Langston Hughes was born in Joplin, Missouri, in 1902 Essay Example For Students

Langston Hughes was conceived in Joplin, Missouri, in 1902 Essay Langston Hughes was conceived in Joplin, Missouri, in 1902. His dad, who had concentrated to turn into a legal advisor, left for Mexico not long after the child was conceived. When Langston was seven or eight he went to live with his grandma, who revealed to him brilliant tales about Frederick Douglass and Sojourner Truth and took him to hear Booker T. Washington. She additionally acquainted him with The Crisis, altered by W. E. B. Du Bois, who additionally composed The Souls of Black Folk, youthful Langstons most loved book. After his grandma passed on when he was twelve, Langston went to live with her companions, whom he called Auntie and Uncle Reed. We will compose a custom article on Langston Hughes was conceived in Joplin, Missouri, in 1902 explicitly for you for just $16.38 $13.9/page Request now At that point, at age fourteen, his mom wedded once more, and soon he went with his new family to Illinois and afterward to Cleveland, where Homer Clarke, his moms new spouse, had looked for some kind of employment in a steel factory. As a secondary school understudy at Central High in Cleveland, Langston read crafted by many dark journalists. After graduation, he went to Mexico to visit his dad, who consented to pay for his advanced degree. On his way through the south, as he was crossing the Mississippi River, Langston composed The Negro Speaks of Rivers. It was imprinted in The Crisis in 1921. Langston entered Columbia University and started living in Harlem, around then an exquisite segment on the northern finish of Manhattan Island that individuals of color were making their own. The sights and hints of Harlem, its music and move and scholarly life, motivated Langston more than his classes in mining designing, and in the long run he quit school. Then he sent more sonnets to The Crisis. Experiencing issues looking for some kind of employment, Hughes, twenty-one years of age, joined the group of a boat cruising for Africa. In the long run he went through Italy, Holland, Spain, and France, composing at the same time. At long last he came back to New York, and felt like he had get back. An upheaval of abstract movement followed. Hughess verse consumed the rhythms of blues and jazz and the vernacular of African American discourse that he heard around him. He kept on composing and distribute in The Crisis. He met artist Vachel Lindsay, who loved his sonnets and advanced them. In 1926 Hughes distributed his first book of sonnets, The Weary Blues, about Harlem life. Hughes kept composition through the 1930s and the 1940s, representing poor people and destitute individuals of color who endured during the Great Depression. He composed of their day by day lives in Americas urban areas, of their indignation and their loves. Individuals of color cherished perusing his works and hearing him read his sonnets at open introductions everywhere throughout the nation. To them he was Harlems Poet. At the point when Hughes kicked the bucket in 1967, a jazz band played at his burial service. The Harlem that Hughes adored and where he lived the greater part of his life was an energizing spot. This recently evolved suburb of New York City was arranged, spread out, and constructed excessively quick; the base dropped out of the land showcase in 1904-1905. Harlem had expansive roads, delightful condos, and elite loft buildings㠢â‚ ¬Ã¢â‚¬ but no occupants. Frantic to lease to anybody, numerous designers started to open Harlem to blacks, and by 1914 Harlem was a dark city. Its populace nearly detonated during the long periods of the First World War as blacks from the South moved north looking for better occupations and more full citizenshipthe start of what came to be known as the Great Migration. Simultaneously, in light of the fact that it was a port city, New York pulled in an enormous convergence of blacks from the West Indies and even Africa. .u2439d054af08b09e87268937f6ae98e7 , .u2439d054af08b09e87268937f6ae98e7 .postImageUrl , .u2439d054af08b09e87268937f6ae98e7 .focused content region { min-stature: 80px; position: relative; } .u2439d054af08b09e87268937f6ae98e7 , .u2439d054af08b09e87268937f6ae98e7:hover , .u2439d054af08b09e87268937f6ae98e7:visited , .u2439d054af08b09e87268937f6ae98e7:active { border:0!important; } .u2439d054af08b09e87268937f6ae98e7 .clearfix:after { content: ; show: table; clear: both; } .u2439d054af08b09e87268937f6ae98e7 { show: square; progress: foundation shading 250ms; webkit-change: foundation shading 250ms; width: 100%; obscurity: 1; change: mistiness 250ms; webkit-progress: murkiness 250ms; foundation shading: #95A5A6; } .u2439d054af08b09e87268937f6ae98e7:active , .u2439d054af08b09e87268937f6ae98e7:hover { darkness: 1; progress: haziness 250ms; webkit-progress: murkiness 250ms; foundation shading: #2C3E50; } .u2439d054af08b09e87268937f6ae98e7 .focused content zone { width: 100%; position: relativ e; } .u2439d054af08b09e87268937f6ae98e7 .ctaText { outskirt base: 0 strong #fff; shading: #2980B9; text dimension: 16px; textual style weight: striking; edge: 0; cushioning: 0; text-adornment: underline; } .u2439d054af08b09e87268937f6ae98e7 .postTitle { shading: #FFFFFF; text dimension: 16px; textual style weight: 600; edge: 0; cushioning: 0; width: 100%; } .u2439d054af08b09e87268937f6ae98e7 .ctaButton { foundation shading: #7F8C8D!important; shading: #2980B9; fringe: none; outskirt range: 3px; box-shadow: none; text dimension: 14px; textual style weight: intense; line-tallness: 26px; moz-fringe sweep: 3px; text-adjust: focus; text-improvement: none; text-shadow: none; width: 80px; min-stature: 80px; foundation: url(https://artscolumbia.org/wp-content/modules/intelly-related-posts/resources/pictures/straightforward arrow.png)no-rehash; position: supreme; right: 0; top: 0; } .u2439d054af08b09e87268937f6ae98e7:hover .ctaButton { foundation shading: #34495E!important; } .u2439d054af08b 09e87268937f6ae98e7 .focused content { show: table; stature: 80px; cushioning left: 18px; top: 0; } .u2439d054af08b09e87268937f6ae98e7-content { show: table-cell; edge: 0; cushioning: 0; cushioning right: 108px; position: relative; vertical-adjust: center; width: 100%; } .u2439d054af08b09e87268937f6ae98e7:after { content: ; show: square; clear: both; } READ: Peer Pressure EssayMeanwhile blacks enrolled in the military in record numbers and separated themselves on the combat zone in Europe. They additionally took the hints of jazz and jazz to England and France, and created an uproar. After the war the blend of the Great Migration, the blend of societies in Harlem, and a newly discovered feeling of dark solidarity and certainty delivered an extraordinary eruption of inventiveness. The dark essayist, instructor, and scholarly Alain Locke depicted another feeling of Negro character: Here in Manhattan isn't simply the biggest Negro people group on the planet, however the primary fixation in history of such a large number of differing components of Negro life. . . In Harlem, Negro life is taking advantage of its first possibilities for bunch articulation and self-assurance. It isor guarantees in any event to bea race capital. During the Harlem Renaissance, scholarly discourse, abstract and masterful creation, blues and jazz, move and melodic performance center met up and bloomed as at no other time. There were dynamic workplaces of the National Association for the Advancement of Colored People, the Urban League, and the Universal Negro Improvement Association. There were all dark musicals, move clubs, jazz clubs, and dance club that took into account whites. The pioneers and stars are as yet known today: in scholarly talk and book and magazine distributing, W. E. B. Du Bois, Marcus Garvey, and Alain Locke; in music and move, Bill Bojangles Robinson, Ethel Waters, and Duke Ellington; stone carvers and painters Meta Warrick Fuller, Aaron Douglas, Palmer Hayden, and Augusta Savage; writers Jessie Fauset and Zora Neale Hurston; and artists James Weldon Johnson, Claude McKay, Countee Cullen, Jean Toomer, and obviously, Langston Hughes. Eventually, the Depression, joblessness, destitution, pack viciousness, and above all else segregationnot lawful isolation however the proceeding with imbalance among whites and blackschanged Harlem during the 1930s, and it turned into a tragic and hazardous spot. Regardless of such a significant number of splendid achievements, there was no crucial change in the similar situation of the two races. Langston Hughes clarified it thusly: The downturn cut everyone down a peg or two. Also, the Negro had however hardly any pegs to fall.

Essay on Toms Escape in The Glass Menagerie -- Glass Menagerie essays

Tom's Escape in The Glass Menagerie   â In Tennessee Williams' play, The Glass Menagerie, every individual from the Wingfield family has their own dreamland where they entertain themselves. Tom got away briefly from the dreamland of Amanda and Laura by hanging out on the emergency exit. Suffocating both sincerely and profoundly, Tom in the long run looked for an increasingly lasting type of getaway.  Tom underpins his family regardless of his misery of his world.â He attempts to please Amanda byâ being the sole supporter, yet just gets remunerated by Amanda's consistent bothering and suspicion.â Eventually Tom gets himself increasingly like his dad as he looks for experience in the motion pictures and hangs out on the emergency exit he keeps away from suffocation, and frantically looks for the existence he generally wanted; the life of adventure.â   â â â â â â â â â â By hanging out on the emergency exit, Tom finds an impermanent place of refuge from Amanda.â With Amanda bothering Tom consistently activity, similar to rumination, Tom expected to discover some place to escape.â Perhaps, much more, the emergency exit shows different things about Tom's personality.â Since Amanda and Laura have their illusionary universes inside, Tom can without much of a stretch getaway these universes by going out on the firescape.â He doesn't want to be a piece of a conjured up universe, which just ends up being the destruction of Amanda and Laura.â He understands that the world isn't what Amanda has caused it to appear to be inside the house.â Also, during his appearance on the firescape he isn't generally isolating himself from the fictional universe since that metal casing is still secured to the loft wall.â This shows regardless of how enthusiastically Tom attempts to get away from he will consistently be 'limited ' to the apartment.â His passionate connections to Laura would permantly k... ...s and it will be incomprehensible for him to not upset the nails.â He is choking in his own metaphorical final resting place, however realizes his departure will agitate Amanda and Laura.â   â â â â â â â â â â Tom got away from the dreamland of Amanda and Laura by hanging out on the emergency exit, despite the fact that he would never completely escape.â Unfortunately for Tom, his life was confined like the final resting place and he was gradually suffocating sincerely and spiritually.â Unhappy with the way of life he followed in the strides of his dad, he scanned for experience, getting away from the annoying of Amanda.â  Works Cited and Consulted Sprout, Harold Ed. Current Critical Views: Tennessee Williams. New York: Chelsea House Publishers, 1987. Williams, Tennessee.â The Glass Menagerie. The Bedford Introduction to Literature. Ed. Michael Meyer.â fifth ed.â Boston:â Bedford/St. Martin's. 1999. pp.1865-1908.

Munich 1972 Olympics Massacre Assignment Example | Topics and Well Written Essays - 500 words

Munich 1972 Olympics Massacre - Assignment Example The angry Israel made quick and serious move against this and propelled the activity fury of god, which included aeronautical shelling and exactness death of chose targets. The activity was effective, however it confronted analysis for utilizing viciousness to handle terrorism.â â â â The twentieth Olympics games were held in Munich, Germany. The weight was high in these games as this was the primary universal occasion to be held in Germany after 1936. The Israeli players were particularly anxious as the greater part of the players’ relatives were murdered in the Holocaust, or they were the overcomers of the Holocaust. The beginning to the Olympics went great until fifth September 1972, when eight individuals from a Palestinian psychological oppressor bunch called dark September entered the Olympics town. They went directly to the 31 Connolystrasse where the Israeli players were resting. They took nine players from condo 1 and loft 3 as prisoners. Some attempted to retaliate, and two of them were slaughtered on the spot. The news started to spread out, and the police was educated. The fear mongers requested the arrival of 234 detainees from Israeli jail and two detainees from German jail. The specialists attempted to persuade the psychological militants to bring down their requests yet all they prevailing to do was to expand the cutoff time. There was a stop between the two gatherings and the psychological militants saw well indeed, that their requests won't be met and in this way, they requested two planes to travel to Cairo, Egypt with the prisoners. The specialists concurred, yet the Germans realized that they couldn't let the psychological militants fly out of Germany, so they chose to assault the condo where the prisoners were kept yet their arrangement was some way or another spilled to the fear mongers. The Germans at that point chose to confront the psychological oppressors at the air terminal and after a wild challenge; the Germans could kill five fear based oppressors and caught three of them yet all the prisoners were executed. This made the Germans

Political Theories of sexuality Essay Example | Topics and Well Written Essays - 500 words

Political Theories of sexuality - Essay Example al jobs, specifically, ladies should show themselves essentially as spouses, moms and householders, while men are viewed as liable for the money related prosperity of the family. These social standards are basic to such an extent that any infringement of these portrayals compromises people judgment from society yet in addition seclusion from it. Offer to an assortment of philosophical and logical research reveals insight into this issue and one can comprehend why the cutting edge American culture experiences this issue. The way that its causes have profound roots. They are so generally developed in the human world that even present day American culture disregarding the accomplishments in the field of science and mechanical advancement keeps on showing a severe strategy of sexual orientation jobs. Specifically, one reason can be found in the impact of the Christian legacy in the way of life of the Western world. The German rationalist Friedrich Nietzsche highlighted the way that the Christian culture and ethical quality dependent on it and introduced in the Western world have a profound scorn for the individual human opportunity in the decision of sex jobs and approaches to actualize one’s sexuality. The value of Nietzsche is that he attempted to make an individual ready to impact the arrangement of open ethical quality that considers the way that the man isn't a machine however a living animal having his/her needs and inclinations, including sexual. Indeed, even the extraordinary psychoanalyst Sigmund Freud additionally causes to notice the contrary effect of social standards of Western culture on the individual people life. He focuses to the way that Western culture is penetrated with the longing to place an individual in an extremely unbending system, remembering for connection to his/her status of sex and sexuality. Concerning the across the board generalization that gentility is principally associated with shortcoming, resignation, and so on., one can allude to the finishes of Simone de Beauvoir. Because of careful research Beauvoir went to the possibility that such an

The Game of Life free essay sample

Strain is becoming at the table. The adversary is gazing me dead in the eyes, his glare crawling into my spirit. I keep a straight face, making a point not to part with my methodology. Significant cards have been lost, yet I employ trust in the hand before me. Would it be advisable for me to check? Fold?Forfeit? The chances are horrible, and triumph is looking somber. At the point when I was five-years of age, the five of hearts was managed. I had a steady family, with two guardians who adored me. Be that as it may, in a spring night, the game reversed the situation on my father. He was having fits and his head was throbbing; his cards were starting to drain. At that point, a bit of his carotid corridor severed, keeping blood or oxygen from getting to his cerebrum. Furthermore, my heart was broken. Because of this occasion, he is presently incapacitated on the whole left half of his body and has perpetual mind harm. We will compose a custom exposition test on The Game of Life or then again any comparative subject explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page I don't recall the individual my father was before his stroke, yet I have been told he was a decent man and a far superior dad. Today, he despite everything attempts his best, however my dad has his own hand to play, his own match to dominate. Losing that five of hearts despite everything ambushes me right up 'til the present time. My rival laughs, accepting he has the high ground. Hopping forward to when I was fifteen at a b-ball game in the Bronx, the lord of clubs was managed. Sweat was moving down my jaw, and my body was siphoning adrenaline through my veins while I administered the court. As a six foot four, 200 and twenty pound community, I told my group to an unforeseen lead over our rival. My mentor hollered, â€Å"Keep playing hard!†, yet his words were purposeless. I jumped up to hinder a shot, however came to excessively far, and came slamming down like Macbeth after his destruction at Dunsinane. The ruler of clubs had been expelled, and I lay on the hardwood like an illustrious imbecile. In the wake of being raced to the emergency clinic, specialists found I have osteochondritis-dissecans, an ailment which made a bit of my knee sever. With two medical procedures, my knee was fixed, yet I needed to utilize braces for a half year. I was never a similar player again. My adversary at last usurped me. I had lost the five of hearts and lord of clubs, and I was prepared to relinquish. Be that as it may, at that point I understood I can't change the cards that were managed, exactly how I played the hand. Already, I would bet everything with my chips for b-ball. I accepted b-ball would be my future, and having heavenly evaluations was pointless. After my lord of clubs was lost, I centered my technique around the scholarly world. The game in like manner turned in support of me. Modifying my methodology made a superior future for me. Above all, changing how I played my cards permitted me to appreciate playing the round of life. No longer did I stand stale at the scary glare of my adversary. I had recaptured certainty with my freshly discovered energy. I didn't have to check, overlay, or relinquish. The game is everlastingly in my grasp. I can never surrender in the round of life. I thought my rival was the world, until I discovered from the beginning it was me. My visual impairment to the truth was my most noteworthy shortcoming, however I would now be able to see I was my own adversary, my rival. When my naivete was perceived, my cards used boundless potential. The round of life is mine to win. I beat all chances, and I have the capacity to adjust to and expand any cards that are managed. I charitably anticipate my next arrangement.

Theorizing Awareness of Performance Poetry A Close Listening of “The Blue Roofs of Japan” - Literature Essay Samples

â€Å"To listen is to simultaneously attend to what is present and what is absent†. In â€Å"Understanding the Sound of Not Understanding,† Jed Rasula analyses the impact of the spoken word on the understanding of poetry. Historically, poetry, and most literary forms, started as an oral tradition. They were sung by barbs in various cultures. The very notion of poetry, originating from the the ancient Greek poiÄ“sis meaning â€Å"to create†, has always implied a way of structuring sound to create meaning. However, the actual sound in poetry is undeniably the most overlooked aspect of the art form. The convention has long been to study what the poem â€Å"says† and not take into account the layers of meaning added when spoken aloud. In poetry analysis, the sound pattern is sporadically mentioned and undeveloped as many scholars focus on the physical text itself. Another aspect of the sound in poetry that does not appear frequently, is the connotations att ached to sounds. The rhyme, alliteration or the poet’s delivery is associated to the understanding of the message, however, the evaluation of sound as its own is regularly falls between the cracks. In the 20th Century, modern art movements such as Dadaism or Surrealism have strove to push the boundaries of our understanding of art. Sound Poetry is an effect of modernism in the way that it is a clear rejection on the â€Å"need for meaning† all the while seeking to come back to its purest roots as an oral art form. Rafael Barreto-Rivera, a member of the Four Horsemen describes Sound Poetry as â€Å"poetry which has its basis in non-verbal, vocal and sub-vocal elements of sounds†. These poems are generally difficult to explain as their interpretation is based in sensibility rather than sensible reasoning, and the â€Å"liveness† of the performances are critical to reach any kind of understanding at all. If one were to read one the Four Horsemen â€Å"score s†, it would be quasi-impossible to perceive a significance. Some disagree that Sound Poetry needs to be free of words to showcase the prevailing of sound over text. Robert Bringhurst, a poet known for his linguistic clarity, writes a remarkable Performance Poem â€Å"The Blue Roofs of Japan: A Score for Interpenetrating Voices† in which the live representation surpasses the text. The poem is written as a Jazz duet with two voices reading two parts, overlapping, synchronizing and singly spoken. The result is an apparent disconnect with the written words and a focus on the cadence of ideas dancing around each other. As both speakers read differing lines, occasionally overlapping each other, discerning every word is too complex for any audience. The listener has to free himself from fixating on tangible explanations and experience the performance intuitively. The particularity of the overlapping speakers in â€Å"The Blue Roofs in Japan† poem constituted a challenge for the publishers at Barbarian Press in 1987. Considering the poem was meant as an oral piece, conveying the simultaneous voices without disrupting the flow of the reading was met with a few hurdles. Bringhurst suggested to print the left voice in a darker color and have the right voice in a lighter color behind. The result was a confused â€Å"muddy mess† as the publishing company points out. After a few trials and errors, they manage to come to a consensus by printing both voices side by side on the same page, each written in bold with the other text shadowing lightly behind. This enabled the speakers to read uninterruptedly all the while being able to follow the other’s lines. In the interest of hypothesizing the aforementioned supplemental effects of the performance in contrast with the text, a critical listening of the poem is to be conducted before the critical analysis. The reverse would be less impactful as the audience would already be aware of the themes and would have preconceived expectations. Although it would be interesting to note how the spoken piece’s sounds vary the interpretation of a person already familiar with the text. The simple fact that this poem is meant to be heard as it has â€Å"score† in its title, suggest that the performance is the author’s main intent. Music and Poetry are regularly likened to each other as they both rely on rhythm, pitch or accentuation of stress. Both aim to affect the listener in a subconscious way. Bringhurst poem is a five part lyric poem in that it is an expression of emotional impressions, inward experiences. It could be debated to be a dramatic poem as it has two voices that seem to respond to each other, however, the melodic tune and implication the both voices work â€Å"as one† would lead one to assume it’s the same discourse from different angles. Lyric in itself implies an accompaniment of a lyre, further relating to music. With time, lyric and music disassociated into distinct forms of art. Music is habitually examined by the manner in which the unity of the instrumental score and lyrics contribute to a higher understanding of th e piece. Sound poetry relies similarly on the abstract sounds or words and the cadence working cooperatively to invoke a feeling. When the poem starts being read, a soft feminine voice can be heard but soon being slightly over powered by a stronger male voice taking command of the rhythm. The softer voice becomes a sort of echo mirroring and at times contradicting the other. The idea of interpenetrating voices would lead to staccato interjecting of conflicting ideas. Having two speakers relying on the other would suggest ample rehearsal and an almost mechanical reading. â€Å"The Blue Roofs of Japan† manages to instil a melodic legato of sonority. The voices seem to represent a waltz of InyÃ…  (The way of Ying and Yang in Chinese Taoism). Taking into account the titled reference to Japan, it may be suggestive of the Japanese syncretism of beliefs and observation of nature. InyÃ…  is the representation of wholeness, embracing each aspect of life. The concept of good and evil does not come into this ideology. Both components are often represented as Female and Male, or Dark and Light. This furthers the speculation that the two voices in the poem are two side of the same coin as nothing seems to confront the other but more readily flow into one another. The more prominent voice does not lead as much as it depicts a mirroring stance to the softer voice which is not submissive but rather elusively evocative of the same idea. Although the voices are not always intelligible, some words are repeated and generating themes, even if the sentences are not clear. Many of the themes revolve around nature and most prominently â€Å"water†. Water is a recurring symbol in most cultures, but in Japan, the purifying powers of water transcend all religions. It is customary for Shinto practitioners to wash themselves before praying to the Kamis (Various Gods inhabiting the lakes, trees, mountains, or any natural phenomenon). This purification power of water is also found in Western cultures, possibly creating a deep connection in Bringhurst. The motif also illustrative of the pliant quality of water and its dual significance. Water is both a source of life and a source of destruction which the poem alludes to by referring to its many forms and stressing the repetitions or dragging the words out with long drawls. It should also be noted that water is the most adaptable element and is commonly associated to empathy . The poem is sensitive and highly emotional when heard. The lilt and whirl of the round sounds are reminiscent of synchronic ripples in still water. The remarkable aptitude of the poem to call forth an array of emotions and meaning without understanding the actual content makes a strong case for Sound Poetry. The lack of musical instruments does not feel void and does not impede the musicality of the spoken word on its own. In fact the steady recurrence of brisk consonant alliteration and soft vocalic alliteration balance the piece. Similarly, the use of plosive sounds (p,t,b and d) and nasal sounding consonants (n,m), respectively convey happiness and melancholy. At first glance, the dual voices seem to be competing to be in the forefront of the page. The bold lines superposed with the lighter ink behind sometimes get muddied and difficult to read. The lines are predominantly observational lyrics, inferring the poet’s state of mind as he comes into contact with these experiences. Though for the most part, the poem vividly describes external scenery such as â€Å"the river marched through the Chinese grid/ of the city, not twisting but turning/ as sharp as a section-line road/through the Saskatchewan prairie.†. It is important to note that the emphasis is on the speaker’s perception and experiences about them. This is effective as one finishes the poem ultimately understanding a much wider, and perhaps universal resonance to nature and all its relevance on the greater scale of life. This reminds of Percy Bysshe Shelley’s suggestion that Poetry â€Å"strips the veil of familiarity from the world and lays it bare its naked sleeping beauty and wonder†. Te tone of the poem is meditative as the speakers are reflecting on the scenery. It almost reads as a train of thought or daydream brought on by the wondrous sights. The flow of the water through the lines strengthens this interconnectivity of one one place to another. The entire second part of the poem embodies this journey of water and art. The left voice starts with â€Å"This music is all about water† and the right voice simultaneously says â€Å"This music is water, this water is music,† lightly musing with the two universal symbols of communication, further hinting to this connection of everything. The third and fourth part of the poem are a little less fluid and more grounded as they revolve around the structuring of nature and man to create art. Nevertheless the elements highlighted are the idea that art stems from the earth (â€Å"Writing is planting†) and predates all artificial construction as Art has always existed in the cosmos. The fourth section comments briefly on the vain ambition of artists and calls for us to stop and take a minute to listen, to get in tune with all that surrounds us. Rasula also makes this one of his primordial points when he discusses the differences between â€Å"hearing† and â€Å"listening†. His first distinction is made when he explains the â€Å"To listen is an act of attunement—†. This draws a direct parallel with Bringhurst when he writes â€Å"Listen: this music/ is all about water. The words/ are the earth, and the music/ is is water.†. Both insist on the act of taking the time to concentrate on what he hear in order to gather as much from the experience as possible. The fourth part ends with a call back to the realization that â€Å"The tongues of the gods include/ no dates and no names./This is the logos.†. The right voice echoes â€Å"THIS is the logos† which leaves the listener or reader with the same feeling of emptiness. This void is not stripped to nothing for the sake of effect, but rather creates an intense moment of recognition of our minuteness. The last section brings the journey full circle by recounting all four elements and their working in harmony and the history of man that started in the water. Bringhurst speaks of â€Å"Water and earth:what ties us together/ holds us apart† which alludes to the natural boundaries of nature that separate us and yet that we have in common. When the right speaker directly follows this with the ghostly â€Å"What holds us apart/ is what ties us together.† insinuates man’s greediness with nat ure and the constant struggle for power, all the while not realizing that this earth is to be shared and to be grateful for. The poem end on the note of â€Å"Facing the sky, be quiet wide and blue†, bringing us back the the blue roofs mentioned at its beginning. The journey started with the concrete man made object and took us through the world, then time and ending with a the silent infinity of the sky. Although this poem can be read, the written themes coincide with the sounds when spoken. However, one must wonder why the sounds, when heard evoke the feelings conveyed by the poem without logical reference to the words. The experience of performing voices conjures a myriad associating expectations. Content is oftentimes difficult to extract immediately from highly personal lyric poems. Words have different connotations depending on the person’s personal background, context, personality etc, whereas feeling is instinctual. Our relation to sound is formed in the womb, and our relation to language is formed in early childhood. Many scientists have studied the effects of music on fetus, and have concluded that they start processing tonal key. Music perception is based on cognitive skills for decoding the emotional meaning. Our perception of language itself is colored with different experiences ranging from similar to vastly different, but human beings develop their first contact with the outside world through sounds. The voice is the initial tool for communication, and newborns utter sounds to express hunger, discontentment, glee etc. With age, children associate sound to tone, tone to meaning, and finally meaning to understanding. Once that happens, sound becomes a much less conspicuous aspect of connecting ideas. It nevertheless appears unlikely we would abandon that instinct, which in turn helps understand how we can draw so much from listening to sound poetry. Sidney Lanier, while studying the sound and its perception has found that â€Å"when formal poetry or verse†¦ is repeated aloud, it impresses itself upon the ear as verse only by means of certain relations existing among its component words considered purely as sounds, without reference to their associated ideas†. This is Lanier simply acknowledging that sound invokes instinctual interpretations no matter the logical definition of the words themselves. Darwin also theorizes sound assoc iation and suggest that â€Å" The imitation by articulate sounds of musical cries might have given rise to words expressive of various complex emotions.† Experiencing an unfamiliar oral piece for the first time tends to cause the audience to either pursue their enjoyment by getting familiar with the written text and possibly the author’s other works, or feel so disconnected with the piece they let it go completely. As Rasula points out, â€Å"When sound and sense come together the sound renders â€Å"sense† senseless, or precariously sensed by being overcharged, as if everything that signifies profoundly needed to be profoundly sensuous as well. Everyday speech is happily exempted from such an aspiration, but poetry is not†. By that notion, when a poem such as â€Å"The Blue Roofs of Japan† is heard without forming formal sense to the associated references, the understanding is left to the pleasure one gets from simply letting the performance engulf one’s being for that moment. Considering this poem is transparent in its intent of being an oral piece, it defines itself by the sound being the fringe o f its understanding. Works Cited: Auracher, Jan and Albers Sabine â€Å"P Is for Happiness and N is for Sadness: Universals in Sound I Iconicity to Detect Emotions in Poetry†, Discourse Processes, (2011) 48:1–25, Web†¦ Bernstein, Charles. Understanding the Sound of Not Understanding, Rasula Jed,. Close Listening Poetry and the Performed Word. New York: Oxford UP, 1998. Print. Darwin, Charles (1871). The Descent of Man, and Selection in Relation to Sex, 2 vols. London: Murray, p. 56. Lanier, Sidney. Investigating of Sound as Artistic Material. The Science of English Verse. Folcroft, Pa.: Folcroft Library Editions, 1979. Print. Perani, Daniela et al.. â€Å"Functional Specializations for Music Processing in the Human Newborn Brain†. Proceedings of the National Academy of Sciences of the United States of America 107.10 (2010): 4758–4763. Web Perloff, Marjorie, and Craig Dworkin. â€Å"The Sound of Poetry / the Poetry of Sound: The 2006 MLA Presidential Forum†. PMLA 123.3 (2008): 749–761. Web†¦ Robinson, Jeffrey C.. â€Å"Listening to Sound in Poetry†. PMLA 124.1 (2009): 297–298. Web†¦ Scobie, Stephen. â€Å"I Dreamed I Saw Hugo Ball: Bpnichol, Dada, and Sound Poetry†. boundary 2 3.1 (1974): 213–226. Web†¦

How CEOs Percieve the Gap Year

The nation’s industry-leading CEOs declare it will make you, â€Å"more mature, stimulating, passionate, assertive, and goal-oriented.† No, they are not talking about a miracle pill. These are the adjectives that c-level executives use to describe how they perceive students that took a year off during any point of their education. While their reviews may seem glowing, there are several areas that former and future â€Å"gapers† must keep in mind before walking in for that all-important interview. So where exactly does a gap year get a student? I personally questioned nearly two dozen of North America’s industry leaders –from telecommunication giants to food and beverage gurus—to find out how their industries perceive potential hires that have taken a gap year. It all begins with praise: â€Å"Fantastic!† â€Å"Very positive.† â€Å"Incredibly honorable.† Joy Rothschild, Senior Vice President of Human Resources for Omni H otels even says that she is, â€Å"jealous of gap year students†. But while the reviews may be glowing, nearly every industry’s response came down to making the year a productive one and clearing articulating your explanation. â€Å"As long as they can explain it, it’s great. If their mother told them it was time to get off the couch, so they traveled Europe for a year, I see it differently,† says Hal Rosenberg, General Manager of Veria, the nation’s first and only 360-degree Media Company devoted to healthy lifestyle and wellness. What students participate in during their gap year is vital to clarifying to employers why their experiences should move them from the â€Å"interesting† column to the â€Å"desirable† column. Rothschild stresses this importance saying, â€Å"What you did on your gap year shows us what you would do with your free time if you were given 365 days of it. Hence, those activity choices carry a lot of weight.â €  Linda Matzigkeit, Senior Vice President of Strategic Planning and Human Resources for Children’s Hospital of Atlanta adds that, â€Å"If you spent a year doing something related to our industry or philosophy, we see a clear match in you.† Roopom Banerjee, President and CEO of RainDance Technologies, a life sciences tools and diagnostics company, highlights the science community’s perspective of the gap year, â€Å"If a student has a specific goal or dream in mind for their gap-year, then they should take the time to go after it. To maximize the experience, candidates should do something relevant and impressive otherwise, we would rather pull someone right out of school.† Don Browne, President of Telemundo Communications, sees a gap year on an applicant’s resume as an opportunity for an, â€Å"interesting line of conversation†. From there, he inquires deeper into the instigating factors which clue him in on an individual’s real personality and dreams. â€Å"There is clear risk in taking a gap year. It shows that an individual can handle the real world and academia.† While the overwhelming majority of executives agree that gap years certainly make for a more interesting job candidate, applicants must take on the responsibility of illustrating their year’s experiences are marketable to their potential employers. Says Banerjee, â€Å"We love to see that a candidate has a hobby or passion that they pursue aside from their work, but if an applicant does not illustrate to us how their gap year will make them a more vital and valued employee, we see [the gap year] as a hobby.† Ben Berry, CIO of the Oregon Department of Transportation, places that question at the heart of his inquires as well, â€Å"If they have taken a gap year, where does that put them right now in terms of who they are and their goals? Is that a match for what we can offer? Prove it to me.† With the consideratio n of â€Å"marketing† and â€Å"matches† in mind, how do years spent doing community service versus doing professional internships make their marks with employers? While the overwhelming majority of industry leaders showed no distinct preference, Ocean Spray CEO, Randy Papadellis, and Telemundo Communications President, Don Browne, hold more distinct opinions. Says Papadellis, â€Å"we [the food and beverage industry] prefer professional gap years because we see you as pre-trained and more skilled if you did work in our industry. It also shows passion for what we do.† Browne offers the contrary opinion, suggesting that, â€Å"We [the broadcasting industry] prefer service because it shows an enlarged perspective. Anyone that walks in the shoes of struggling people through volunteering efforts has gained a perspective that they cannot learn in academia or the workplace.† While outside experience may add diversity of thought, just like a college major or in volvement in certain activities, what one chooses to do on a gap year sets them in a different track for what they can do when they finish the year. To this, Papadellis adds, â€Å"If you spent your year teaching English, while that may not relate directly to my industry, you may be able to say it helped you learn to work with people. I could use that in my sales staff. My project engineers? Not as important.† Helene Solomon, Co- Founder and CEO of Solomon McCown, a strategic communications firm in Boston, adds that while the gap year provides, â€Å"non-conventional spice and variety to the workplace†, she sees a red flag if the year off shows no relevant commitment to her industry. â€Å"I can personally admire building schools in Haiti, but if you haven’t done anything relevant or relatable to my industry, how can I tell if six months from now you won’t declare that you love construction –not communications– and leave? That’s a risk for employers.† In the end, the industry leaders want gap year students to stress the importance of setting a goal, planning out how they will approach it, and then following through, while keeping in mind that the choices they make during their year could get them in the hot seat of their dream job– or sent across the street. I would also like to thank Diane Borhani, US Campus Recruiting Leader for Deloitte, Jim Carlisle, Director for Western Management Consultants, Sally Baldridge, COO and CFO of Jazzercise International, Trey Campbell, President of the Americas for NorthgateArinso, Paul Queally, Co-President of Welsh, Carson, Anderson, and Stowe, Katie Harvey, CEO of KGBTexas, and Robert Stack, CEO Community Options, Inc. for their contributions to this article.