Uncle Toms Cabin :: Uncle Toms Cabin Essays

BOOK:  Ã‚  Ã‚  Ã‚  Ã‚   Uncle Tom’s Cabin AUTHOR:   Ã‚  Ã‚  Ã‚  Ã‚   Harriet Beecher Stowe COPYWRITE: 1852   Ã‚  Ã‚  Ã‚  Ã‚  Uncle Tom’s Cabin is a historical book that I feel is one of the most mind enduring books of all time. This book put me in the place of every northern citizen in the 1800s. I felt as if I was in the story. My knowledge of how slaves were treated was enhanced greatly. To finally have read this book, I now know why this book was one of the main causes to the Civil War. To read the details about the pain and suffering that Tom and all of the other slaves faced really sickened my stomach and opened my eyes. I am glad to say that I have read the greatest book ever published about slavery, and if you ask me about any topic.   Ã‚  Ã‚  Ã‚  Ã‚  The information that I was able to gain from this book was and will be very useful to me for the rest of my life. In no way do I think of myself as a racist individual but never again will I allow myself to look at another person differently for their skin color, their disabilities, or look. This book really was a great learning experience; it has changed a small part of my mind that I will never lose.   Ã‚  Ã‚  Ã‚  Ã‚  Uncle Tom’s Cabin starts off with one setting and one story line and then breaks into two separate plots. In the beginning the story takes place on the Shelby plantation in Kentucky. The first chapter of the book is showing you the difference the author sees in Northern and Southern men. You can tell that the book is going to support the Northerners outlook on slavery. Mr. Shelby is in debt and he is trying to negotiate a deal with Mr. Haley to sell slaves to him. Mr. Haley notices a young boy Harry, who comes onto the porch to sing and dance, and wants to take him. Right after this Harry’s mother comes in and Mr. Haley wants her also because she is so beautiful. Mr. Shelby tries to explain he can’t get rid of either of them.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  As the book progresses you learn more about the story of Eliza.

Cultural Influences On Emotional Expression and Perception Essay

Everyone is uniquely shaped, and should not be compared with others. Expressing ourselves can differentiate from other expressions since we are unique in each and every way. Some similarities may exist, but not necessarily every aspect of what we tend to express. As defined in the textbook, â€Å"emotional expression is the most important representation of our emotions, and may be similar to others† (Adler, Proctor, and Towne 137). Perception is part of the emotional expression because â€Å"it is the process of selecting, acquiring, interpreting, and organizing sensory information† (wikipedia.org). These two are important because we express what we express with the perception of our emotional expression. Different situations will result in different perception of emotional expression. For example, we may jump when we feel excitement or cry when we feel grief. Every expression we make is appropriate on what we feel in that particular event. We live in a country with a very diverse culture, and everyone is raise differently base on their culture. This paper will talk about the cultural influences on emotional expression and perception. Examples, description, and explanation will also be given to further explain the topic. Although many emotions and expressions of emotions are universal, some differences exist among many cultures. The comparison of both cultural similarity and difference has been very important in the area of emotional expression and perception (Matsumoto par. 2). It is very helpful to know the similarities and differences in emotion across cultures. It helps us understand the role of emotion in our lives and the importance of emotion to our thinking and behaving. People in different cultures categorize emotions differently. Some languages have classification for emotions that are not classified in other languages. It is a belief that nonverbal expressions of emotion differ across cultures, due to the fact that different cultures have different display rules. Display rules are norms that tell people whether, which, how, and when emotions should be displayed (wikipedia.org). The power of cultural norm determines how and when to show emotions that is not actually felt. The comparison of emotions helps us understand the role of emotional expression and nonverbal behaviors in social interactions to improve interaction among people from different cultural backgrounds. In addition, when comparing expressions, people of different cultures agree on which is more strongly expressed? Cross-cultural research indicates that the answer to this question is yes. Itziar and Fernandez compared these differences in paired expression of the same emotion (par. 5). According to the research, the result was that â€Å"ninety-two percent of the time, the ten cultures in their study agreed on which of two expressions was more intense† (Fernandez, Carrera, Sanchez, Paez, and Candia par. 5). For example, looking separately for each emotion, American and Japanese agreed on which photo were more intense in 24 out of 30 comparison. These findings are important because they suggest that people of different cultures use the same visual cues in judging others (Fernandez, Carrera, Sanchez, Paez, and Candia par. 8). The role of culture in emotional control is shown most explicitly through the use of display rules. Display rules are learned, culturally determined norms that govern people’s display of emotions in different social situations (Matsumoto, 1990). Matsumoto (1972) found cultural differences in display rules when a group of Japanese and American students were shown stressful film stimuli in two conditions. In the alone condition, both the Japanese and American students displayed the same negative facial expressions of fear, disgust, and distress. However, when the experimenter was present, the Japanese students smiled to mask their negative emotions while the Americans continued to exhibit their negative affects. Furthermore, a study by Matsumoto (1990) found that Americans rated disgust and sadness as more appropriate in in-groups than did the Japanese. In contrast, the Japanese rated anger as more appropriate in out-groups than did the Americans. The above findings suggest that the Japanese and American students utilized different sets of display rules which influenced either their expression or inhibition of their emotions (Matsumoto par. 2). The different sets of display rules can be understood in terms of the American and Japanese emphasis on individualism versus collectivism respectively. Individualism and collectivism are dimensions of cultural variability that refer to the degree to which a culture encourages individual needs, wishes, desires, and values over that of the group  (Matsumoto, 1990). For example, individualistic cultures emphasize individual goals and independence. Collectivist cultures, on the other hand, stress collective goals and dependence on the group (Matsumoto, 1989). It could be understood in this context that the expression of negative emotions in an in-group setting is regarded as extremely negative in collectivist countries, since the manifestations of such emotions threatens the interdependent relationship of the group. In an individualist country, however, the expression of both positive and negative emotions may feel right and good since such expressions highlight both the separation of self from others and the individual’s private, internal attributes (Forgas and Bond, 1994). What may feel good then, in this case the inhibition or expression of emotions, is largely dependent on one’s culture and socialization. To take this idea a step further, the correlation between emotional inhibition and well-being, either negative or positive, may be dependent on one’s respective culture. A past research on the relationship between emotional control and well-being has yielded conflicting findings. Where one line of research suggests that the active inhibition of emotions will lead to an increase in physiological arousal and a decrease in well-being, the other proposes that the inhibition of emotions will result in a higher level of well-being. The aim of the present study is to unravel parts of the conflict by examining the influence of gender and culture on the relationship between emotional control and well-being in two ethnic groups, Asians and Caucasians (Aeker and Williams par. 10). Furthermore, seventy-nine participants were asked to fill out questionnaires assessingtheir level of emotional inhibition, subjective well-being, and identification with anindividualistic versus collectivist culture. Results found that Caucasians and Asians differed onthe individualism-collectivism scale, with Caucasians being more individualistic and Asiansmore collectivists. The effect of culture was found with Caucasians having a negative correlationbetween emotional inhibition and well-being while Asians having an almost zero correlation. Influence of gender was also found in which increases in the level of emotional inhibition isnegatively correlated to well-being for the female sample, but for the male sample, there wasagain a zero correlation. An interactive effect of culture and gender was also found with Asianmales having the most positive correlation between emotional inhibition and well-being, andCaucasian females having the most negative correlation between emotional inhibition and well-being. Explanations of the findings in terms of gender and cultural norms are discussed(Matsumoto par. 5). The interacting effects of cultural and gender norms were also demonstrated. Asian maleswho were high on emotional inhibition were highest on well-being and Caucasian females whowere high on emotional inhibition were lowest on well-being. The results could be understood inthe context that Asian males are socialized by both their gender and cultural norms to inhibit their emotions. The act of inhibition is then consistent with what they believe they should do. Caucasian females, on the other hand, are told by both their gender and cultural norms to express their emotions. The act of inhibition is then contradictory to these expectations. It makes sense then that when one’s actions are consistent with one’s perceived cultural and gender expectations, the result would be a higher level of well-being than when the actions are contradictory to the expectations. Though the results demonstrate that both culture and gender influence the relationship between emotional control and well-being, the present study also has important limitations. First, the emotional inhibition scale measures the inhibition of both positive and negative emotions. It can be understood from a collectivist context why the inhibition of negative emotions is valued because the expression of such emotions is deemed threatening to the group. However, the expression of positive emotions is not only non-threatening but can actually facilitate group harmony. It can then be predicted that for negative emotions, inhibition will correlate positively with well-being. However, since the inhibition of positive emotions is contrary to the cultural norms, the inhibition of positive emotions will correlate negatively with well-being. Since the emotional  inhibition scale combined both types of emotions, we can speculate that there might be a canceling effect, resulting in the zero co rrelation found for the Asian sample. Furthermore, the Asian sample in the present study consists of students from U.C. Berkeley. It can be speculated that these students have to some extent acculturated into the American system and perhaps have embraced parts of the individualist culture, such as the value of expressiveness. Though the ICIAI depicts significant cultural difference between the Asians and Caucasian sample, the issue of acculturation can be reduced with cross-cultural research comparing the U.S. population with the Asian population. To investigate further the meaning of differences, Matsumoto (1993) showed ratings from Japanese and Americans on smiling versus non-smiling faces with regard to intelligence,attractiveness, and sociability. Americans rated smiling faces as more intelligent than neutral faces; the Japanese, however, did not. Americans and Japanese both found smiling faces more sociable than neutral faces, but for the Americans the difference was greater. These differences suggest that cultural display rules cause of Japanese and Americans to attribute different meanings to the smile, and serve as a good explanation for perceived major differences in communication styles across cultures. Evidently, the study has contributed to the understanding of the relationship between emotional expression and culture. Although results have shown that there are definitely effects of culture on emotional expression and perception, the future research is needed to extend the influence. For example, a study measuring the expression of positive and negative emotions separately will be easier to understand on how cultural norms affect the emotional expression and perception. The finding of cultural influence is a great step forward in understanding the role of emotional expression. However, it is just the beginning in investigating the complex between the control of emotions and our perception. Summing up, this paper talked about the different expressions the people in  different cultures gave. Everyone is brought up differently and taught differently. Therefore, we express our emotion differently because of the surroundings we grew up in, and the people that influenced us. Although people in certain parts of the world are different in terms of the background, tradition, and norm and so on, all of us are crossing that barrier on having friends by effective communication. We shouldn’t prejudice other persons before thoroughly knowing them because stereotyping is typically wrong. If people start to get to thoroughly understand differences of others, then this will become the beginning of making best friendships than ever. Bibliography Adler, Ronald B., Russell F. Proctor, and Neil Towne. Looking Out Looking In. Belmont, CA: Thomson Wadsworth, 2005. Aeker, Jennifer L. and Patti Williams. â€Å"Empathy Versus Pride: The Influence of Emotional Appeals Across Cultures.† The Journal of Consumer Research 25.3 (1998): 241-61. Fernandez, Itziar, Pilar Carrerra, Flor Sanchez, Dario Paez, and Luis Candia. â€Å"Differences Between Cultures in Emotional Verbal and Non-Verbal Reactions.† Psicothema 12 (2000): 83-92. Forgas, Joseph P. and Michael H. Bond. â€Å"Cultural Influences on the Perception of InteractionEpisodes.† Personality and Social Psychology Bulletin 11.1 (1985): 75-88. Matsumoto, David. â€Å"American-Japanese Cultural Differences in Judgments of Emotional Expressions of Different Intensities.† Cognition and Emotion 16.6 (2002): 721-47.

Importance of Art in Our Life

It is usual human nature to admire beauty around us, such as we are often awe-struck when we see a painting, or read a beautiful poem, or listen to soothing music! Art is everywhere around us in many forms and holds a significant value in our lives. It is difficult to describe â€Å"Art† in literal terms, but broadly it is understood to be a form to express one’s feelings through any object or medium like paper, music, colours, technology, magic, photography etc. It could be abstract, realistic, naturalistic, conceptual, and inspirational.It is agreeable that we are surrounded by Art and also rely on it in our daily routine. When we enter someone’s home, it is difficult to stop ourselves to appreciate the way the living room is decorated. You would find rhythm and harmony in the way furniture are placed; photographs adorn a wall, paintings hung above the sofa or any particular artefact placed in a corner or centre piece on a coffee table etc. This is also art, on e doesn’t have to be a painter to be an artist, how an individual expresses him/herself, uses imagination and creative energy to embellish and decorate the surrounding.Arts have many forms — visual and performing arts are the ones that could be related easily. Visual arts broadly comprise of paintings, drawing, clay modelling, architecture, photography etc. and performing arts include dance, music, opera, theatre, magic, spoken words, circus art and musical theatre. It is inter-related with Entertainment. When you make people enjoy, laugh, cry, and angry by your performance, that is the art of entertaining. There is a big world of Entertainment and almost all of us find solace watching their work.Music has a great impact on our mood; it makes us joyful and relaxes us and keeps the energy on. Not only music, but also movies, plays and theatre also makes us active. This reveals how much we are hemmed in by Arts and Entertainment. It could be concluded that importance of Arts in our lives is very similar to entertainment. Now-a-days Art and Craft Education are encouraged at schools for children as it provides a platform for the young ones to express and explore their imagination. It could be very inspirational as well.

The Portrayal of the Body as a Medium of Culture in Stanley Kubrick’s A Clockwork Orange Essays

The Portrayal of the Body as a Medium of Culture in Stanley Kubrick’s A Clockwork Orange Essays The Portrayal of the Body as a Medium of Culture in Stanley Kubrick’s A Clockwork Orange Paper The Portrayal of the Body as a Medium of Culture in Stanley Kubrick’s A Clockwork Orange Paper The clockwork metaphor has long been used as a tradition of Western science as a means of portraying a condition in which human behavior is modified to the extent that it is plausible to predict as well as control human behavior. Stanley Kubrick’s adaptation of Anthony Burgess’ novel A Clockwork Orange presents a scenario in which such a condition is enabled in society. A central message of Kubrick’s aforementioned film lies in its emphasis on the necessity to scrutinize the assumption that both science and the state may be considered as the guardians of human civilization. The movie’s story follows the escapades of Alex, a reasonably intelligent young criminal and his three gang members, Pete, Georgie, and Dim. As they drink milk with narcotics, the gang spends their evenings entertaining themselves with ‘ultra-violent’ acts. As the movie develops, one is presented with examples of these ‘ultra-violent’ acts which involve beating a homeless man, raping another gang, as well as beating and raping a woman. It is the later act which led to Alex’s imprisonment and later on involvement in a voluntary behavior modification experiment which conditioned him to associate pain with sex and violence thereby turning Alex into an individual devoid of free will and a model member of society, hence ‘a clockwork orange’. This modification of Alex’s behavior however turned him into a victim of social retribution, the experience of which led him into an attempt to commit suicide. After such an attempt, Alex was once again placed in the control of the state who decided to undo the effects of his earlier behavior modification. The movie ends with a portrayal of Alex who was once again in possession of his free will filled with thoughts of the various ways in which he may once again commit ‘ultra-violent’ acts. The movie ends with Alex menacingly stating, â€Å"I was cured all right† (Kubrick np). Stanley Kubrick’s A Clock Work Orange may thereby be seen as presenting a narrative of an individual who experiences four subject positions: Alex as a criminal, Alex as a convict, Alex as a patient, and Alex as a citizen. Through his shift from one subject position to another, Alex experiences different modes of power and at the same time different modes of subjectivity. It is interesting to note that by enabling the different shifts in power through Alex’s character, the movie was able to portray the different points in which subjectivity is shaped in an individual. In line with this, what makes Alex’s character interesting are not his physical traits but the different traits which have been ascribed upon him as a result of the constitution of his personality by the rules and norms of the different institutions that gained access and control over Alex’s body. Alex may thereby be seen as an entity who presents the film’s spectator with the different ways in which the body stands as a medium of culture as it derives its meanings from the social constructs of the body determined by its position within society. Susan Bordo, in â€Å"The Body and the Reproduction of Femininity†, emphasizes the manner in which the body becomes a ‘powerful symbolic force’. She states, â€Å"The body†¦is a powerful symbolic force, a surface on which the central rules, hierarchies, and even metaphysical commitments of culture are inscribed and thus reinforced through the concrete language of the body† (Bordo 162). Bordo’s claim regarding the body’s existence as a powerful symbolic force and a mirror of culture is based on the assumption that the body is defined by the social constructs of society. Such a definition however occurs not merely by placing emphasis on the physical property of the body but also by placing emphasis on the mental property of the body. In â€Å"Feminism, Western Culture, and the Body†, Bordo argues that the body is defined in terms of a dualistic conception of reality which perceives the body as an entity which is â€Å"something apart from the true self†¦and as undermining the best efforts of that self† (5). The body is thereby depicted as an entity composed of a physical component and a mental component. The physical component adheres to the scientific conception of the body as â€Å"a purely mechanical, biologically programmed system that can be fully quantified and (in theory) controlled† (Bordo 4). The mental component of the body, on the other hand, adheres to the conception of the body which refers to the self or an individual’s identity. According to Bordo, Western philosophy has traditionally perceived the physical component of the body as that which must necessarily be controlled by the mental component of the body (Bordo 2). The problem with such a view however is evident if one considers that the conception of the mental component of the body is based upon the physical component of the body. In the case of women, for example, this is evident in the identification of the physical component of the female body with sexuality and the mental component of the female body with irrationality. Bordo argues that this distinction between the mind and the body has pervaded the social construction of both the male and female figure and as such its â€Å"continuing historical power and pervasiveness†¦ (enables) certain cultural images and ideolog(ies) to†¦ (make) not just men but also women†¦vulnerable† (Bordo 7-8). The continuation of a dualistic conception of reality leads to the vulnerability of both men and women as it enables the proliferation of certain social constructs which identifies the male and female body with particular identities. Dualism enables the perpetuation of these identities as it emphasizes the impossibility of enabling the union between both the physical and mental components of an individual. In â€Å"We the Other Victorians†, Michel Foucault argues that this adherence to dualism is a discursive strategy of certain social groups that enables them to take control of the body. He states, The central issue, then†¦ is not to determine whether one says yes or no†¦, whether one formulates prohibitions or permissions, whether one asserts its importance or denies its effect, or whether one refines the words one uses to designate†¦; but to account for the fact that it is spoken about, to discover who does the speaking, the position and viewpoints from which they speak, the institutions which prompt people to speak about it and which store and distribute the things that are said. What is at issue†¦is the overall â€Å"discursive fact†. (Foucault 11) David Gauntlett (2002) in his discussion of Michel Foucault’s work in his book Media, Gender, and Identity, emphasizes that this characterizes the earlier phase of Foucault’s thought wherein he places emphasis on how institutions create and proliferate certain images of groups in order to enable the control of these groups. He states, â€Å"the discourses of institutions, and their formally recognized ‘experts’ work to constrain certain groups (by) limiting their opportunities by promoting certain views about them† (Gauntlett 116). In line with the importance Foucault places on the predominant discourse in society in determining the mode of power on the subject, one might state that Foucault understands the emphasis on dualism as a manifestation of society’s desire to limit the positive power of the subject by leading him to believe that his physical properties or condition determine his identity and since society perceives individual X to possess a Y identity as opposed to a Z identity, it follows that is impossible for the individual to possess a Z identity [e. g. females ought to be feminine and males ought to be masculine and hence females cannot be masculine]. In the case of Stanley Kubrick’s A Clockwork Orange, this is evident in the character of Alex mentioned above as Alex’s identity was determined by the conditions of the physical component of his body. As was mentioned in the initial part of the paper, Alex was able to experience four subject positions: Alex as a criminal, Alex as a convict, Alex as a patient, and Alex as a citizen. It is important to note that all these subject positions are determined by the actions on or upon the physical component of his body. For example, Alex’s subject position as a criminal was determined by his freedom from the constraints of the law which enabled him to commit violent actions towards others. On the other hand, Alex’s subject position as a convict and as a patient was determined by the level of control that the system possessed upon Alex’s body. Finally, Alex’s subject position as a citizen was determined by the effects of his position as a transformed body. It is important that this transition from one subject position to another mirrors Bordo emphasis on the social construction of the subject. This is apparent if one considers that Alex’s subject position was determined by the institution which has control over his body and hence the manipulation of this institution upon Alex’s physical body has led to the manipulation of the conception of Alex’s self or Alex’s identity. These changes enabled by Alex’s shift from one subject position to another is also in line with Foucault’s emphasis on the way in which discourse manifests the modes of power prevalent within society as well as the individual’s access to these modes of power. Consider for example that Alex’s transition to a citizen stands as a result of his transformation from being a subject acting with and upon others to a slave or object for others to act upon. By being submerged within the different discourses and hence different modes of power that delimit the individual’s positive freedom, Alex was turned into a body that was stripped of his initial identity that was not controlled by society and hence he has turned into a subject defined by society itself as he has been manipulated and molded in order to gain his final subject position as a citizen. Within this context, one might note that the body becomes a medium of culture as the body stands as the means through which culture controls the subject. By advocating associations between the physical and mental component of the body, society enables the control of the individual as it delineates the individual to one particular identity hence as can be seen above Alex cannot occupy the subject position of a convict and citizen at the same time. The problem with this is evident if one considers the intersectionality of identity which refers to the possibility in which an individual may have one or more characteristics of another group [e. g Alex’s subject position as a patient still enables him to occupy the subject position of a citizen]. To assume that an individual is delimited to one identity as a result of his physical properties amounts to a form of hasty generalization which fails to account for the complexity of the human being and his ability to occupy different positions within society. Bordo, Susan. Unbearable Weight: Feminism, Western Culture, and the Body. Eds. Susan Bordo and Leslie Heywood. California: U of California P. , 2004. Foucault, Michel. â€Å"We the Other Victorians. † The History of Sexuality. Volume One. New York: Penguin Books, 1988. Gauntlett, David. â€Å"Michel Foucault: Discourses and Lifestyles. † Media, Gender, and Identity: An Introduction. London: Routledge, 2002. Kubrick, Stanley. A Clockwork Orange. Perf. Malcolm McDowell. Np, 1971.

bowling for bombs essays

bowling for bombs essays a great movie, Michael Moore is a great comedian and he did make some interesting point. But it was anything but a documentary. It was very biased and I would even go as far as saying it was a brilliant piece of propaganda. Don't get me wrong, there's nothing intrinsically wrong with producing a piece of propaganda in a free environment. But then you should admit it. Bowling for Columbine was good propaganda, but not a documentary. Let me give you some examples: Did you notice that the people in favour of liberal gun laws appearing in the movie were nearly all total morons whereas the people who support stricter gun laws were generally educated and/or intelligent people. It was hilarious to hear the brother of the Oklahoma bomber say that, 'There are lots of whackos out there', and it certainly illustrates well Moore's point. However selecting stupid people to oppose your argument is not really the way to make a documentary. As a matter of fact, documentaries are meant to expose issues and ask questions instead of giving answers. Another example would be the interview with Charlton Heston. Did you know that Heston announced shortly after the interview he had "Altzheimer-like symptoms". Isn't it wrong to take advantage and make fun of a sick person? Now, as has been put forward by Moore, Heston might be faking it in order to make us THINK Moore is just a reckless bastard who tries to manipulate us. Yet, that seems unlikely to me: First of all, Heston would hence have sacrificed his career in the NRA for a movie (which didn't go that well in the States BTW) and secondly, why did Moore not point this Altzheimer-thing out in the movie anyway? In doubt, we should, I think just ignore the interview and not interpret it in a fashion that reflects either positively or negatively on Moore's movie. Third example: The animated-movie, which most people thought was quite funny. Though Moore may have a point about the American ...

Suspense 101 Definition and Tips for Building Heart-Stopping Narratives

Suspense 101 Definition and Tips for Building Heart-Stopping Narratives What Is Suspense in Literature? They say curiosity killed the cat - but satisfaction brought it back. Suspenseful stories depend on these very same traits in a reader. But just what is suspense in literature, and how can you weave that gripping tension into your own stories?This thorough guide will give you all the information you need†¦ and more. (See, we’re creating suspense already!)Check out the 50 best suspense books of all time over at Reedsy Discovery!What is literary suspense?Suspense is the tension a reader feels when they're not sure what will happen in a story - either during a single scene/chapter or throughout its overall arc. You might create suspense around anything that stokes readers’ curiosity, whether it’s a love triangle or a killer on the loose.You can use suspense in a story to:Heighten tension during a dramatic sceneConceal answers you don’t want to give awayBuild up to a twist and make it more powerfulKeep your reader turning the pages!While suspense is mos t frequently employed in mysteries and thrillers, it should be present in every work of fiction - curiosity is what compels readers to finish your book! However, the amount and type of suspense you use depends on exactly what you want your reader to experience. Learn all about literary suspense and how to create it in your novel! The 5 types of suspense (with examples)First of all, there are two types of suspense to know in terms of story structure: narrative suspense and short-term suspense. The first engages the reader with the central issue of the narrative, while the second keeps them intrigued minute to minute. A good novel has both.1. Narrative (long-term) suspenseWhile technically any literary suspense might be described as â€Å"narrative,† this refers to tension that builds throughout the entire story. In narrative suspense, you pose a question, problem, or mystery at the book’s beginning, divulge more about it as the plot progresses, and wrap it up near the climax or ending.Well-written narrative suspense makes it nearly impossible for readers to put down your book. However, that means the payoff has to be huge - if you’re going to tease readers for 300 pages, you need an incredible ending! This is part of why suspenseful stories often culminate in a plot twist or big reveal (o r both, as in the arc of Amy’s disappearance in Gone  Girl).When constructing this kind of suspense, you want to continuously hint at its resolution. But you also don’t want to overwhelm your reader; the constant pressure of an impending reveal can make them feel overly anxious as well as impatient. With that in mind, temper this pressure with character development, non-suspenseful plot progression, or even a different suspense arc, as in the example below.Example of narrative/long-term suspenseIn To Kill A Mockingbird, there are two arcs of narrative suspense: 1) the question of what will happen to Tom Robinson, and 2) the suspense surrounding the mysterious Boo Radley. Both issues are introduced near the beginning, gain traction throughout the story, and eventually collide at the end, when Boo Radley saves the kids from Bob Ewell after the Robinson trial.Having more than one arc of narrative suspense keeps the reader invested and gives the story added layers of dep th. You can also accomplish these goals by using short-term suspense, which we’ll discuss in our next section.What's the best suspense you've ever read (or written)? What are your tips for recreating it? Let us know in the comments below!

Global Management of Information Systems- MISM 3303, Information Research Paper

Global Management of Information Systems- MISM 3303, Information Systems Theory and Practice - Research Paper Example This document also encourages for the adoption of new research methods by researchers in global information systems research. Advances in information technology and globalization trends have for the last two decades dominated the business world. Globalization reflects the interconnection of societies in terms of political, cultural and economic aspects (Giddens, 2002). Opportunities and feasibility of globalization have been enhanced by information and communication technology, by enabling new structural organizations, new modes of work and communication across space and time (Walshan, 2001) as well as facilitation of movement of goods and coordination of services (Palvia and Wang, 1995). Businesses today find it necessary to incorporate global information systems in their organizational structure due to its usefulness and impact. A firm’s global business strategy can be achieved through global applications such as using information technology platforms to transmit, store, and manipulate data across diverse cultural environments (Wang, 1995). Global Information systems deal with development, management and use of information systems across the globe. Implementation and use of information systems may be affected by national differences such as infrastructure capabilities, physical environments, cultural issues, economic and political factors. Hence, it is essential to understand the challenges and opportunities related to global information systems in the volatile business world. Research on global management of information systems goes across national boundaries to include research spanning on multiple countries. Recent research studies have focused only on particular aspects of global IS. It has been revealed through a literature search (Lehman & Gallupe, 2004) that, less than 1 percent of the IS literature published in academic