Stigma And Mental Health Problems - 2610 Words

†¢ Stigma: As it’s stated above, when children have mutually responsive and dependable relationship with their first caregiver, a secure attachment style develops (Sroufe, 2003). This makes the children believe that their primary caretaker (parent) will always be available for them to meet their needs. Bowlby stated that a child who has experienced a secure attachment is however, likely to develop a representational model of attached figure that will be available, helpful and responsive to them (Bowlby, 1980). For the children, this secure attachment serves as a form of self-confidence, healthy sense of autonomy and the capacity to tolerate stress (Bellow, 2012). In an event where the parent is imprison, children may experience disapproval, ostracism, stigma, scorn, bullying and teasing, which might increase their antisocial behavior and mental health problems (Braman and wood 2003 cited in Murrey Farrington 2005). The Stigma and feeling of isolation associated with be ing the family of a prisoner, or being contaminated in some way can lead to abuse from others. According to Boswell and Wedge 2002, the interview with 127 caregivers of children with imprisoned father, suggested that children sometimes get verbal abuse from other children about their parent imprisonment, and when this pressure is too much to handle they end up not wanting to go to school (child s caregiver, quoted in Boswell and Wedge, 2002, p. 67). These attitudes from many families can really be aShow MoreRelatedStigma And Suicide : A Mental Health Problem1005 Words   |  5 PagesIf a person is experiencing a mental health problem and tries to seek help from healthcare providers, will he/she be prioritized or even taken into great importance as other medical issues? The healthcare system is expected to be the place that people can rely on when they are experiencing psychological distress and other mental health crisis (i.e. suicidal ideation). But with derisory attitudes towards people with a mental illness, how can we expect them to disclose these issues and seek the treatmentsRead MoreAlicia Kate O. Borja. English 27 A. Andre Dominic Peralta.1260 Words   |  6 PagesAlicia Kate O. Borja English 27 A Andre Dominic Peralta Reducing Stigma in Mental Health Conditions Background on Mental Health Mental Health is often used as a representation of mental health conditions such as anxiety disorders, depression, schizophrenia, and others. According to the World Health Organization (2016), mental health is a state of well-being wherein an individual has the capacity to realize his or her own potential, can manage with the normal stresses of life, can work efficientlyRead MoreEffects Of Stigma Toward Mental Illnesses1711 Words   |  7 PagesIntroduction Mental illness is one of the most stigmatized medical conditions in society. People diagnosed with mental illnesses experience a difficult social life, where most of the community members harbor prejudicial attitudes toward them. Undoubtedly, having a mental illness profoundly affects how an individual interacts with the rest of the community in various issues. More often than not, the social consequences of mental disorders are negative since persons with the illness are naturallyRead MoreStigma And Stigma Of Stigma992 Words   |  4 PagesAround the U.S. and other countries stigma has been an issue that has caused treatment for mental health to be less effective than it should be. It is a huge issue when people believe that getting help for something that ills them is a sign of weakness or that it is not a real problem. No one ever thought that about a stomach bug or a headache, but when it comes to depression, anxiety or any other psychological issue people view it in a different light. Kids are going excused from school becauseRead MoreMental Illnesses And Mental Health1165 Words   |  5 PagesIntroduction World Health Organization (WHO, 2014) defines Mental health as a state of well-being in which the individual realizes his or her own abilities, can cope with the normal stresses of life, can work productively and fruitfully and is able to make a contribution to his or her community. Whereas Mental illnesses (MI) are characterized by alterations in thinking, mood or behavior associated with significant distress and impaired functioning (Health Canada, 2012). MI affects people of all agesRead MoreMental Health And The Media982 Words   |  4 PagesMental Health and the Media Mental illness in general carries an enormous stigma. People have respect for and take seriously physical ailments but when it comes to mental illness there is still immense discrimination. The stigma that comes from having a mental disorder such as, bi-polar depression, schizophrenia, or panic disorder comes with an enormous societal cost and can cause people not to talk about it. They may feel ashamed, embarrassed or fear stigma. Not seeking treatment causes people livingRead MoreThe Stigma Of Children With Mental Illness1608 Words   |  7 Pageswith mental illness. This stigma creates a negative feedback loop in how society views people with psychiatric disabilities. Media portrays people with mental illness as scary, bad, dangerous, unpredictable, and un-educated. These views cause people to shy away and fear the mentally ill. This stigma also affects a person’s willingness to seek help when they are experiencing a mental illness. Some cultures, such as Hispanic Cat holics, may not recognize mental illness as a health problem, butRead MoreIntroduction.... â€Å"If Mental Illness Could Be Seen On A1255 Words   |  6 PagesIntroduction... â€Å"If mental illness could be seen on a sufferer maybe society wouldn’t say ‘just get over it’ .† Mental illness unlike other diseases or disorders are, for the most part invisible. They are not easily recognised. These instances of being told to â€Å"just get over it† or â€Å"just calm down† or â€Å"It’s all in your head† are direct evidence of the stigma of having mental illness present in some cultures. A mental illness is in fact in your head, but your head is connected to body, they areRead MoreThe Stigma Of Mental Health Stigma1178 Words   |  5 Pages To many a stigma is a disgraceful flaw, that of a negative presence. In mental health this stigma is overwhelming. Approximately 57.7 million Americans experience a mental health disorder in any given year. (National Alliance on Mental Illness) People in dire need of help are not seeking it. Mental illnesses are going undiagnosed. The mental health stigma is having a negative impact on the proper diagnosis and treatment of mental illnesses. A stigma can simply be defined as a mark of disgraceRead MoreMental Health Stigma, Discrimination, and Prejudice1712 Words   |  7 PagesMental Health Stigma, Discrimination and Prejudice Karen Bleicher Spring, 2009 Professor Mark Harris Social Problems 2023 To Fight Stigmas, Start with Treatment Last fall, British television broadcast a reality program called â€Å"How Mad Are You?† The plot was simple: 10 volunteers lived together for a week in a house in the countryside and took part in a series of challenges. The amazing thing was that there were no prizes at the end of the challenges. There was a very interesting

The Role That Globalization of Television Has Played in the Construction of Cosmopolitan Identities - Free Essay Example

Sample details Pages: 7 Words: 2114 Downloads: 3 Date added: 2017/09/14 Category Advertising Essay Did you like this example? Beatriz Ramirez Lopez s3231464 The role that Globalization of Television has played in the Construction of Cosmopolitan Identities. In this essay, I will expose my thoughts, arguments and ideas of how global television has constructed an identity in which people refer and familiarize that doesn? t necessarily belong the same place. During the last decades television had to face the crucial change that the world has faced known as globalization. This change in the media needs to be understood in the wider context of the globalization of capitalist modernity, since global television is constituted by and of the inherently globalizing nature of modernity (Barker, 1997). Modernity, as Marx and Weber theorized, is a period marked by change, motivation and dynamism. If modernity is a period in which capitalism, industrialism, surveillance and military power (Giddens,1990) can be found, I should say that we have passed that point beyond. We live in a period in which postmodernism as a cultural form can be seen as a radicalized modernity. Don’t waste time! Our writers will create an original "The Role That Globalization of Television Has Played in the Construction of Cosmopolitan Identities" essay for you Create order Nevertheless, this postmodernity doesn? t have to be composed of the same meaning as what it is known as the postmodernity concept in a historical period. This is because in the postmodern culture different concerns have emerged at the same time that a global compression of time and space had took place in the late modernity. Chris Barker describes the culture of global television as postmodern in form and argue that the institutions of transnational television, which are institutions of modernity, are globalizing a postmodern cultural form. (Barker, 1997, p. 1) The institutions that are part of a capitalist modernity had been facing the globalization challenge in which they had to act in order to be part of this change. Television, as a capitalist institution, has also contribute to this challenge through the world-wide circulation of images and discourses. Nowadays, television programs offer a wide range of entertainment, information and persuasion. It also offers a simple re? ecti on of the world with forms of knowledge that represent speci? c constructions of ideas that we receive every time we turn on our Tv. Global television plays a direct role because it penetrates into the local systems and display alternative understandings of time and space. According to Chris Barker; The dynamism of modernity is founded upon its re? exive nature, the continual re-evalutation of knowledge. Re? exivity refers to the use of knowledge about social life as a constitutive element of it and refers to the constant revision of social activity in the light of new knowledge On a more institutional level television has been increasingly re? exive about its own status and production techniques. Television has a history and repeats that history within across channels, this articulation of styles and histories contributes to the viewers understanding of TV history Television contributes to our increasing re? exivity about ourselves, our culture and the history, conditions and techniques of cultural production. (1997, p. 15-16) As a result, television gives us the opportunity to be world travelers in the comfort of our own space being part of a society that lives in a world as a whole, or better described as a globalized space. However, what happens when one half of the world? s largest economic units are nations and the other half are transnational corporations belong to the same nation? Is society changing to a global postmodern culture or just is it becoming a follower of an identity from an speci? c country(ies)? â€Å"Globalization is mainly an economic phenomenon and refers to the economic activity on a global scale and is an aspect of time-space compression or the shrinking world†. (Barker, 1997). This argument is fairly true; although, the process of creating a world economy has grown in an uneven way. Representation, identity and cultural meaning are some issued that are also concerned by globalization. The values and meanings can remain signi? cant, but speaking of a globalized society, these values and meanings can extend far beyond their locations suffering a transformation from its very real meaning. As Hedbidge (1990) argues, cosmopolitanism is an aspect of our every day life. Diverse cultures are becoming more accessible today. That? s how we can choose what type of food we can eat or which artist can we listen to, dress a speci? brand coming from a trendy country or just watch the Tv shows from speci? c countries. We are becoming a global culture but Barker indicates that if by global culture we mean a unitary world culture, or a bounded culture connected to a world state, then we are a long way from that scenario. Cultural values and feelings refer to three main components that are based in a shared experience. These components associate the shared memories of speci? c eve nts and people, sense of generational continuity and a common sense of destiny on the part of the collectivity. In terms of a global culture, a process of integration and disintegration represent an homogenization of a culture. This effect can be well placed in the consumer culture. Brands like Coca-Cola, Starbucks, KFC and many others ring our bell regardless the nation we come from. An interesting point to mention is that in the consumer culture as in the global tv an speci? c country owns the majority of these brands which displays an american way of life. The globalization of television is an aspect of dynamism of modernity in? ected with the logic of capitalism. Capitalism is a system of commodity production premised upon the private owner-ship and control of the means of production whereby the owners of the means of production employ wage labour to produce commodities, which have exchange value, for sale in the market Television is bound up with capitalist modernity both as a set of economic activities and as a cultural force constituted by and constitutive of modernity. The rise of transnational television since the mid-1980s is, thus, an aspect of capitalist globalization whereby this essentially economically riven set of activities is also a set of cultural practices involving the circulation of ideas and images around the world. (Barker, 1999, p. 20-21) Television promotes the capitalism in the postmodern society. There is money to be made from production and sale of programs, from selling the technological hardware of television, and to deliver audiences to advertisers for their target market so that television can be the centre of wid er commercial activities. Particularly the media ? ts into this global economy by supporting transnational corporations. Global television also refers to television in which technology, ownership, program distribution and audiences operates across the boundaries of a nation. But what happens when a nation doesn? t want to be part of that global culture? A clear example is the communist nation Cuba, since Fidel Castro? s dictatorship the media is limited to the national broadcast organization; the government is the one in charge of controlling the media power whereas in some other Latin countries such as Mexico the media power is absolutely independent from the government which allows the exchange of programs distributed in all over the world. National broadcasting systems had to face the concern of international trade in television taking them to be part of the global television. For example, the soap operas, game shows etc that have their version in the country that is going to be consumed, such as Big Brother, The Biggest Loser and many others. Soap operas in the global television are programs that can in? uence the most in creating some patterns with their content. The soap? s ability to deploy a wide range of characters allows multiple identi? cations by the audience who can familiarize with some characters. These programs are often structured by the tension between realism and melodrama (Barker, 1997). The content can represent social issues such as AIDS, race gender, homosexuality, unemployment, drugs addiction etc. Some others include in their content speci? c environments in which the audience expect to be close to the reality. For example, the ? rst time I saw Neighbours, I found that they used a lot of great outdoors scenes such as the beach, their dress-code and the activities that the characters can have which made me think of a holiday. The narrative of soap operas frequently focus on women characters and are structured in a way tends to familiarize a woman? s point of view. In Latin America, Mexico and Brazil are the main countries that export their soap operas to other countries in the continent as well as to Europe and Asia. These programs also show an unrealistic scenery where the audience can identify with some characters and impose trends in which people will follow this type of identity and adapt it to their own necessities. Another thing to mention is that some tv programs can be produced to the immigrant audience promoting some of their values in order to maintain them alive. Another example of global television, besides soap operas, are global news that in the last ten years had played a fundamental role in creating opinions and thoughts in the audience. The terrorist attacks of 9/11 made CNN, BBC, Reuters and other international broadcasters ? owed information in all over the world. This event marked the world because the message that was delivered in every place created a con? ct between cultures giving as a result the prejudgement of islamic people associating them as terrorists. According to Chris Barker argument in Television as a global space. Electronic media break the traditional bonds between geographic place and social identity since mass media provide us with increasing sources of identi? cation which are situated beyond the immediacy of speci? c places. For example, the way in which televi sion brings the outside world into the home rede? nes the boundaries between the private and the public onstitutive of identity in that young people negotiate through talk shared understandings about how to â€Å"go on† in their society as persons within social relationships. (1999, p. 119) The concept of the audience is a social construction, the idea of an audience is never merely an innocent description if the sum total of individuals. In the market the audience is considered the target consumer. â€Å"The most common conception of the audience within the media industries is as a conglomeration of potential and potentially overlapping markets†. Grossberg, 1998, p. 209). Media industries usually spend enormous amount of time and money in order to convince media consumers to buy a particular media product. As a result, media create stereotypes in which a global society ? ts and consumes. The media provides pictures of people, descriptions of different social groups an d of their social identities. This pictures are kept in our head and help us to identify where does the person belong to. Lawrence Grossberg points a de? nition of stereotypes; Stereotypes can de? ne some people? expectations of how, for example, women, or Hispanics, or other groups in the society are supposed to behave. In this sense, stereotypes are neither avoidable nor necessarily bad. In the modern world, the media are obviously a major source of such pictures In this sense, stereotyping is the process of distorting the portrayal of some social group in the media image. That media contribute to stereotypes (and even create stereotypes of groups) is assumed to be the result of systematic biases in the portrayals of social groups. (1998, p. 21) Stereotypes have a real and important consequence in the global cultures. They can affect the self-esteem of those being stereotyped, they can also determine by mistake the way some people think and behave, but the worst is that creates an arti? cial idea in society that will link that group with the stereotypes that can hardly get rid of. Although identities are created in the culture of an speci? c time and space in which a society lives, the new global culture has faced the identity crisis because of the power of the media in the people? lives. Media produces people? s identities of who they are and who others are. â€Å"There are many dimensions on which people have a sense of themselves, a sense of their own identity† (Grossberg, 1998. p. 206) In conclusion media can produce identities in a political, social, cultural, and economic way in order to ? t in the global economy and global culture that the new technologies have challenged a postmodern society. 2025 words References Barker, C (1997). Global Television, an Introduction. Malden, Massachussetts: Blackwell Publishers. Barker, C (1999). Television, Globalization and Cultural Identities. Buckingham, Philadelphia: Open University Press. Giddens, A (1990). The Consequences of Modernity. Cambridge: Polity Press. Grossberg, L (1998). Media Making Mass Media in a Popular Culture. London: SAGE. Hebdige, D (1990). Fax to the Future, Marxism Today. January. Murdock, G (2007). Media in the Age of Marketization. Broadway, New Jersey: Hampton Press.

Effects Of Procrastination On Our Spiritual Life - 1273 Words

Effects of Procrastination on Our Spiritual Life It seems odd at first, thinking it s an ironic statement for procrastination to have an effect on our spiritual lives. Intrinsically, we need to first understand that we are actually spirit beings living in a vessel called the body (flesh). As a matter of fact, our spirit is more real than the flesh. This was unbeknownst to me, until I transmogrified to a believer. Taking a brief excursus, lets firstly understand the grammatical meaning of the word procrastinate. Procrastinate was gotten from the Latin word Pro-crastinus. Pro meaning in favour of, while Crastinus means tomorrow. So, ideally, procrastinate literally means to be in favour of tomorrow and generally means delay or postpone action. There is a time for everything, and a season for every activity under the heavens Ecc 3:1. But I would want us to understand that God didn’t create a time to procrastinate, it was created by Man. That’s not possible! as some of you might say God created everything, even death. Yes, I agree. The sentiment expressed in the verse quoted above, embodies the substantiality that, there is always a time to indulge in and to do everything, which includes procrastination. But, we must fathom the fact that procrastination is segmented into two categories; Spiritual and Carnal Procrastination. This article is predominantly based on the effects of Carnal Procrastination on our spiritual lives. SpiritualShow MoreRelatedEssay on Personal and Professional Challenges1607 Words   |  7 Pagesrejecting word. In reality life would not move forward without unfavorable factors. Life is a series of pleasant and unpleasant elements and events combined together to take us to our desired destination. Obstacles help us to learn and grow in our physical, mental, emotional, and spiritual aspects during our lifespan. 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The Universal Theme Of Good Vs. Evil - 1302 Words

The Universal theme of good vs. evil The universal theme of good and evil is one of the most commonly used themes in literature. In literature some writers choose to directly state themes of confidence, while others allow them to indirectly develop. English literature often tends to concern itself more and more with the intended meanings of the work through common stories of good and evil those are holding specific symbolic meanings, whether these meanings represent good or evil, the readers continue to see the true meanings of select works. Writers most often develop works using themes of good and evil, whether they state them symbolically or directly. Readers may determine a theme as an idea, point of view, or perception, embodied and expanded upon in a work. Good and Evil in Terms of Religious Beliefs Good is usually associated with ideas of God. Evil is usually associated with ideas of the devil. When the writer conveys messages of good and evil, they commonly use the symbols of light and dark, or general opposites. Light, remaining the universal symbol of good, may be defined as love, happiness, or even as a heavenly presence. As Opposing to darkness which continues to represent evil as anything threatening, cold hearted, or aggressive. Light tends to expresses a positive affirmation while darkness carries the negative sense of chaos. In the Epic of Gilgamesh there are examples of good vs. evil such as the external values of pagan culture (heroism). Gilgamesh is aShow MoreRelatedGood Vs Evil : `` Something Wicked This Way Comes `` By Ray Bradbury838 Words   |  4 PagesGood Vs Evil In the Novel â€Å"Something Wicked This Way Comes† by Ray Bradbury, the characters support the Universal Theme of â€Å"Good Vs Evil†. 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Emily dickinson 2 Essay Example For Students

Emily dickinson 2 Essay Emily Dickinson was ahead of her time in the way she wrote her poems. The poems she wrote had much more intelligence and background that the common person could comprehend and understand. People of all ages and critics loved her writings and their meanings, but disliked her original, bold style. Many critics restyled her poetry to their liking and are often so popular are put in books alongside Dickinson’s original poetry (Tate 1). She mainly wrote on nature. She also wrote about domestic activity, industry and warfare, economy and law. â€Å"Her scenes sometime create natural or social scenes but are more likely to create psychological landscapes, generalized scenes, or allegorical scenes.† She uses real places and actions to convey a certain idea or emotion in her poem. She blends allegory and symbolism, which is the reason for the complication in her poems because allegory and symbolism contradict each other (Diehl 18, 19). Dickinson did not name most of her poems. She named twenty-four of her poems, of which twenty-one of the poems were sent to friends. She set off other people’s poetry titles with quotation marks, but only capitalized the first word in her titles. Many critics believe she did not title most of her poetry because she was not planning on publishing her work. As Socrates said, â€Å"the knowledge of things is not devised from names†¦ no man would like to put himself or the education of his mind in the power of names†(Watts 130). Dickinson said that the speaker in all her poems is not herself. She incorporates her emotions, feelings, and hints at the facts about her life although she is not the speaker. Emily Dickinson’s poetry is short but meaningful and full of imagery on everyday subjects (Juhasz 73). Throughout most of Dickinson poetry she uses partial, slant or off rhymes, in which the final sounds of the word are similar but not identical. She knew she was not following the poetic methods of people of her time but didn’t care because she was writing for herself, not the public. Her stanza forms and poetic rhymes come from the Protestant hymns of Issac Watts (Wolff 101). â€Å"Emily Dickinson’s poems are usually written in short stanza, mostly quatrains with short lines usually rhyming only on the second and fourth lines. Other poems employ triplets or pairs of couplets, and a few poems employ longer, looser, and more complicated stanzas† (Tate 21). Her poems take on one line of iambic tetrameter followed by one line of iambic trimeter. Dickinson liked the hymn form of poetry and the then popular folk form. â€Å"Because I cold not stop for death,† is an example of her most commonly used metrical pattern (Watts 125). Throughout her poetry she used similes, or â€Å"Comparative Anatomy. † Emily used centripetal and centrifugal similes. In â€Å"The props Assist the House,† Dickinson is trying to convey a house under construction is like a soul in the process of being â€Å"perfected†(Shackford 2). Emily Dickinson never prepared for her poetry beforehand, but she made the meaning of her poetry as she wrote. She misleads the reader when she uses ellipses, inversions, and unexpected climaxes. The poems are very lyrical and â€Å"lacks the slow, retreating harmonies of epic measures† (Shackford 1,2). Dickinson wrote on death, love, nature and religion. She believed in the Puritan-Calvinist belief. She used very powerful religious words like â€Å"Calvary,† â€Å"Crown,† and â€Å"Redemption. † She uses a lot of imagery on baptism and crucifixion. In â€Å"All hail the power of Jesus’ name† she is telling what Jesus’ crown of thorns signified to the Puritans. It not only signifies sacrifice of Jesus’ life for our sins but love and sorrow also (Juhasz 167). Love was another favored subject of Dickinson. .u13db4b969796c6dcac4fa9bf36a47049 , .u13db4b969796c6dcac4fa9bf36a47049 .postImageUrl , .u13db4b969796c6dcac4fa9bf36a47049 .centered-text-area { min-height: 80px; position: relative; } .u13db4b969796c6dcac4fa9bf36a47049 , .u13db4b969796c6dcac4fa9bf36a47049:hover , .u13db4b969796c6dcac4fa9bf36a47049:visited , .u13db4b969796c6dcac4fa9bf36a47049:active { border:0!important; } .u13db4b969796c6dcac4fa9bf36a47049 .clearfix:after { content: ""; display: table; clear: both; } .u13db4b969796c6dcac4fa9bf36a47049 { 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; } .u13db4b969796c6dcac4fa9bf36a47049:active , .u13db4b969796c6dcac4fa9bf36a47049:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u13db4b969796c6dcac4fa9bf36a47049 .centered-text-area { width: 100%; position: relative ; } .u13db4b969796c6dcac4fa9bf36a47049 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u13db4b969796c6dcac4fa9bf36a47049 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u13db4b969796c6dcac4fa9bf36a47049 .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; } .u13db4b969796c6dcac4fa9bf36a47049:hover .ctaButton { background-color: #34495E!important; } .u13db4b969796c6dcac4fa9bf36a47049 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u13db4b969796c6dcac4fa9bf36a47049 .u13db4b969796c6dcac4fa9bf36a47049-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u13db4b969796c6dcac4fa9bf36a47049:after { content: ""; display: block; clear: both; } READ: Enron Taking Advantage Of Accounting Limitations Accounting EssayShe never talks about her love or lover but mainly concentrates on the passion side of love. In her poetry, she represents man with the words â€Å"Father,† â€Å"King,† â€Å"Lord,† and â€Å"Master.† She uses a metaphor to describe women to men as %

Poetry ppt ms Essay Example For Students

Poetry ppt ms Essay These elements Include: Rhythm Sound Imagery Form 4 ; Rhythm is the flow of the beat in a poem. ; Gives poetry a musical feel. ; Can be fast or slow, depending on mood and subject of poem. ; You can measure rhythm in meter, by counting the beats in each line. ; (See next two slides for examples. ) 5 Rhythm Example The Pickett Fence by David McCoy The Pickett fence Give it a lick its A slickest fence Give it a lick its a licked fence Give it a lick With a rickety stick Pickett pick. The rhythm in this poem is fast to match the speed of the stick striking the fence. Where Are You Now? When the night begins to fall And the sky begins to glow You look up and see the tall City of lights begin to grow In rows and little golden squares Behind the windowpanes as though A million billion bees had built Their golden hives and honeycombs Above you in the air. The rhythm in this poem is slow to match the night gently falling and the lights slowly coming on. By Mary Britton Miller 7 Writers love to use interesting sounds in their poems. After all, poems are meant to be heard. These sound devices include: Rhyme Repetition Alliteration Onomatopoeia 8 Rhymes are words that end with the same sound. Hat, cat and bat rhyme. ) ; Rhyming sounds dont have to be spelled the same way. (Cloud and allowed rhyme. ) ; Rhyme is the most common sound device in poetry. 9 Rhyming Patterns ; Poets can choose from a rhyming patterns. ; (See next four slides for ; BABY lines 1 2 rhyme and lines 3 4 rhyme ; ABA lines 1 3 rhyme and lines 2 4 rhyme ; ABA lines 1 4 rhyme and lines 2 3 rhym e ; ABACA lines 2 4 rhyme and lines 1 3 do not rhyme 10 BABY Rhyming Pattern First Snow Snow makes whiteness where it falls. The bushes look like popcorn balls. And places where I always play, Look like somewhere else today. By Marie Louise Allen 11 ABA Rhyming Pattern Oodles of Noodles I love noodles. Give me oodles. Make a mound up to the sun. Noodles are my favorite foodless. I eat noodles by the ton. By Lucia and James L. Homes,Jar. 12 ABA Rhyming Pattern From Bliss Let me fetch sticks, Let me fetch stones, Throw me your bones, Teach me your tricks. By Eleanor Freon 13 The Alligator The alligator chased his tail Which hit him in the snout; He nibbled, gobbled, swallowed it, And turned right inside-out. Y Mary Macdonald 4 ; Repetition occurs when poets repeat words, phrases, or lines in a poem. ; Creates a pattern. ; Increases rhythm. ; Strengthens feelings, ideas and mood in a poem. ; (See next slide for example. ) 15 Repetition Example The Sun Some one tossed a pancake, A buttery, buttery, pancake. Someone tossed a pancake And flipped it up so high, That now I see the pancake, The buttery, buttery pancake, Now I see that pancake Stuck a gainst the sky. By Sandra Litotes 16 ; Alliteration is the repetition of the first consonant sound in words, as in the nursery rhyme Peter Piper picked a peck of pickled peppers. ; (See next slide for The snake slithered silently along the sunny sidewalk. 17 Alliteration Example This Tooth I Jiggled it jiggled it jerked it. I pushed and pulled and poked it. But As soon as I stopped, And left it alone This tooth came out On its very own! By Lee Bennett Hopkins 18 ; Words that represent the actual sound of something are words of onomatopoeia. Dogs bark, cats purr, thunder booms, rain drips, and the clock ticks. ; Appeals to the sense of sound. 19 Onomatopoeia Example Listen Scrunch, scrunch, scrunch. Crunch, crunch, crunch. Frozen snow and brittle ice .u1e8e19aec4fbb3487e01d211143f5bbf , .u1e8e19aec4fbb3487e01d211143f5bbf .postImageUrl , .u1e8e19aec4fbb3487e01d211143f5bbf .centered-text-area { min-height: 80px; position: relative; } .u1e8e19aec4fbb3487e01d211143f5bbf , .u1e8e19aec4fbb3487e01d211143f5bbf:hover , .u1e8e19aec4fbb3487e01d211143f5bbf:visited , .u1e8e19aec4fbb3487e01d211143f5bbf:active { border:0!important; } .u1e8e19aec4fbb3487e01d211143f5bbf .clearfix:after { content: ""; display: table; clear: both; } .u1e8e19aec4fbb3487e01d211143f5bbf { 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; } .u1e8e19aec4fbb3487e01d211143f5bbf:active , .u1e8e19aec4fbb3487e01d211143f5bbf:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u1e8e19aec4fbb3487e01d211143f5bbf .centered-text-area { width: 100%; position: relative ; } .u1e8e19aec4fbb3487e01d211143f5bbf .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u1e8e19aec4fbb3487e01d211143f5bbf .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u1e8e19aec4fbb3487e01d211143f5bbf .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; } .u1e8e19aec4fbb3487e01d211143f5bbf:hover .ctaButton { background-color: #34495E!important; } .u1e8e19aec4fbb3487e01d211143f5bbf .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u1e8e19aec4fbb3487e01d211143f5bbf .u1e8e19aec4fbb3487e01d211143f5bbf-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u1e8e19aec4fbb3487e01d211143f5bbf:after { content: ""; display: block; clear: both; } READ: Order to explore the poets EssayMake a winter sound thats nice Underneath my stamping feet And the cars along the street. By Margaret Hillier 20 Imagery is the use of words to create pictures, or images, in your mind. Appeals to the five senses: smell, sight, hearing, taste and touch. Details about smells, sounds, colors, and taste create strong images. To create vivid images writers use figures of speech. Five Senses 21 Figures of Speech ; Figures of speech are tools that writers use to create images, or paint pictures, ; Similes, metaphors, and personification are three figures of speech that create imagery. Simile A simile compares two things using the words like or as. another creates a vivid image. Example. ) The runner streaked like a cheetah. Simile Example Flint An emerald is as green as grass, A ruby red as blood; A sapphire shines as blue as heaven; A flint lies in the mud. A diamond is a brilliant stone, To catch the worlds desire; An opal holds a fiery spark; But a flint holds fire. By Christina Roses 24 Metaphor ; A metaphor compares two things without using the words like or as. ; Gives the qualities of one thing to something that is quite different. The winter wind is a wolf oiling at the door. 5 Metaphor Example The Night is a Big Black Cat The Night is a big black cat The moon is her topaz eye, The stars are the mice she hunts at night, In the field of the sultry sky. BY G. Orr Clark 26 ; Personification gives human traits and feelings to things that are not human like animals or objects. The moon smiled down at me. 27 Personification Example From Mister Sun Mister Sun Wakes up at dawn, Puts his golden Slippers on, Climbs the summer Sky at noon, Trading places With the moon. By J. Patrick Lewis 28 Forms of Poetry There are many forms of poetry including the.