (Bonner, 2011: p.3), (Grant and Wood, 2004: p.127). American television drama is one example as to why it is conceptually adventurous and narratively complex because it is frequently invented by producers that has auteur recommendations who also employs 35mm film or its digital equivalent to attain a cinematic quality (Akass and McCabe, 2007: p.43). But before the year 2000, high-end American drama series costs was normally exploited by broadcast networks as the vital market share and profits diminished this drama genres excessive expenditure suggestion s. This broadcast drama was innovatively controlled by the safety first traditional content that institutions are afraid to acknowledge the marketable possibility of actual innovative investigation (Hoffmann-Riem, 1996: p.103). Broadcast drama was additionally restricted by overwhelming instant achievement anticipations. One purpose is to accumulate sufficient episodes to increase association and new back-end incomes if it produces the vital ratings by occasionally exaggerating efforts to extend its life and success. Network hesitancy remains putting many innovative restrictions on television drama production with certain reflections approaching deeply on program fees. For the last fifteen years, American prime-time dramas have deeply trusted complex tactics of episodic fiction to confirm the audiences constant venture in their narratives (Akass and McCabe, 2007: p.133). This is because it functions in a television view that is distinguished by the rising struggle between various me dia structures. For the last two decades, American television drama has been narratively complex which exploits the structured series probabilities. It highlights constant descriptive series upon limited episodic  plots (Akass and McCabe, 2007: p.26). Consequently, these series incline to accumulate complex narrative of background contexts and character relationships which is why they ask their audiences to participate. One genre which is crucially narratively complex is conspiracy dramas. American television drama narrative tactics are more understandable if people theorize them as conspiracy narratives because serials that features narratives of protagonists trying to reveal and end the evil operations of antagonists. These series intend on producing a  specific manner of television viewing where a functioned and alerted audience actions requires an inclination to involve the descriptive narrative theory and carefully listen to the elements by observing the conspiracy narrative rationalities. American television drama can be understood as a distribution to certain narrational mode and be reflected as a clear subdivision of  narratively complex programming (Vest, 2011: p.209). However, the narratively complex television series structure lets the narrative rationality of conspiracy to release its possible serial as it benefits flexible narrative paths basically because television series become lucrative the longer they stay on air. Series that utilizes certain  conspiratorial narrative structure also get additional complex characteristic of  conspiracy fictions. This presents a  significant difficulty which may justify the diverse audience responses to the conspiratorial series concluding episodes particularly for lengthy series. It directs people to the fundamental theories of series narration as an industrial structure which was always acquiring durable profit issues than in classical stylistic, credibility and consistency models. Conspiratorial television series help certain actions and user activity in online forums that is devoted to specific series debate in the modern era confirms this assertions rationality by welcoming their audiences to investigate their narrative complexities. It is clear that not every serial that endorses the conspiracy narrative rationalities trust the comparable elaborate tactics to help the audiences theory. Nevertheless, these series reveal the understanding that the narrative complexity suggestion is a main feature in the endeavour to initiate the audiences and cultivate their devotion to the series. The television programme, 24 is one example of quality television and conspiracy narrative program. It is one of the infrequent series to experience vital and commercial achievement from its launch as it is fascinating, sophisticated, creative and appealing (Peacock, 2007: p.13). However, the series argues the current quality television classifications through its persistent and creative aesthetics utilization and basic skills. 24 has successfully qualified as quality television by merging these recognized conspiracies with modern conceptual involvements. The series also uses and underlines both cinematic and videographic methods in its quality. 24s interest to cinematic quality is directly evident in all practical scenes. The show is shot on 35mm film and framed for 16:9 widescreen productions, media and structure which is nevertheless more generally linked with cinema than with the 4:3 quality part of American television (Peacock, 2007: p.16). 24 has showed cinematic filmic charact eristics which was frequently admired in long-established quality television. The series is also exclusive because the producers like the videographic quality. It has influenced audiences and critics with the video effect focus like digital clocks, on-screen text and the internet at the beginning. 24 may be the most videographic modern dramatic television broadcast because it not only uses videographic features as its mark quality and it still progresses to this point to contain its cinematic movements in a videographic context (Peacock, 2007: p.18). The series cinematic sequences are frequently dealt videographically whether it is split on screen or connected in real-time used filmic. The split-screens and ticking clocks on the series mainly understand the basic real-time vanity. The formulated numerous phone rings also appear to be more exciting. These are the main quality features that use videographic features as a characteristic show aesthetic in the clear narrative mass consti tution. The extremely strategized and clear cinematic shooting quality is important to 24s filmic influence but it is the videographic aesthetic indications that underline the broadcasts objectives. 24 actively markets videographic as a sign of its personal quality and complexities that benefits the cinematic. The serial videographic improvement transcends new quality television indications as these aesthetic metaphors can be understood more as an instinctive televised aesthetic style (Peacock, 2007: p.18). 24s narrative hour concurrence and televised broadcasting hour trusts an accurate series production as every final moments in an episode is understood to produce clearly to the starting moments of the next (Peacock, 2007: p.19). 24s high-quality stylistic construction clearly argues that the quality broadcast practicality highlights the seriality over the episodic. 24 also underlines this basic superiority constantly because the conflicted series narrative is widely motivated by its construction than within the complexity of its characters and story. The series title benefits the dramatic narrative construction which highlights the title (Peacock, 2007: p.19). The one day incidents are also told one hour at a time. This importance on time achieved mainly through aesthetic filmic and aural tactics as it is made to attain an enhanced concern and action-packed meaning. All narrative features of 24s individual seasons are always functioning with this ending comparing to the limited accessible diegetic offered to more quality dramas. For each season, 24 is always added by the friction between the sincere two or three influential storylines for the whole season that get settled and traded in each of several episodes. The hour-by-hour mysteries were also clocked so that many experiences concur and the seasons conclusion assured the ending (Peacock, 2007: p.20). This causes friction through the construction and the narrative also caused a friction through the consp iracy story. These are the conflicts that are operated and highlighted by the broadcasts aesthetics where the split-screens suggest numerous storylines, narrative gaps and ticking clocks. The shows frequent real-time evident assertions need an insistent meaning and an approaching ending. 24s basic quality innovations insisted the current quality characterizations and can be understood as an impulsive utilization and clearer analysis of twenty-first centurys television constructions (Peacock, 2007: p.21). The series appeals interest to the fanatical televised time limits and the obsession with these limits which are frequently focused. 24 can be categorized as conceptually adventurous because it uses the main action-adventure series quality features which combines common characteristics such as series consisting genres of action-adventure, spy, crime, detective and thriller (Peacock, 2007: p.164). All these genres identify an array of qualities which contain an inclination for substantial dramatic action and a narrative construction including eruption, pursuing and conflicts. Numerous joint storylines of 24 evidently explain that modern television drama narratives trust complexities which includes some plots and characters to keep their audiences appealing. The highly important series characteristic merges a clear construction with the real-time structure utilization (Evans, 2011: p.117). Program series operates in 24 as far as specific episodes distorting simultaneously. The narrative operates throughout a series of episodes until the season finale. This is linked with a complex narrative which can be discovered in the quality television discussion. 24s fourth season has convincing associations to complex narrative (Evans, 2011: p.119). Many narrative features linked in every episode is not determined. The primary Danger narrative is highly outstanding. It centred on the seasons antagonist, Habib Marwan and featured the defence secretary, James Heller being abducted, the atomic power plants destruction, the Air Force One terrorism and the Chinese mission assault which initiates its government to pursue vengeance on Jack Bauer (Evans, 2011: p.119). Furthermore, it featured Jacks relationship with Jamess daughter, Audrey, Erin Driscolls daughters suicide and the alienated romantic relationship between Michelle Dessler and Tony Almeida in Season 2. 24s audience also enjoyed obtaining the advantage to participate with specific complex and frequent stimulating narratives (Evans, 2011: p.119). The series is characterized by audiences from insignificant television broadcasts by its complex narrative construction especially with the way the narrative alters melodramatically. 24s skill to modify emphasis and introduce new narrative storylines is important to the audiences interest. By now I believe I have examined the extent to which quality television drama is conceptually adventurous and narratively complex by using the television series, 24 as an example. 24 have demonstrated the quality that fascinates the audience. It is clear that a lot of money was invested into the program to provide the best service to the audience. The adventurous style and complexities have certainly helped the weekly ratings because the innovation that was produced in the series has brought the audience into excitement which clearly defines what quality television is. I believe the term quality television is what the audience make of it as it is determined by what they think of a specific program. To achieve the audiences expectations, it is important to provide the best facilities such as cinematic technologies and networks that can help promote the program. Bonner, Frances. Personality Presenters: Televisions Intermediaries with Viewers. Farnham, Surrey: Ashgate, 2011. Print. Douglas, Pamela. Writing the TV Drama Series: How to Succeed as a Professional Writer in TV. Studio City, CA: Michael Wiese Productions, 2005. Print. Edgerton, Gary R., and Jeffrey P. Jones. The Essential HBO Reader. Lexington.: University of Kentucky, 2008. Print. Elsaesser, Thomas, Jan Simons, and Lucette Bronk. Writing for the Medium: Television in Transition. Amsterdam: Amsterdam UP, 1994. Print. Evans, Elizabeth. Transmedia Television: Audiences, New Media and Daily Life. New York: Routledge, 2011. Print. Grant, Peter S., and Chris Wood. Blockbusters and Trade Wars: Popular Culture in a Globalized World. Vancouver: Douglas McIntyre, 2004. Print. Hoffmann-Riem, Wolfgang. Regulating Media: The Licensing and Supervision of Broadcasting in Six Countries. New York: Guilford, 1996. Print. Lavery, David, Douglas L. Howard, and Paul Levinson. The Essential Sopranos Reader. Lexington: University of Kentucky, 2011. Print. McCabe, Janet, and Kim Akass. Quality TV: Contemporary American Television and beyond. London: I.B. Tauris, 2007. Print. Nelson, Robin. State of Play: Contemporary High-End TV Drama. Manchester: Manchester UP, 2007. Print. Nelson, Robin. TV Drama in Transition: Forms, Values, and Cultural Change. New York, NY: St. Martins, 1997. Print. Peacock, Steven. Reading 24: TV against the Clock. London: I. B. Tauris, 2007. Print. Richardson, Kay. Television Dramatic Dialogue: A Sociolinguistic Study. New York: Oxford UP, 2010. Print. Swanson, Dorothy Collins. The Story of Viewers for Quality Television: From Grassroots to Prime Time. Syracuse: Syracuse UP, 2000. Print. Taylor, T. Allan., and James Robert. Parish. Career Opportunities in Television and Cable. New York: Ferguson, 2007. Print. Vest, Jason P. The Wire, Deadwood, Homicide, and NYPD Blue: Violence Is Power. Santa Barbara: Praeger, 2011. Print.

When Irony Becomes Cynicism :: essays research papers

Understanding modern culture can be very difficult. There are so many parts and variables that make up modern culture, and on top of that, these parts are always changing. In that sense, identifying and analyzing a specific trait in modern culture can be extremely challenging. Pinpointing a trait that is so frequently overused it is often taken for granted. Then being able to explain it so well that people will be able to understand and see this trait as if they had never used, or been a part of it before. This is the case with an essay by Charles Gordon, When Irony Becomes Cynicism. Through his essay, one learns where irony’s roots started to grow into today’s monster that it is, and how irony is overused in television, radio and conversation. Gordon has skillfully and honestly shown how irony is perceived and used in today’s society. He fully shows that people use irony incorrectly, and it is to their disadvantage. Gordon has a particularly negative view on how much irony is used today. The thesis in his essay is not clearly stated, but his implied argument is that the overuse of irony has made society cynical. This negative view comes across to the reader through sentences such as the following, after Gordon has explained the technical meaning of irony, "In today’s context, irony is a sensibility that values cleverness and style above passion and commitment. It attacks bad taste by seeming to celebrate it. It mocks devotion to important causes by feigning devotion to trivial causes†¦ Which makes it sound pretty awful, and it can be." After the first few paragraphs in his essay, it becomes clear which side Gordon is on. However, he does show that he is not totally putting down irony, just the people using it incorrectly, "†¦ there is a line between irony and cheap cynicism that not everyone finds easily. The skillful ironist, one who uses the form as a weapon rather than an instrument of self-amusement, does society a service." His argument towards society’s use of irony is well presented through his strong sentences. Gordon also provides an example of a popular show that is almost based totally around this cynical-irony he is discussing. "Take almost any episode of the much-celebrated Seinfeld television show and try to find anything more important than the lineup at a bagel store being discussed." Gordon then begins to hint at the source of this type of overused irony, a part of society he rests some of the blame on: pop-culture.

Department store Essay

â€Å"What I Heard at the Discount Department Store† ─David Budbill.  Q: How soon do you understand that a character, other than the poet, speaks this poem? What is her tone and how do you know it? In David Budbill’s poem, â€Å"What I Heard at the Discount Department Store†, it is evident by line six that someone other than the poet speaks this poem. The poem starts off in first person. The character is an angry mother â€Å"dealing† with her young child in a discount department store. Stop it. I mean it. You know I do. If you don’t stop, I’ll give you fucking something to cry about right here and don’t think I won’t either (lines 2-5). This displays how the character which is obviously the mother is speaking and it also displays her anger and frustration. The poem continues on and the point of view changes and as the reader, I became the spectator. â€Å"So she did. She slapped him across the face. / And you could hear the snap of flesh against the flesh†¦Ã¢â‚¬  (6-7). Understanding that both the poet and the character are speaking in this poem occurs early on and it isn’t until the poem redirects back to first person point of view, that it is understood that there are two speakers in this poem. Budbill emphasizes the tone of the mother’s character (anger and frustration) by the words he chose for the mother to say. In line three of the poem she drops her first â€Å"f-bomb† and does so again in line 20, which is  followed by another curse word. â€Å"You can get away with fucking murder there, / but you can’t get away with shit like that with me† (20-21). It is obvious that she is angry by the words she is using with her young child and it is also evident that she is frustrated with her child’s behavior. The mother’s frustration is demonstrated through line 16-21 when she explains how her child is not at school, where she believes him to get away with misbehavior, and that he is now with his mother where no misbehavior is accepted, â€Å"You’re not in school anymore. / You’re with your mother now† (18-19). The tone of the mother’s character is displayed through her choice of words and how she speaks so aggressively to her son.