I Cannot Upload My Homework On The Classroom Platform

I Cannot Upload My Homework On The Classroom Platform My Study Life is both a calendar and to-do list â€" plus it stores data in the cloud and allows you to sync with other devices. It supports weekly and daily rotation schedules and lets you specify how much of a task is completed (if you’re not totally ready to check something off your virtual to-do list). Slader may offer a Registered User certain rights relating to his or her own account, including the rightto access and delete his or her personal information. Slader reserves the right to delete the account of any user who it deems, in its exclusive discretion, to have breached these Terms of Use. Here are five research-based strategies that teachers can use to help students. Nowadays, almost every single interaction or service we encounter involves some sort of technology, whether it be ordering clothes, filling out applications, or even swiping right. At the end of the day, why must education be left behind? With a library of math, science, history, and foreign language answers right in our pocket, the opportunities are limitless. Paying someone to write your paper, whether it’s a fellow student or an essay mill, is a form of plagiarism and is usually considered one of the most serious by teachers and administrators alike. Your use of any web sites that are linked to the Web Site are governed by those sites’ terms of use and privacy policies. Slader makes no representations or warranties regarding those sites and their products, services, or content, and is not responsible in any way for your use of those sites. If teachers, students, or families do not find homework accommodations palatable, they may not use them. Generally, when students with disabilities participate in the general education curriculum, they are expected to complete homework along with their peers. But, just as students with disabilities may need instructional accommodations in the classroom, they may also need homework accommodations. When you click on a link within the Web Site, we will not warn you that you have left the Web Site and are subject to the terms and conditions of another website or destination. To become a Registered User, you must create an account with Slader through the online registration process on the Web Site. In creating an account, you must provide Slader with accurate and complete registration information, as prompted in the registration form. You must promptly notify Slader if any of this information changes. A dashboard gives you an overview of your entire day and even highlights if an incomplete task is due soon. It has reminders so you won’t lose track of a test or assignment. Strategies for improving home-school communication about homework for students with disabilities. It is important to check out all accommodations with other teachers, students, and their families. If you fail to provide or update this information, Slader may terminate your account or, in certain circumstances, your right to use the Web Site. You agree that Slader may communicate with you by e-mail using the address that you have provided. Slader is not responsible for communications we attempt to make via e-mail that you do not receive because the e-mail address we have on file is incorrect or is no longer being used by you. This Agreement governs your use of the Slader Web Site and the services, products, tools, and information offered by Slader on the Web Site (the “Services”). Track more than just homework with this free app, which is available to download on iPhone, Android, Windows 8 and Windows Phone. Slader strongly believes that online peer-to-peer discussion can serve as a crucial supplement to classroom instructional experience. Slader is not endorsed by any educational institution, association of educators, or textbook author or publisher. Rather, it is an independent forum for speech and scholarship by and for students, and all content should be attributed solely to Slader and its community of users and contributors. To the contrary, whenever possible, Slader provides users with direct access to links where users can obtain copies of textbooks or other source material. These Slader Terms of Use constitute a legally binding agreement made by and between Slader and the users and visitors of Slader’s Web Site, whether personally or on behalf of an entity (“you”). Homework is one aspect of the general education curriculum that has been widely recognized as important to academic success. Teachers have long used homework to provide additional learning time, strengthen study and organizational skills, and in some respects, keep parents informed of their children's progress. Many students with learning or reading disabilities find homework challenging.

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Homework Hacks

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Arts Dissertation - Comic books - Free Essay Example

Comic books, like many art forms, have been co-opted by a hungry consumer capitalist economy which makes a Faustian bargain with its artistic meals: give me your subversive art forms and ideas, this economy says, and I will communicate them to a mass audience beyond your wildest dreams; however, in exchange, your art forms and ideas will often simultaneously be stripped of their dignity and uniqueness by becoming products of no less ubiquity and no more value than toothpaste mere tools to sell, sell, sell, and make more, more, more money for gigantic multinational corporations. This phenomenology is the ultimate in postmodern recontextualization, the stripping of an objects original meaning and significance, and its endowment with a new purpose either heretofore considered or deemed ethically, morally, or artistically acceptable. . We shall explore the unique nature and popularity of comic books, and the themes presented in their narratives and characters, as a quasi-underground phenomenon whose ever-increasing popularity from the 1940s to the 1980s left them perfectly positioned to be gobbled and turned into movies and merchandise by giant corporations eager to both exploit the devotees of comic books and expand their numbers. What has been the big deal, historically, about comic books? Though they are primarily a postmodern phenomenon localized in the latter half of the 20th century through to the present, their roots go as far back as the 17th century, when the English mass-produced woodcuts depicting ghastly public executions. Comics first reached mass popularity in the United States in the 1930s in the form of newspaper comics; then, the comic book as a separate, thriving, and sophisticated art form began to evolve from there. The comic book has been one of our most familiar, yet least appreciated, popular art forms. As vehemently criticized as it is passionately defended [it is] a graphically sophisticated and culturally revealing medium. (Sabin, 1996, p.1). After roughly a decade of occupying a comfortable place in the American pop culture mainstream, comics, and then comic books, began to take to reflect a less sanguine view of American society. Violent crime comics began to appear, and the more squeaky-clean comics of the 1930s and during World War II absorbed some of these same themes. In the so-called Silver Age of Comic Books, the 1950s through the 1970s, most characters and narratives began to take on a darker and more complex tone, mostly in response to plummeting sales after World War II that reflected an unsettled cultural undercurrent brewing in America. In this initial countercultural heyday of the 1950s and 1960s, comic books were sometimes dismissed, much like rock-and-roll music, as the juvenile, unsophisticated, and pulpy fantasies of hormone-addled adolescents. Sometimes, however, comic books were labeled as cultural filth that was an ongoing threat, destructive to teenage minds. In 1954, right-wing American psychiatrist Dr. Frederic Wertham published a book called Seduction of the Innocent, which was an all-out assault on the ostensible delinquency-inducing content of comic books, and which singled out Batman for special criticism, claiming a subtle atmosphere of homoeroticism. (Wertham, 1954, p. 189). Werthams criticism of comic book content led to the establishment of a censor organization known as the Comic Code Authority that same year, whose heavy-handed influence forced comic book writers and artists to go somewhat underground with their subversive themes. However, Batman (and Robin, whatever his relationship with Batman may or may not have been) has far outlived both Dr. Wertham and the chilling effect of his book, and in fact, the longevity and deceptively complex content of comic books have proven them to be much more powerful than anyone ever dreamed. They have for decades embodied striking artistic expressions of artists and authors, who collectively spoke for countless millions of young people who did not quite fit in to the mainstream of society. These millions were given voice by comic books such as The X-Men, The Incredible Hulk, The Amazing Spider-Man, from the Marvel Comics Company, and Batman and Superman from the DC Comics Company. Each of the aforementioned titles tells an extended set of stories about a character or characters who are misfits of some kind, whether it be physical, psychological, or emotional, and who take on a variety of preternatural and/or superhuman characteristics which allow them to not only address their own personal struggles with their differences from others in society, but to aid society itself in coming to better accept those who are different; or, alternately, the characters are either born with or afflicted by a condition which makes them a misfit and therefore different from others in society, and must adapt to life as such. These comic book stories generally involve a variety of morality plays, ranging from simple good vs. evil, to the exploration of antiheros, that enable the characters to attempt to effect positive change in the world, and provide both catharsis and inspiration for the readers. The X-Men, for example, were created by legendary comic book author Stan Lee and artist Jack Kirby in 1963. They were /are a group of teenagers born with genetic mutations that have endowed them with a variety of superhuman characteristics, not all of which are necessarily constructive. In the Lee/Kirby universe, the X-Men are widely ostracized and discriminated against not only because they are different, but because non-mutant humans fear the X-Men are the next logical, superior step in human evolution and therefore could render normal humans obsolete. The teenagers stories often involved them attempting to come to terms with their powers and how to fit into the so-called normal human society. The X-Men were comprised of such characters as Iceman, a young man who could freeze objects at will; Wolverine, a foul-tempered young man whose skeleton is laced with a nearly indestructible metal alloy, including metal knives which he could extend and retract from his hands at will, albeit with considerable pain; Storm, a young black female who could control the weather, including the ability to summon storms at will; Nightcrawler, a young male born with blue fur who could become virtually invisible at night and teleport short distances; Cyclops, who could shoot beams of pure solar energy from his eyes, but not always control this power; Rogue, a young female possessing the hyper-empathic ability the feelings, memories, and abilities of other beings she touches unfortunately, however, prolonged contact with others can weaken or kill them; Ma gneto, an older male survivor of the Nazi death camps who can manipulate magnetic forces, but whose psyche was so twisted by his experience at the hands of the Nazis that he has become an arch-nemesis of the X-Men; and Professor Xavier, an older male paraplegic with amazing telepathic abilities and a world-class intellect, who has dedicated his life to mentoring other mutants and defending them from themselves, unsympathetic humans, and the perennial machinations of Magneto. The X-Men and their stories were unabashedly allegorical and subversive in nature, content, and theme. Professor Xavier was modeled after civil rights activist Martin Luther King, Jr. and Sir Francis Xavier, Catholic missionary and founder of the Jesuit order. The sense of loneliness and isolation experienced by Rogue was a reflection of the near-universal teenage experience. The bigotry and intolerance of homosexuals is another allegorical component featured with the X-Men narratives, particularly in the film adaptations directed by openly gay Bryan Singer. In X-Men 2, the character of Bobby Drake characters comes out of the closet as a mutant to his parents, prompting them to ask if he has tried not being a mutant, parodying the oft-heard question of parents directed their gay children. Anti-Semitism, personal alienation, anti-Communist paranoia, and racism are also allegorical themes that X-Men comic narratives have explored in detail. And like The X-Men, Batman, Spiderman (also a Stan Lee creation), The Incredible Hulk and Superman all were dependent upon and explored the themes of what it meant for a person to be forced to hide or to be ashamed of a component of his or her true self, or to lead a dual existence one private and personal, one public. Superman (created by Jerry Siegel and Joe Shuster), known by millions as a mild-mannered reporter, socially maladroit nerd, and bearer of an unrequited love for Lois Lane, who happens to be a near-omnipotent superhero when called upon in extraordinary circumstances, is the perfect embodiment of both teenage reality and teenage wish fulfillment. The Incredible Hulk (another Stan Lee creation) gets angry like all of us, but has real power scary power, often to do something about it thanks to his green steroidal transf ormation. Batman (created by Bob Kane and fleshed out by Bill Finger and Jerry Robinson) lives a quiet, dark life of solitude contrasted with public works of enviable nobility and good. These feelings of powerlessness and awkwardness, combined with empowerment fantasies, were and continue to be direct reflections of the collective concerns of millions of young people, and perhaps many adults, as well how to fit into a society that demanded conformity without losing the uniqueness that embodies ones individuality. Ironically, the collective popularity of all of these comic book titles has historically been so striking in terms of sales that it would not be an unfair question to wonder if it fact the teenage misfits who bought them were in fact the majority, not the minority in society. Comic book sales peaked in 1993 at a staggering $850 million (U.S. dollars) and are still very healthy, though currently, the popularity of comic book characters is as likely to be manifest in movie ticket and DVD sales of film adaptations of comic books as it is in comic book purchases. More on this later. The character archetypes and narrative themes of most of these original and ongoing comic book series were produced in the crucible of the fairly conformist sociocultural pressures of the modernist era in the United States. The teenagers of each successive decade, beginning with the 1950s and continuing to the present, have been characterized by isolation, disaffection, rebellion, disillusionment, all combined with the pressure to adapt without question to the relatively monolithic mores of the generation which preceded them, a generation for whom belonging to a larger social group, for whom the values of unquestioning self-sacrifice and acceptance of authority figures and establishment power structures were the norm. Men were called to duty, whether in World War II or in the burgeoning post-war corporate universe; many made the ultimate sacrifice their lives, or worse, their souls. Women, too, had their duty to support their men in discreet, subservient lives of quiet domestic efficiency. But as American young people began to question the assumptions behind the Cold War, and question the rational and wisdom behind the interminably bloody Vietnam War, their uncertainty on these issues led to a greater wholesale questioning of the mechanisms and assumptions of societys very foundations. (Even Batman, whose creation in 1940 arguably predates postmodernism, eventually took on countercultural subject matter and themes, to say nothing of the suggestion of a taboo homoeroticism in the relationship between Batman and Robin.) This rebellion was met with heavy disapproval and disappointment by parents, representing the previous generation. The ongoing schism between these two generations has caused huge cultural, social, and political conflicts that continue to be played out even in 2005. These conflicts have been vividly reflected in the artistic expressions of the times literature, music, and films. From the standpoint of the older generations, comic books were perhaps never adequately understood, respected, or even recognized for the potent and unusual artistic and cultural forces that they have always represented certainly as potent as more conventional and commonplace means of artistic expression, high art and classical music, just to name two ossified examples. (And, incidentally, these generational clashes were not limited to the United States in terms of understanding the rise of the superhero comic books. The country of Japan, tiny as it is, has become its own powerhouse in terms of churning out groundbreaking styles of comics, such as Katsuhiro Otomo of Akira fame, reflecting generational struggles unique to the Japanese youth culture.) The artistic expressions that arose out of the clash between generations also represented an evolution in classifications and mechanisms of art itself the evolution from modern art forms to postmodern art forms. Modern art, reflective of the cultures from which it sprung, was generally conformist, and adhered to classic rules of form, function, and design, and either explicitly or implicitly supported the symbols of establishment paradigms by exploiting binary oppositions of us vs. them (i.e., Americans vs. Communists). Postmodern art rejected the methodology of modern art on every level, deconstructing it to such an extent as to even question the basic psychological definitions of symbolism in human art forms. The discarding and combination of genres and forms, the pastiche of styles, the toying with unorthodox symbolism, and an active interest in subversion and smashing of establishment systems rebellion itself are all manifestations of art evolving to postmodern form. And instead of existing to analyze, but ultimately reinforce the paradigms of patriarchal establishments, postmodern art analyzed and often sought to undermine these establishments and their conventions, if not destroy them altogether. As noted by postmodernism scholar Andreas Huyssen, contemporary postmodernism operates in a field of tension between tradition and innovation, conservation and renewal, mass culture and high art, in which the second terms are no longer automatically privileged over the first. (Huyssen, 1986, p. 267). As such, any art form that has enjoyed longevity has internalized and incorporated this revolutionary and evolutionary process, or been discarded or fossilized. Comic books are no exception to this rule, and their staying power has manifested itself in the last 20 or so years by their translation to and eventual dominance of the genre of film. In fact, comic books in their Silver Age forms were arguably inherently post-modern in nature, as they combined complex and detailed visual artistry with complex and serialized narratives, an intermixing pastiche of separate genres which had never before been combined in such a unique form. Books had, of course, often featured illustrations in the past, but they were only to provide occasional support and dimensionalization of the narrative, as opposed to being as important a component of the medium as the narrative itself. The fantastical and stylized nature of many of the illustrations featured in comic books were often postmodern artistic explorations in their own right, seeking to push the boundaries of conventional illustrations. Their explorations of anti-heroes helped deconstruct the notion of simple constructs of good and evil. American consumer capitalism, which is inherently (though not necessarily benignly) postmodern in its relentless desire to commodify anything and everything, particularly that which can be packaged as new, hip, and edgy and thus desirable has hungrily devoured comic books and the films which come from them. In doing so, the artistic and societal merit of comic books, in particular their subversive characteristics, have become themselves subverted by the deity of consumer capitalist commodification. The ultimate dream, for example, of fans of the X-Men comic books, that their beloved misfit characters would reach movie theatres and therefore a larger audience for their collective angst, has come true but that dream has also become a nightmare for some fans, as these same subversive misfit X-Men have also become action figures, clothing lines, cartoons on the side of fast food lunch bags and boxes all mass marketed to mass audiences in order to maximize profits for corporations that are more interested in shareholder earnings than they are the artistic merit of airing the collective voices of disaffected teen angst. If the phenomenology of disaffected teen angst can be appropriated to make a profit from teenagers, then corporations will be chasing the teens and their money incessantly. However, corporate interest in teenagers as a demographic generally has little to do with sociocultural altruism. In fact, cultural observers should take heed ventilation of genuinely alternative social visions collide directly with the underpinnings of power in the economy at large. (Schiller, 1986, p. 152) The trade-off is as follows: as long as such ventilation of alternative social visions makes a profit, it will be tolerated. But in the consumer capitalist corporate universe of today, art for arts sake, particularly if the art does not reinforce the machinery of consumer capitalism, will never generate much more than limited enthusiasm, and is more likely to meet with insidious hostility. The primary perpetrators in this arena are the behemoth corporate conglomerates that own the media, and the acquisitive way in which they manage their film and television divisions. In the 1960s and 1970s, film studios and television networks existed as independent business entities whose sole focus was the creation of films and television shows nothing more, nothing less. While these companies were undisputedly interested in profits, the process was far more artist-centered and quality-driven than they are today. The presumption was that quality films would result in box-office successes, though the expectations of profit were relatively modest compared to todays standards. Then, in 1977, a watershed moment in film history arrived in the form of the blockbuster Star Wars, a comic-bookish story in its own right despite being an original creation of writer/director George Lucas. The film was not only the most financially successful phenomenon in movie history, but it alerted movie studios to a whole new economic model, centered around the notion of ancillary profits. Most notably in the case of Star Wars, the ancillary profits came in the form of merchandising. Inexplicably, before the films release, executives at 20th Century Fox, the films distributor, were convinced the film would be a flop, and in contract negotiations with Lucas, acceded to his unusual request to receive 100% of profits derived from sales of merchandise inspired and/or derived from the film, for example action figures and lunchboxes. The Fox executives surely rued the day they signed over these rights to Mr. Lucas, as Star Wars merchandise generated $1 billion in profits for the shrewd filmmaker. Another lesson learned by Fox, and other studios hungry to recreate the fiscal orgy of Star Wars, was that films targeted directly at children could be extremely lucrative at the box office, beyond profit margins to which they had become accustomed. Movies were no longer mostly the artistic or escapist purview of an audience comprised largely of adults. Their children came to be seen as a previously under-exploited source of bonanza profits. Lastly, movie studios began to rethink their conventional economic model, which was to produce modestly-budgeted films and reliably make modest profits. What Star Wars ignited was a phenomenon known as the blockbuster mentality, a hunger for epic profits from so-called event films, on which the studios became willing to gamble heretofore-unprecedented sums of money in hopes of hitting the proverbial jackpot. George Lucas, who began his career as a subversive filmmaker of eccentric tastes with critically acclaimed films such as THX-1138 and American Graffiti, unwittingly created a perfect storm that turned the film industry on its head. Star Wars was no fluke, as it turned out, and it was not long before the greedy capitalistic corporate culture of the 1980s began entertaining, no pun intended, the notion that film studio and television networks could be glamorous cash cows. In short order, huge companies whose core business usually had nothing to do with the entertainment industry were battling it out to see who could get into show business the fastest. Coca-Cola acquired movie studio Columbia/Tri-Star, which was later sold to Japanese electronics giant Sony; General Electric acquired the NBC television network; Capital Cities acquired the ABC Television network, and News Corporation acquired 20th Century Fox and the Fox Broadcasting Company; Gulf + Western acquired Paramount Pictures, etc. The unfortunate side effect of these mergers was the infusion of bottom-line, short-term profit-hungry thinking, as well as corporate models of branding and marketing products. These large corporations viewed films and television shows, and the intellectual properties that underlied them, as products, pure and simple, no different from mouthwash, shoes, soda drinks, or cosmetics. They expected their new acquisitions to transition from being art-focused and letting profits flow from quality, to simply making whatever sold the most tickets and had the most lucrative ancillary market potential. There was no single identifiable point, such a historical date or a press conference, when the critical link between art and commerce was separated, or the historical deference of profit to art was inverted (themselves postmodern phenomena, incidentally), but the entre of comic books into the world of film and television, which has become a powerful, dominating presence of comic books in film and television, followed and was directly related to this paradigm shift in the economics of the entertainment industry. The adaptation of comic books into film and television properties has been an exercise in creative cannibalism in some sense. Increasingly, film and television studios have taken on the risk-averse mentality of their corporate masters, and one of the effects of this has been to seek out intellectual property that might guarantee the fiscal success of a film or television show adaptation of said property. To the extent that a wildly successful book was often adapted for films geared towards adults, wildly successful comic book series were seen as a surefire way to guarantee a teen audience and the disposable income purchasing power of them and their parents. Movie executives sought to acquire the rights to comic book characters and stories which they could exploit actual film industry terminology and build into franchises also actual film industry terminology, particularly creepy given the obvious parallels to McDonalds or Gap store franchise business models. For the most part, these franchises have been wildly successful from a financial point of view, though perhaps not from an artistic standpoint. There have been six Batman films made by Warner Brothers movie studio (owned by corporate behemoth AOL Time Warner, who not coincidentally own DC Comics, the original home of the Batman characters and comic books): 1989s Batman, 1992s Batman Returns, 1995s Batman Forever, 1997s Batman and Robin, 2004s Catwoman, and 2005s Batman Begins. Each film sported star casting of the highest caliber; however, perhaps with the exception of the first film, were special effects showcases first and artistically ambitious second, if at all. Nor were they particularly true to the time-honored complexities and lingering darkness of the comic books. Iconic film critic Roger Ebert (a devoted fan of the Batman comic books), in his review of Batman and Robin, took a forlorn swipe at each of the films to date: my delight began to fade at about the 30-minute mark when it became clear that this new movie, like its predecessors, was not *really* going to explore the bizarre world of its heroes, but would settle down safely into a special effects extravaganza. Batman Robin, like the first three films in the series, is wonderful to look at, and has nothing authentic at its core Watching it, I realized why it makes absolutely no difference who plays Batman: Theres nobody at home Give the foreground to the characters, not the special effects. And ask the hard questions about Bruce Wayne. (Ebert, 1997) Eberts last line refers to the perennial rumors that perennial bachelor Bruce Wayne might actually be a homosexual, or failing that, possess some unusual sexual fetishes that might not comprise the sort of fare that young children should be seeing at the movie theatre or on DVD. But this topic, as well as any serious exploration of Bruce Waynes psyche, was not been considered particularly lucrative by the marketing machines at Warner Brothers until the franchise was on the verge of death after the box office mediocrity of Batman and Robin and the outright box office disaster of Catwoman, which cost $85 million (U.S.) to produce and only made $40 million (U.S.) at the box office. 2005s Batman Begins was an unapologetically dark and complex film. Roger Eberts review may well have spoken for many Batman fans who ached for more substance and less pure style: The character resonates more deeply with me than the other comic superheroes, perhaps because when I discovered him as a child, he seemed darker and more grown-up than the cheerful Superman. He has secrets. As Alfred muses: Strange injuries and a nonexistent social life. These things beg the question, what does Bruce Wayne do with his time? (Ebert, 2005) Apparently, the moviegoing audiences agreed with Mr. Ebert, rewarding Warner Brothers with $205 million (U.S.) in box office receipts in the United States alone, and a similar and still increasing tally worldwide. The lesson here is that while an artistically unambitious and shallow film like Batman and Robin, which is more childish cartoon and marketing machine than serious filmmaking, can certainly turn a modest profit, it is entirely possible to be artistically ambitious and make plenty of money at the same time. One wonders why the latter is more often the exception rather than the rule, to the detriment of the integrity of comic books and their rich characters. In theory, the adaptation of comic books to the film and television arenas could have been a boon to not only the comic book industry, but a force for cultural good in the sense of spreading the subversive word to a larger audience. While there is no question that American and Western teenagers are far more aware of Batman and The X-Men than they were 30 years ago, the expansion of the audience has come at a price. First of all, the structures of film and television do not generally lend themselves well to the sort of narrative complexity that is a hallmark of comic books ongoing multi-character storylines. While the two X-Men films to date were generally well-received by fans of the comic books, many fans vociferously complained that many characters were either simply not included in the storylines, or they were altered to suit Hollywood norms in order to maximize audience appeal. While a third X-Men film is in the works, the simple truth is that 20th Century Fox, the movie studio that produced the films, simply cannot make any more than one X-Men film every two to three years and the complicated narrative history of over a dozen characters unspoiled over the course of 40 years of storytelling simply cannot be done adequate justice by a two-hour movies as good as they may be which get released only periodically. Secondly, for many young people, seeing an X-Men or Batman film may be their ver y first exposure to these universes, and depending on their reaction to the quality of the films and their natural consumer predilections, it is not certain that these teenagers are going to seek out the more dimensionalized, rich, and complex narrative universes to be found within the comic book series. In fact, given the immense popularity of video games among teenagers, who as a general rule spend as much, if not more time transfixed by their Playstations and Xboxes than they do reading, it is more likely that teenagers who see X-Men films will buy the video game adaptations of the X-Men comic books instead of investing in the comic books themselves. The statistics bear this out: in 2004, sales of comic books in the U.S. totaled $300 million a considerable sum of money, but a far cry from the $850 million sum reached ten years earlier. Comic book money had, for better or for worse, flowed away from the comic books themselves and into the reinventions of the comic books the movies, the video games. It is unfair, perhaps, to dismiss video games as worthless, but also difficult to avoid the conclusion that the X-Men video game, which is simply a violent combat simulation featuring the various mutant characters, carries more artistic and social worth than the comic books to which the video game owes its digital existence. Lastly, the value of ancillary X-Men merchandise, such as T-shirts, lunchboxes, and plastic soda cups from Burger King adorned with X-Men characters, is fleeting and thus fairly dubious in comparison to the lasting collectors item value of the comic books themselves, to say nothing of the inherent worth of the content of the books, and the visual and narrative artistry contained within them. Ultimately, and sadly, the postmodern machinery of consumer capitalism has appropriated comic book visuals and narratives and separated them from their inherent artistic value in order to make them both more appealing to a mainstream audience, usually children and younger teens, and more exploitable in terms of ancillary markets such as merchandising. The positive side of this equation is that the subversive art and storytelling found in comic books was brought to a larger audience, but may well have been eviscerated of its soul in the process. Films like Batman Begins, with its dark exploration of the recesses of Bruce Waynes psychology, and X-Men 2, with its unapologetic homosexual allegories, do their source material adequate justice and make their corporate masters a lot of money in the process. What can be hoped for the future is that movie studios see fit to release more films such as these and less of the vapid, lowest-common denominator special effects orgies that tend to predominate the box office landscape. Hellraiser and Constantine were met with outright hostility by fans of their comic book source material and performed poorly at the box office. It is no longer enough to simply adapt a comic book to guarantee success. Many audience members have grown more shrewd and sophisticated, and demand quality in storytelling. In the words of Nightcrawler in the film X-Men 2, Most people will never know anything beyond what they see with their own two eyes. If this is true in a world where what is put before the eyes of teenagers is predominated by movies and video games, it is imperative that the content not merely reflect the status quo desired by consumer capitalism, but the thought-provoking stories and characters, daring and subversive thoughts, first brought to us decades ago in the best comic books. BIBLIOGRAPHY Sabin, Roger. Comics, Comix Graphic Novels A History of Comic Art. Phaidon Press, 1996. Robinson, Jerry. The Comics: An Illustrated History of Comic Strip Art. Putnam Publishers, 1974. Wertham, Fredric. Seduction of the Innocent. Amerion Publishers, 1954 (Reprint 1996). Tuzi, Marino. Individualism and Marginality: From Comic Book to Film: Marvel Comics Superheroes College Quarterly, Spring 2005 Volume 8 Number 2. Taken from: https://www.collegequarterly.ca/2005-vol08-num02-spring/tuzi.html Bronski, Michael. Comic Relief Boston Phoenix, August 22-29, 2002. Taken from: https://www.bostonphoenix.com/boston/news_features/top/features/documents/02404906.htm Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism (Theories of Representation and Difference), Indiana University Press, 1986. Schiller, Herbert. Culture, Inc.: The Corporate Takeover of Public Expression. Oxford University Press, 1989. Ebert, Roger. Review of Batman and Robin Chicago Sun-Times, June 20, 1997. Ebert, Roger. Review of Batman Begins Chicago Sun-Times, June 13, 2005. Sacks, Ethan. Hollywood Makeovers Can Horrify Comic Book Fans Columbia News Service, February 15, 2005. Available from: https://jscms.jrn.columbia.edu/cns/2005-02-15/sacks-comicfans

Apple Case -“Taking a Bite Out of the Competition” Essay

Apple Inc. Case Study Apple Case-- â€Å"Taking a Bite Out of the Competition† Synopsis On April 1, 1976 Steve Wozniak and Steve Jobs started and founded Apple Computers. Jobs was the visionary and marketing expert while Wozniak was more about the technical aspects. In 2004 Mr. Jobs was diagnosed with pancreatic cancer. Then in 2009 Jobs to medical leave from the company. Since 2004, the Apple Company led its competition in revenue and margins. And with the introduction of the products (iMac, MacBook, iPod, iPhone, and iTunes) the company started to expand into the digital entertainment market. Apple Computer change the name of the company to Apple, Inc. to symbolize its new, more diversified nature. Critical Factors for Success I†¦show more content†¦More people could afford their prices compared to Apple computers which keep them in competition. A challenge that Apple faces is finding a new leader. Someone who can keep the company moving in a positive direction, stay innovative and relevant, but also bring something new to the company. As a company the research amp; development was way above industry averages coming in at 9%. One opportunity for Apple may come from the gaming industry. With the technology the company uses for the iPod and iPhone applied to a gaming device would be profitable. And this would also open up more uses for the App Store as well. I also think being able to keep creating new, innovative products as a challenge for the company. Will the company be able to keep that competitive edge over the competition or will Apple finally be dethroned? Alternatives One alternative Apple can consider is lowering the cost of their personal computers. If more consumers are able to purchase a high quality product for around the same price as the competitors from Apple, then profits would increase for the company. Better Ramp;D strategies are essential for the company’s profit. If the company find a way to conduct Ramp;D for less but keep the same innovative advantages it would save the company a significant amount of money. 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George Orwell wrote Animal Farm because he felt compelled to express his views on the Russian Communist society Essay Example For Students

George Orwell wrote Animal Farm because he felt compelled to express his views on the Russian Communist society Essay George Orwell wrote Animal Farm because he felt compelled to express his views on the Russian Communist society and how equality can be so easily corrupted and become an instrument of control. Orwell satirises the classic hypocrisy of political systems and how some individuals abuse the power given to them by the population. Animal Farm is an allegory of the Russian Revolution, where Orwell exposes the myths of soviet socialism and uncovers their true ideals and views which can be manipulated into exploitative and self- serving regimes. This novel is conveying a message on how fraudulent and unprincipled the world can become and how all humans have the capacity to desire power over others. In the beginning, Animal Farm was dominated by Farmer Jones. For a while he was a good leader who looked after his community of animals, but later he turns out to be unreliable and cruel during times of hardship. This call for a discussion between the animals, who feel it is necessary to overthrow their old leader and produce a better and more suitable commander. Man is the only creature who consumes without producingà ¢Ã¢â€š ¬Ã‚ ¦yet he is the lord of all animalsà ¢Ã¢â€š ¬Ã‚ ¦What then must we do? Work night and day, body and soul for the overthrow of the human race! à ¢Ã¢â€š ¬Ã‚ ¦ Rebellion. Chapter 1 pg 4-5. This is Old Majors theory on creating a better society for the animals. This is a connection to the rebellion in Russia to end the Csarist rule and create a communist nation to help the civilians who suffered under Nich olas the Seconds dominion. This revolution, carried out by the animals was to mark the beginning of a new state; of equality, comradeship and prosperity. In this novel, all of the animals that recreate the image of the proletariat, show their purity and naivety through their simple ideals of a new perfect society, filled with hope and optimism. This is because they feel liberated from Farmer Jones tyranny, yet they cannot see the underlying tension for power, that is made by the pigs. Throughout this struggle for power, all of the animals are compelled to dedicate their lives, willingly and wholeheartedly to the new Animal Farm. This initiates a strong sense of common purpose and each animal feels lifted up by the knowledge that they are free and will now live in an egalitarian community. This is shown through the making of the Animal farm flag; a green and white version of the Russian hammer and sickle flag. Instead, theirs has a hoof and horn which signifies the future Republic of the animals which would arise when the human race had been finally overthrown as well as the 7 commandments, that would govern the farm until powers was corrupted and idealism distorted by Napoleon and his followers. This elevation of power begins to unfold when the animals decide to work together to bring in the harvest. The pigs didnt actually workà ¢Ã¢â€š ¬Ã‚ ¦ with their superior knowledge it was natural that they assume the leadership. Chapter 3 pg. 11 During the novel, the pigs continue to gain more and more power. In the pigs uprise of power, the Seven Commandments are an effective structural device. Their different alterations resemble the pigs progressive rise to power. The pigs gradual gain of privileges such mash with milk and the consuming of alcohol, leads to the final identification of pig and human, Communist and capitalist. Power corrupts, absolute power corrupts absolutely is a concept widely understood after having read Orwells satire. It is first shown when the pigs take the milk and apples, explaining to the rest of the animals that everyone is equal, but some are just more equal than others. They also argue that the pigs do more thinking, and therefore need more energy to do so. It is in the later part of the book, that the concept of corruption gradually earns its meaning. When Napoleon forces Snowball to leave the farm, he becomes the leader. .u4f2ff4d8b64ce6ca771bb39f0c3be269 , .u4f2ff4d8b64ce6ca771bb39f0c3be269 .postImageUrl , .u4f2ff4d8b64ce6ca771bb39f0c3be269 .centered-text-area { min-height: 80px; position: relative; } .u4f2ff4d8b64ce6ca771bb39f0c3be269 , .u4f2ff4d8b64ce6ca771bb39f0c3be269:hover , .u4f2ff4d8b64ce6ca771bb39f0c3be269:visited , .u4f2ff4d8b64ce6ca771bb39f0c3be269:active { border:0!important; } .u4f2ff4d8b64ce6ca771bb39f0c3be269 .clearfix:after { content: ""; display: table; clear: both; } .u4f2ff4d8b64ce6ca771bb39f0c3be269 { 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; } .u4f2ff4d8b64ce6ca771bb39f0c3be269:active , .u4f2ff4d8b64ce6ca771bb39f0c3be269:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u4f2ff4d8b64ce6ca771bb39f0c3be269 .centered-text-area { width: 100%; position: relative ; } .u4f2ff4d8b64ce6ca771bb39f0c3be269 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u4f2ff4d8b64ce6ca771bb39f0c3be269 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u4f2ff4d8b64ce6ca771bb39f0c3be269 .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; } .u4f2ff4d8b64ce6ca771bb39f0c3be269:hover .ctaButton { background-color: #34495E!important; } .u4f2ff4d8b64ce6ca771bb39f0c3be269 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u4f2ff4d8b64ce6ca771bb39f0c3be269 .u4f2ff4d8b64ce6ca771bb39f0c3be269-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u4f2ff4d8b64ce6ca771bb39f0c3be269:after { content: ""; display: block; clear: both; } READ: Animal Cruelty EssayNapoleon creates rumours that are twisted to befoul Snowballs name, so anything that goes wrong on the farm is simply Snowballs fault. He insists that Snowball had always planned everything in order to harm the farm and ruin their newly made society. This manipulation of the animals hides the pigs blatant disregard for the rules and it helps them to control the other animals as well as convincing the animals that they are the good guys and Snowball is the criminal. Napoleon and the pigs want a life of luxury and are quite happy for all of the other animals to do the work on the farm, for example the building of the windmill. While the pigs draw up the 5 year plans and buy equipment, the other animals such as Boxer, have to do all the hard labour like dragging stones from the quarry. All of the animals are far too gullible to prevent themselves from being exploited and allow this to happen. This results in far more inequality than before, when the animals worked for Mr Jones. One of the ways in which power is maintained is by the carefully spinning of information. The pigs cleverly use this to their advantage, behaving like corrupt politicians. Throughout the novel, the greedy and cunning pigs hide behind a cover of lies and deception to cling to power. Napoleon makes use of Squealers abilities to turn black into white in order to brainwash the farm animals into accepting his new rules. This makes the other animals question their own memories and increases self-doubt. By increasing this self-doubt, Squealer can give speech after speech telling as many lies as he likes. Squealer knows that he can get away with this because if the animals are unsure about the past, how can they be sure about the present. Only Benjamin the donkey, understands what the pigs are up to. He isnt drawn towards Napoleons propaganda and he sees through their words of feigned concern and friendship towards the simpler minded animals, yet he can only watch as the pigs become richer and fatter and the other animals become more fatigued and hungry. Towards the closing stages of the novel, Animal Farm has become a totalitarian state and there is a definite social hierarchy. The animals live in worse conditions than before and the pigs are more like humans every day, wearing Mr. Jones old clothes and standing on their hind legs while carrying whips in their trotters. Orwell concludes that there can be no perfect utopian society. The perfect society would always end up with a leader, and there would never be a case where all of the citizens were happy. Animal Farm showed that, in the end the authority didnt care for the people. It doesnt matter who you set out to be, it is about what you become after you take power. In todays society, actions of power are based on laws and principles. Without these, the government would crumble and there would be nothing but a disorganised rabble of people fighting for control. The collapse of the commandments brought chaos to Animal farm. It symbolises the breakdown of a society without rules. If rules are not followed it is impossible to live. Power is said to be a dangerous thing. Once you have it you may not be able to give it back. This was the case for Napoleon in Animal Farm. He was so intent on securing his place as the ruler, that he let go of all his previous morals and beliefs for a better society and became a tyrant, exactly like his predecessor. Animal Farm is the story of a revolution gone wrong. It is a classic example of how easily power can corrupt the mind and show the many faults that all systems of governments have.

Compare and Contrast Essay Outlines - Why Do We Use Them?

Compare and Contrast Essay Outlines - Why Do We Use Them?Compare and contrast essay outlines are commonly used to supplement a standard outline. The purpose of an outline is to guide the student through the key topics and concepts covered in the course. By using a different method for this purpose, the student will be better prepared for the questions asked in the class.Comparison and contrast are methods that can be used to explore many areas of a subject. There are many ways to do this, but each method will use the same format in describing the subject. Here are some examples of how they use compare and contrast in different situations.The first method uses compare and contrast essay outlines. In this example, the students are taught about topics that are similar to one another. The topics can be about animals, people, or a variety of other subjects. Then, they are asked to compare these topics.Examples of similarities include: animals with human characteristics, the size of the mo on, or the age of the earth. Examples of differences include: animals with human characteristics, older than the moon, or younger than the earth. Students are then asked to state their opinions about these similarities and differences. A student who disagrees with the ideas presented in the lesson is asked to 'compare and contrast' these similarities and differences.Next, the students are asked to compare and contrast the differences between animals and humans. In this example, the differences include intelligence, or their ability to think for themselves. The similarities include: emotions, thinking for themselves, or developing language skills. Again, students are asked to write their opinions on the topic. They are also asked to 'compare and contrast' these similarities and differences.Finally, students are asked to compare and contrast the differences between humans and animals. In this example, the differences include physical attributes, such as size, speed, or strength. The s imilarities include mental attributes, such as intelligence, thinking for themselves, or developing language skills. Again, students are asked to write their opinions.Now that you have seen what comparisons and contrasts are used for in order to help students with their main purpose of preparing for exams, let's discuss how they can be used in a second writing assignment. In this case, the lesson is about language. Instead of describing similarities and differences, the focus is on communicating ideas.In today's language, that is written for mass consumption, it is necessary to communicate ideas quickly and succinctly. In this case, the student will be required to write a 500 word essay. The essay should be able to show the ideas clearly and concisely. How would the student describe the idea in a sentence? This is where compare and contrast can be used. The key is to find a style that will communicate the ideas clearly.

Politics Essay Topics - What Is It?

Politics Essay Topics - What Is It? It is possible to either opt to support the arguments or ideas in the movie, or concentrate on disputing them. You should come up with an idea based on the way the documentary touched you. The fact remains, social media marketing will certainly impact people judgements. Political science is just one of the broadest subjects as it consists of many theories, ideas, and concepts. Therefore, if you learn how to think, through writing, then you are going to develop a well-organized, efficient mind and one which is well-founded and certain. On the finished part, you may also compare the documentary with others in the exact same genre or subject in order to produce readers have more thorough understanding of the review. Developing very good writing skills are able to help you go a ways in churning out a career in professional writing. At the moment, there are children and grownups who wish to talk. By abiding By the above five tips, you can polish up an essay in a couple of minutes and truly feel great when it's time to click print. There's no share feature, which makes it hard for anybody to challenge the narrative you work to construct. The 2 movies were two contradictory images of the way the sea is now, and the way it can be if it's looked after. It is essential that you establish the subject of the essay initially and then let it flow the standard co urse by using metaphors, symbolic moments, or important incidents to relate to the total story. The Nuiances of Politics Essay Topics The subsequent short essay gives an insight into issues of inequality within the country's meritocratic education system. Quite a few men and women think it has an effect to social relationships. The media played an essential role in the anti-war movements. As long since it is associated with your specific region of study, it ought to be guaranteed to be the proper topic for you. Pick a topic which you are passionate about. At our site, you will observe a wide selection of step-to-step explanation for picking a research subject in political science. The solution can be found in the fact your tutor want to teach you to develop your analytical and argumentative skills. The Benefits of Politics Essay Topics There's, naturally, a limit on the variety of pages even our very best writers can produce with a pressing deadline, but generally, we fig ure out how to satisfy all the clients seeking urgent assistance. Additionally, the inequalities present should be dependent on the real merit of a student instead of additional factors like private tuition that may set the student with a benefit. Review what you've been requested to address in your essay Sometimes educational institutions wish to learn more than just your career targets. Although as a student, there isn't any need of producing limitation based on what you've learned recently. Nowadays it's very difficult to locate a trustworthy essay writing service. Writing about research paper topics can be quite hard and time consuming for students. When it has to do with talking about best political science essay topics, or any other sort of paper you should first have the ability to depict a substantial experience about the topic in context. Deciding upon a topic for an essay is a vital part of any type of essay. Don't forget, all type of activities you're speaking about in the essay must be associated with the scholarship program. The most frequently encountered paper writing service that the majority of our clients require is essay writing. Most of the folks have a tendency to run away from politics and thus the politics essays also, therefore it is quite important to grab the eye of the readers till the conclusion of the essay and that would be much difficult I know. There are particular essay topics that were written on so many times like abortion and legalizing of marijuana that they've become worn out. Politics Essay Topics Fundamentals Explained It's possible to write about whatever you want, but do make sure it's a top quality article. Our economy, in spite of the challenging times we're going though, still has the ability to create more goods and services than nearly all of the world. Tell our experts what kind of homework help on the internet you will need to get. If you're a student, or anyone else who's going to do a great deal of writing, then you ought to provide yourself with the most suitable technology, especially now, when it's virtually costless to achieve that. If there is just one major insight, it's fine to only have one paragraph here. After you have brainstormed the ideas and produce a couple topics, it's sensible that you inspect the resources offered and discover out whether there is any you can utilize to compose a well-researched paper. A topic is very good only if you've got enough materials that it is possible to utilize to produce an interesting and fact-rich paper. Actually, there's very little understanding of the reference relating to different references in the works of political science works.

How to Find the Right Persuasive Essay Topics About School

How to Find the Right Persuasive Essay Topics About SchoolHave you ever given any thought to the many persuasive essay topics about school you can write about? The key word there is 'writing' and not only are these topics exciting as they can be, but they offer a great deal of flexibility when it comes to the content. While you will always want to come up with some original topics that are substantive, the fact is you are going to have an unlimited number of options when it comes to topics about school. Let's discuss the topics that you can write about.The first thing you need to realize when you are working on writing persuasive essay topics about school is that the 'how' of your story should be your primary focus. This means that you can begin to get into the nitty gritty of what happened to your child and how it impacted their life. When you are able to gather as much information as possible about how your child's school was involved, the topic becomes more interesting because it' s more personal.Another way you can write persuasive essay topics about school is to begin by covering events that happened on campus. You can do this by talking about what happened to your child when he or she was on campus, including conversations that were held on a daily basis. This helps to give you an idea of what the student's life was like when they were enrolled in school. It also gives you an idea of what the students thought of your child in general.If you are looking for persuasive essay topics about school, you can also consider writing about the books that were written about your child. There are going to be plenty of books written about any subject, but there are going to be certain genres that are more popular than others. For example, crime and suspense are definitely the most popular and tend to sell better. So by writing about these subjects, you give yourself the opportunity to come up with topics that might not seem as fresh but are going to sell better.Writing about an event that took place while your child was still in school can also be a good way to write persuasive essays. Consider doing an essay about the football game that your child went to that your child attended and how you feel about the team. Once you've been able to collect as much information as possible about your child's time at school, you will be able to provide the facts to write an essay based on. This helps to give you an idea of the perspective you can present to the reader.Writing about something that happened while your child was a teenager can also work well. Look at the various social media sites that teens use to build their brand. You may want to look into some of the more popular social networking sites such as Facebook and Twitter.Finally, writing about your experience teaching your child in school can also be a very good way to write persuasive essay topics about school. Remember that your perspective should remain as objective as possible when it comes to w riting. If your view of the world is one that is filtered through your experience with your own children, it can help to bring that view into your personal experience as a parent.Using the above techniques can help you to find topics that are both original and informative when you are trying to write persuasive essay topics about school. These are going to be topics that you should be able to come up with quickly.

The True Story About Research Proposal Writing Services That the Experts Dont Want You to Hear

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