The Background Analysis And Performance Suggestions

The Background Analysis And Performance Suggestions Luciano Berios Sequenza IXa is a work of increasingly great significance for the clarinet repertoire. In the past few years, numerous international music competitions, including the prestigious Geneva, Munich, and Nielsen competitions, have included the Sequenza in the repertoire for their first rounds. In addition, it has become an integral part of the unaccompanied solo standard clarinet repertoire in the twentieth century, and it provides clarinetists with a wealth of opportunities for exploring new techniques and freedom for musical interpretation. Upon first hearing it, the Sequenza intrigues, but challenges the listener to accept a new musical language. A glance at the score immediately reveals a host of difficulties for the performer, including a variety of rhythmic patterns, dynamic changes, and multiphonics, as well as the physical stamina required over the length of the piece. Apart from the score itself, little information is available about the history and construction of the piece from scholarly sources. This limited literature cannot satisfy the curiosity that the composition inspires.  [1]  Therefore, the purpose of this paper is to provide a more comprehensive aid to the study and performance of this piece, in order to make approaching the work more feasible and also more attractive to a wider breadth of clarinetists. My examination of the Sequenza will begin by contextualizing the work within the composers life and background, including a consideration of his statements about music and about the Sequenzas in particular. This will be followed by analysis of Sequenza IXa investigating the diverse array of musical elements, including harmonic fields, rhythmic patterns, transformational processes, structure, and multiphonics in the second part. To conclude, I will explore some of the difficulties in performing the piece and offer potential solutions. PART I: HISTORICAL BACKGROUND OF Sequenza IXa Berio is considered the foremost Italian avant-garde composer of his time, and one of the most influential composers of the twentieth century. He is particularly well known for his modernist approach and his extensive and experimental use of electronic instruments in art music. Born in Oneglia, Italy, he studied music with his father, an organist, before enrolling in music school in Milan.  [2]  In 1950, he married the American singer Cathy Berberian, a soprano who subsequently performed many of his works.  [3]  He traveled to the United States in 1953 to study with Dallapiccola, who he was introduced him to serialism. However, the most important aspect of his trip to the United States was his exposure to electronic music. In 1952, he attended the first public concert of electronic music in the U.S. At New Yorks Museum of Modern Art, the concert featured tape pieces by Otto Luening and Vladimir Ussachevsky.  [4]  After returning to Italy, he co-founded the noted electroni c music center Studio di Fonologia Musicale in Milan in 1955, directing it from 1955 to 1961.  [5]  From 1965 to 1972, he taught at the Julliard School in New York City; during this time, he also held a number of international teaching responsibilities.  [6]  In addition, Berio served as a director of the Institut de Recherche et Coordination Acoustique Musique (IRCAM) in Paris. In 1980, he accepted an honorary Doctorate of Music Degree from City University in London. Two years later, he became the Artistic Director of the Orchestra Regionale Toscana and in 1984, Artistic Director of the Maggio Musical Fiorentino.  [7]   Berios musical style may be seen as engaging and an extending of European and Italian classical traditions. His many years of education and his long career demonstrate this, as do the statements he has made about music and his own music in particular. Berio has described music as the constant search for an answer to something that continuously shifts.  [8]  He has further stated that the search for a deep unity, is maybe the most exciting, the most profoundly experimental and the least functional aspect of its presence.  [9]  These descriptive words are useful in understanding what Berio has said about the Sequenzas. The series of fourteen Sequenzas was a long-standing project, spanning 30 years. Each of these pieces is written for a solo instrument, and demonstrates extensive performance techniques. In virtually all of the Sequenzas, these techniques are intended to expand the boundaries of what was playable or singable on the respective instrument. The Sequenza series can be considered a manual of instrumental composing in the twentieth century. The majority of the Sequenzas were commissioned by or composed for a certain performer, and Berio often collaborated closely with these performers to understand the particular abilities and limitations of the instrument.  [10]  For example, one of his most successful Sequenzas is Sequenza III, for female voice, written for and dedicated to Berberian, a pioneer in avant-garde vocal techniques. Sequenza IXa was commissioned and premiered by the French clarinetist Michel Arrignon in 1980. Between 1977 and 1983 Berio worked on a piece entitled Chemins V for clarinet and real-time digital filters,  [11]  but it was never completed. Later, Berio withdrew Chemins V, and titled the extracted clarinet part Sequenza IXa.  [12]   Berio says that, All theSequenzas for solo instruments are intended to set out and melodically develop an essentially harmonic discourse and to suggest, particularly in the case of the monodic instruments, a polyphonic mode of listening  [13]  As he described further in regards to his flute Sequenza: I wanted to establish a way of listening so strongly conditioned as to constantly suggest a latent, implicit counterpoint. The idea was the polyphonic melodies of Bach. An inaccessible ideal, naturally, because what implicitly guided polyphonic listening in a Bach melody was nothing less than the history of baroque musical language, whereas in a nonlinguistic melody like my Sequenza for flute, history provided no protection, and everything had to be planned out explicitly.  [14]   In Sequenza I, various procedures project the concept of polyphony, largely based on Bachs polyphonic melodies. However, Berio soon came to realize the impossibility of achieving this goal, partially because Bachs polyphony was made possible by the universal tonal language of the time. Without the use of Baroque harmonic conventions, Berio relies on another way of implying underlying counterpoint. To achieve this, he explored the idea of a single instrument producing more than one voice. In this way, a monophonic instrument becomes capable of implying not only a dialogue, but also the sounding together of more than one voice. Sequenza IXa, like the flute Sequenza, can be said to use the same nonlinguistic type of melody. The most obvious and literal manner of achieving more than one voice with a monophonic instrument is through multiphonics. Another way to simulate polyphony in a monophonic instrument is to use a type of technique Bach uses in his pieces, compound melody. Following the idea of using two pitch-class collections differently, one melody tends to appear in the same register, whereas the other traverses the range of the instrument in very wide leaps and with great variety.  [15]  Berio developed these two pitch-class collections experimenting with temporal, dynamic, pitch, and morphological dimensions to generates a type of polyphony. These different musical elements are recognizable through the transformational processes, which will discuss later in the paper. In a discussion of the form of Sequenza I, Berio said, The title was meant to underline that the piece was built from a sequence of harmonic fieldsfrom which the other strongly characterized musical functions were derived.  [16]  In the same interview, Berio continued: The temporal, dynamic, pitch and morphological dimensions of the piece are characterized by maximum, medium and minimum levels of tension. The level of maximum tension within the temporal dimension is produced by moments of maximum speed in articulation and moments of maximum duration of sounds, the medium level is always established by a neutral distribution of fairly long notes and fairly rapid articulations, and the minimum level entails silence, or a tendency to silence. The pitch dimension is at its maximum level when notes jump about a wide gamut and establish the tensest intervals, or when they insist on extreme register: The medium and minimum levels follow logically from this. The maximum level of the dynamic dimension is naturally produced by moments of maximum sound energy and maximum dynamic contrast. What I call the morphological dimension is placed, in certain aspects, at the service of the other three and is, as it were, their rhetorical instrument.  [17]   This statement can further be applied to Sequenza IXa for solo clarinet, as it is also an essentially harmonic discourse which is melodically developed by temporal, dynamic, pitch and morphological dimensions  [18]  in order to suggest a polyphonic mode of listening. Analysis of the piece shows that Berios statement does in fact apply and is of use in understanding Sequenza IXa. PART II: ANALYTICAL DISCUSSION Harmonic fields As Berio states, the title Sequenza was meant to underline that the piece was built from a sequence of harmonic fieldsfrom which the other, strongly characterized musical functions were derived.  [19]  In his Berio, David Osmond-Smith observes that the harmonic field can be defined as a temporary emphasis on a single pitch or on a collection of pitches.  [20]  Berio uses both options to establish a harmonic field, similar to the function of chords in tonal music. Thus, when Berio moves from one field to another, it can be said that there is a shift of harmony. Andrea Cremaschi explains that Berio does not use a dodecaphonic series, but rather divides the twelve notes into two separate pitch-class collections: a five-note collection and a seven-note collection. The first collection traverses the instruments range, is used melodically, and is characterized by wide, varied leaps (see Fig. 1a). The seven-note collection, in contrast, tends to appear in the same register and generally appears with less variety (see Fig. 1b).  [21]  As the piece develops, these two distinct pitch-class collections appear in contrast, in alternation, or, in some cases, interlaced with each other. As shown in Figure1, while the two pitch-class collections are distinct, both are characterized by multiple occurrences of the tritone. Figure 1. The five-note (a) and seven-note (b) collections of Sequenza IXa.  [22]   Sequenza IXa moves through a sequence of harmonic fields which are defined by the use of one or more of the following devices among the two contrasting pitch-class collections: 1) the use of the two pitch-class collections in rapid succession; 2) the use of the first pitch of each collection as the beginning and ending note of a phrase; and 3) the use of what Berio calls tense intervals which suggest harmonic tension and resolution.  [23]   The two different pitch collections appear at the beginning of the work. The melody shown in Ex.1 is primarily based on the five-note collection, whose pitches move between three registers with relative freedom. The seven-note collection ornaments the melody, with only two notes from it, F# and D, appearing. These two notes function not only as passing notes, but also as ornamentation, similar to the grace notes in the second and third line. The ascending grace notes at the beginning of line 2 occur in rapid succession. Most of the notes are still based on the five-note collection, except for three notes from the seven-note collection, still F#, D, and now D#. Similar grace- note passages are prevalent throughout the piece. Berio uses this blending of the two pitch-class collections to establish the harmonic field. Example 1. Sequenza IXa, Page 1, Lines 1-3. Circles indicate pitches from the seven-note collection used as passing tones. The second device, the repetition of the first note, is illustrated in Ex. 2a, lines 4-8. The rehearsal A section consists of four melodic phrases, each phrase separated by a fermata and silence. The four melodic phrases are based on the seven-note collection, with the seven notes largely fixed in the same register. Now there are only two pitches chosen from the five-note collection, G and Bb. Here, the seven-note collection previously used for ornamentation becomes the principal pitch-class collection, which indicates movement away from the previous harmonic field. The starting tending pitches of the 4 phrases compose out the 1st 4-note motive, G#, F#, D, A. Berio unifies the four phrases here, beginning each subsequent phrase on the next of the first four notes (G#, F#, D, A) of the first phrase. As with the G# in the first phrase, the F#, D, and A serve as the beginning and ending notes of the second, third and fourth phrases, respectively. Example 2a. Sequenza IXa, Page 1, Lines 4-8: Circles highlight the repetition of pitches at the beginning and ending of phrases. In addition, the repeated use of a series of several notes drawn from both pitch-class collections in a fixed order establishes a new harmonic field. In Ex. 2b, the first phrase establishes the following sequence of pitches: G#, F#, D, A1, D#1, C#2, G2, C2, A1, Bb2, D. Subsequent phrases rotate these pitches, moving the first note of the previous phrase to the end of the sequence, though not the end of the phrase. That is, the order of the pitches remains fixed, though their relative position in the sequence changes. Thus, the repetition of this note order establishes the harmonic field. Example 2b. Sequenza IXa, Page 1, Lines 4-8: Circled pitches reveal the fixed sequence, while boxes indicate discreet phrases. Berio expands the device of repetition as the basis of a harmonic field later in the piece. In Example 3 a brief sequence of pitches from the third line of the work, D1, A1, D#1, C#1, B1 is extracted and subsequently repeated. The appearance of this fragment implies the earlier harmonic field seen in Ex.1, line 3, but the addition of other pitches in addition to its repetition implies movement to a new harmonic field. Example 3. Sequenza IXa, Page 2, Lines 1-3: The circled portions show the repeated pattern from the previous harmonic field. The third way in which Berio establishes a harmonic field is by the use of tense or dissonant intervals. As discussed previously, the piece changes harmonic fields by moving to different pitch-class groups. In Example 4, line 2, the dotted quarter-note G# is the first note of substantial duration in the new harmonic field from the seven-note collection. It is preceded by a leap of a major 7th and followed by a diminished 5th, minor 7th, minor 2nd and minor 7th, in that order. The minor 2nd, between the eighth-note E and the quarter-note F, functions as leading-tone to tonic relationship resolving back to the five-note collection. The sense of harmonic tension and resolution created by these interval relationships thus implies the harmonic field. Each subsequent harmonic field uses the same idea of tension and resolution, thus implying harmonic shift. M7 m7 m7 d5 m2 Example 4. Sequenza IXa, Page 1, Lines 1-3: Use of tense or dissonant intervals All of the above methods define the sequence of harmonic fields in Sequenza IXa; therefore, this piece conforms to Berios description of his Sequenzas as a sequence of harmonic fields. Rhythms In Sequenza IXa, there are many places on the score where Berio specifies tempos. At the beginning of the work, the tempo is marked as a quarter note equals sixty. At letter A, it increases to a value of seventy-two. Berio also gives specific durations for the fermatas, placed at the ends of most phrases. Despite these specific tempo markings, the composer places the expressive marking ma sempre un poco instabile (but always a little bit unstable) at the beginning of the score. Perhaps Berio wanted to give the liberty to the performer to vary the tempo within the phrase. In this piece, Berio does not use complex rhythmic techniques, but instead creates a lot of variety using simple rhythms. Although using a limited number of distinct rhythmic figures, Berio rarely repeats the same groupings. Through this rhythmic variety, he creates a feeling of unpredictability. This can be found in Ex.5 and 8. Example 5. Sequenza IXa, Page 8, Lines 1-4: The representative of the rhythmic figures Berio has an extraordinary range of rhythmic arrangements. Below is a list of the four most frequent rhythms used in the piece. There are additional rhythms used in the piece, such as long notes and grace notes, but shown below are the most prominent rhythms. Figure 2. Four rhythms He applies the idea of a rotating sequence, as he did for pitch, to arrange the rhythms in the A section. He uses these four rhythms to create a rhythmic sequence. The following graph reflects the use of the rhythmic sequence (see Fig.3). In the first line of the graph, there are four melodic phrases with each phrase containing all four rhythms (à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å" ). As indicated in the second line, each of these rhythms begins and ends a phrase. In addition, the first phrase begins with the sequence of rhythms ( à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å"à ¢Ã¢â‚¬Å"  ) . The subsequent phrases rotate the rhythmic sequence by moving the first rhythm of the previous phrase to the end of the sequence, though not the end of the phrase. (see Ex.6) First phrase Second phrase Third phrase Fourth phrase à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å"à ¢Ã¢â‚¬Å"  long note à ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å"à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘ long note, rest à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å"à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’ long note à ¢Ã¢â‚¬Å"â€Å"à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å" long note à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" Figure 3. The graph of rhythmic sequence in Sequenza IXa, Page 1. Lines 4-8. à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ Example 6. Sequenza IXa, Page 1, Lines 4-8: The circled letters indicate the rhythmic sequence Transformational process As Berio discusses a polyphonic mode of listening, the piece set out and ismelodically developed by altering time, dynamic, pitch, and morphology. It uses a transformational process that suggests a polyphonic mode of listening rather than creating actual polyphony. Each of these unique layers develops and presents material in a different way. Even though each layer develops differently, they combine to create a unified whole. This is the way to understand a polyphonic mode of listening, in Berios concept. The first stylistic feature is the tempo at the highest level of intensity, when there are passages with either very rapid articulations or very long notes. Ex. 1, line 1, at the fermata, shows the temporal dimension at a very high level of intensity because of the length of the held note. Ex.7 shows an example of the temporal dimension at a high level of intensity that is transformed from the held note into a passage of ascending and descending, rapid, staccato articulation, which eventually becomes an extended chromatic passage lasting fifteen seconds at letter E. From example 1. Sequenza IXa , Page 1, Line 1. Example 7. Sequenza IXa, Page 3, Lines 3-9: the transformation of the tempo. The transformation of pitch, the second stylistic feature, can be heard in ascending grace-note figures such as at the beginning of line 2 in Ex. 1. The grace- note figures transform at the end of the same line, altered by the removal of the last two notes, which is pitches G1 and B1. This feature is seen again in line 3 of Ex 1, where the pitches are altered to imply a new harmonic field. The transformation of the dynamics, the third stylistic feature, is demonstrated by the staccato grace notes seen in Ex. 8. In the first line, the first staccato grace note is a G# and the next is a D. Both are played piano in the midst of a fortissimo, which interrupts the dynamic level with a very short and quiet note. This feature is used several times in Ex. 8. At the beginning of line 5 in Ex.8, this feature is seen in the p grace notes continuing to interrupt the ff dynamic level. As the piece develops, this feature transforms when the grace notes becomes a mezzo forte interruption of a pianissimo dynamic level. (See Ex.8) Example from Sequenza Ixa, Page 4 line 1-6 Example 8. Sequenza IXa, Page 6, Lines 7 : The transformation of the dynamics The rapid 32nd -note figure in Bb shown in Ex. 8, lines 2-7, appears four times. In the final pages, when Bb recurs, it transforms into a fermata with a specific duration. Although the Bb does not belong to the main harmonic field here, it plays an important role in the final pages. The tritone effect between Bb and the ending E is almost directionless, in a way that seems to recall the opening of piece.  [24]  (see Ex. 9) Example 9. Sequenza IXa, Page 10, Lines 4-8: The tritone effect between Bb and the ending E. The last stylistic feature is morphological tension, which is demonstrated in the multiphonics and microtones within the trills and tremolos of Ex 11, the C1 to C1-multiphonic passage. This relationship of C1to B is explored by a trill from B to C1 two notes. The use of multiphonics and micronotes is especially significant because they create the greatest pitch and morphological tension in the trill. The multiphonic passage shown in Ex 10 is transformed rhythmically and dynamically by becoming more active when it returns. Like the other stylistic techniques, multiphonics and micronotes are transformed by each recurrence. Example 10a from Sequenza IXa, Page 2, Line 3. Example 10b. Sequenza IXa, Page 10, Lines 4-8: The transformation of morphology Structure chart of Sequence IXa Just like most classical works, this piece also includes an exposition, development and ending à ¢Ã¢â€š ¬Ã¢â‚¬ ¢ three major parts. However, the process of this whole piece creates a sequence of harmonic fields by alternating, blending, and transformational processes among the two contrasting pitch-class collections. The chart below clearly shows how Berio uses these pitch-class collections as a motivation throughout the whole piece. Beginningà ¢Ã¢â€š ¬Ã¢â‚¬ ¢A Two pitch-class collections appear: a five-note collection and a seven-note collection Exposition B Transition Transition C Primarily based on a five-note collection with a wide range, activated rhythm, and big leaps to start transformation and development Development I D Primarily based on a seven-note collection with rapid grace notes gradually transforming to a passage of thirty-second notes E Primarily based on a five-note collection, similar to the C section; Bb appears as a thirty-second note to foreshadow the climax Fà ¢Ã¢â€š ¬Ã¢â‚¬ ¢G Two pitch-class collections alternating and blending with each other. The rhythm becomes more agitated, to further indicate the climax is coming Transition H Transition, similar to the B section Transition I Primarily based on a seven-note collection. The rhythm figure is similar to the Fà ¢Ã¢â€š ¬Ã¢â‚¬ ¢G section Development II Jà ¢Ã¢â€š ¬Ã¢â‚¬ ¢L Multiphonics, two pitch-collections further develop and blend with each other. Transition to next section Transition Mà ¢Ã¢â€š ¬Ã¢â‚¬ ¢Q Cadenza, two pitch-class collections alternating with each other as a preparation for the climax of the piece Development III (Climax of the piece) Rà ¢Ã¢â€š ¬Ã¢â‚¬ ¢V Climax of the piece, two pitch-class collections present at different ranges, dynamics, and rhythms, which alternate between calm and frenzied phrases Wà ¢Ã¢â€š ¬Ã¢â‚¬ ¢Z Epilogue, ending Ending Figure 3: The structure of Seuquenza IXa Solutions to problems of performing multiphonics Sequenza IXa Clarinetists who use an instrument without an Eb key will have a difficult time performing this piece, since there are some multiphonics that appeared on page 6, lines 4, 5 and 6 (see Ex.11) playable only on a clarinet with an Eb key. For those without the Eb key, there are a few techniques to recreate these multiphonics. One may be the use of the performers voice to sing one of the desired pitches. This solution might change the idea of the solo work, but the notes can be produced and the piece would be complete. Another way is the use of a tube to extend the length of the clarinet, effecting an instrument very similar in pitch to one with an Eb key. With regard to the multiphonic fingering applied to the two-note chords in the section around K, the player could use a low E fingering (without the thumb key in the left hand) plus the throat G# key in the left hand for the first multiphonic at line 6. The low E fingering (without the thumb key in the left hand) plus the throat A key in the left hand for the second multiphonic at line 7. The problems with this solution are, first, the tone of the clarinet will be different; second, the player must quickly insert and remove the tube during the performance, which could be clumsy and awkward; and third, the player would have to use an alternative fingering for the B natural at line 4. However, the most difficult thing is getting the chords to speak reliably à ¢Ã¢â€š ¬Ã¢â‚¬ ¢ this will require practice. A final solution could be the substitution of other multiphonics which are playable on the performers instrument. However, the problem with this alternative is at least one of the pitches must be transposed, resulting in changing the piece somewhat. Example 11. Sequenza IXa, Page 6, Lines 4-6: The fingering for the multiphonics After hearing and seeing several clarinetists perform this piece, it seems that switching to the alternate multiphonics is preferable because this does not interfere with the natural sound quality of the clarinet. On the other hand, Berio specified different fingerings on the music, and he did not provide an alternate version of multiphonics in subsequent editions since the piece was written 20 years ago. Maybe Berio did not consider this a major issue, and wanted to give the clarinetist the freedom to imagine ways of solving the problem.

Coordinated School Health Programs Essay

1.Identify the eight components of a coordinated school health program. The eight components of coordinated school health consist of the following services: 1. Health education is taught to K-12 students on ways to make healthy decisions through health literacy. 2. Physical education is a sequential K-12 curriculum that provides cognitive content and learning experiences in a variety of activity areas. 3. Health services are designed to ensure access or referral to primary health care services or both. 4. Nutrition services should provide access to a variety of nutritious and appealing meals that accommodate the health and nutrition needs of all students. 5. Counseling, psychological, and social services is provided to improve students’ mental, emotional, and social health and includes individual and group assessments, interventions, and referrals. 6. Healthy and safe school environment includes the physical and aesthetic surroundings and the psychosocial climate and culture of the school. 7. Health promotion for staff can provide opportunities fo r school staff members to improve their health status through activities such as health assessments, health education, and health-related fitness activities. 8. Family and community involvement is the combination of school, parent, and community that enriches the health and well-being of students. 2.SCHOOL/DISTRICT-BASED STUDENTS: Identify the components of a CSHP that are functional in your school and/or district. Briefly explain if, or how, these components coordinate their programs and activities. Not applicable. NON-SCHOOL-BASED STUDENTS: In your current or future position, describe how you could support a district’s or school’s CSHP. The United States Department of Education indicates the effects of bullying can have a lifelong negative impact on the lives of youths. Besides bullying being one of the number causes of death among youths, especially boys, it increases the chance of academic failure, health problems (e.g., mental and physical), low self-esteem, and increases the inability to connect socially with others, especially peers. In my future position as an educator, I would be supportive and proactive in a CSPH that is aimed at preventing bullying because nowadays, it is crucial that schools provide a safer school and community environment that also prevent teen suicide, decrease school failure, and the drop-out rates. I would create ways for students to be creative in their personal and academics efforts that would build positive social interactions through attributes that includes respect, tolerance, and self-discipline. Most importantly, I would be diligent in my efforts on teaching students how to list en and solve problems in positive ways, by providing them with the tools, such as referrals to prevention programs, counseling or psychologists to aid them and prevent negative outcomes on them physically and educationally. 3.In this age of academic accountability in public schools, CSHPs need to demonstrate a positive impact on academic achievement in order to receive maximum support. Briefly summarize the research that supports this position and describe improvements most needed in CSHPs. Academic achievement and success of youths is linked to their health. According to research from the Center for Disease and Control (CDC) school health programs reduces the frequency of health risk behaviors among young people, and good health has shown to have a positive effect on academic performance. The CDC provides ways in which CSHPs can maximize their support to improve the well-being of young people through educating them on their health. The CDC analyzes research findings to develop guidelines and strategies for CSHPs program to address health risk behaviors among students by creating tools to help schools implement certain guidelines through four overlapping interdependent goals. Through resources and concurrent coordinated approach from education, health, and social service agencies, the goals of CSHPs must includes ways to increase health knowledge, attitudes, and skills, which has to increase positive health behaviors and health outcomes among youths, and ultimately, the results must have a positive impact on young people that improves their educational and social outcomes.

How Do Wild Animals Feel in the Zoo

How Do Wild Animals Feel in the Zoo? How would you like the idea of being locked in the cage and having thousands of people looking at you every day for their pleasure? Nobody would like things like that. But that’s an ordinary treatment animals get in the zoos. To my point of view, it is strictly important to forbid such places like zoos, as they are unsuitable to maintain the health and habits of poor animals. First of all, it is important to say that animals have their right not to live in captivity, but enjoy wildness. In zoos they are doomed to live in unnatural environment. Once you are in the zoo, you have an opportunity to see that animals live in stress, which is caused by numerous visitors and their separation from families and free life. Those animals who live in water usually have too little of it and the ones who got used to live in huge herds, are kept alone in the cage. A great number of innocent creatures die in the zoo because they have no opportunity to fly, to hunt or to roam the way they want and need. Some people try to argue saying that keeping animals in the zoos is beneficial for education, but in fact kids can learn almost nothing, as it is necessary to observe animals in their natural conditions. What is more, when animals cannot live in their natural environment, their lives can be in danger. For instance, the food they eat. It can be inappropriate for them and cause illnesses or even deaths. When an animal lives in the zoo there’s usually no mother who could teach it basic skills, which could help this animal survive in the wildness. A great number of animals, once they are allowed to live in nature, have no idea how to survive. The point is that they have no food finding skills and cannot hunt or fight off the other predators. Although zoos are presented like places for education obtaining, they are unnatural places for the animals’ lives. They are deprived of freedom and our governments should do their best in order to improve this situation.

Creating A Safe Environment For Lgbtq Youth In Schools.

Creating a Safe Environment for LGBTQ Youth in Schools Introduction Over decades, research has been devoted to many issues related to lesbian, gay, bisexual, transgender, and questioning (LGBTQ) youth (Dragowski, McCabe, Rubinson, 2016, p 127). This essay presents a literature review examining research conducted on different aspects of the LGBTQ youth. The review was conducted using key terms of â€Å"LGBTQ youth†, â€Å"bullying,† and â€Å"school safety.† Findings presented in the study cross the topics of how KGBTQ youth struggle, how they become victims because of their sexual preferences, the incidence of LGBTQ victimization in schools, and what schools can do be more aware of and address the related issues. Literature Review Key Findings†¦show more content†¦Impact on LGBTQ Youth In Human Rights Campaign survey of over ten thousand LGBT youth from age thirteen to seventeen was found that don’t want to say anything because they think they are not going to be accepted besides the lack of acceptance of LGBTQ youth prevents many from coming out. Data from Wilcox (2016) showed family did not accept 30% of youth who came out and 19% were scared of the reaction; but many youth did not come out: 16% had religious reasons, 10% were not ready, and 10% can’t talk to their family. At school 31% were treated differently or were judged, 26% didn’t have the need of coming out, and 7% youth couldn’t because their school was conservative (Wilcox 2016 p. 46). In a study from Sussex, UK found similarities of the experiences of feelings of confusion of being accepted (Sheriff, Hamilton, Wigmore Giambrone, 2011). Violence, bullying and verbal harassment of LGBTQ also has consequences for youth in their school attendance and academic performance, and are more likely to drop out of school, use drugs, etc. Dealing with bullying and harassment often leads to depression as well. Youth who suffer depression can blame themselves for their preferences, and they don’t report the situation because they are afraid that they will make harassment worse or feel that is not safe to do so. This leads to self-harm, drug abuse, behaviorShow MoreRelatedBullying Is Defined As Written, Verbal And Physical Conduct1374 Words   |  6 Pagesindividuals, LGBTQ youth are at a far greater risk for being victimized by their peers within a school environment. There is a dire need for new policies addressing bullying while keeping the challenges that LGBTQ individuals face in mind. The over arching goal and policy recommendations should be on bullying prevention, addressing the issue at all levels, getting as many people involved as possible and overall creating a safe and inclusive space for everyone. Schools are supposed to be a safe space forRead MoreLgbtq Youth And Its Impact On The Community Essay1696 Words   |  7 Pagesthat LGBTQ youth are not able to get the help in school which causes them to have low self-esteem, not show up to school, and even engage in risky behavior. School psychologists must provide services for their entire student body and that includes youth apart of the LGBTQ community. Regardless of what their beliefs are it’s important that they give LGBTQ youth the support that they need and also help them work towards a positive identity while going the process of coming out. To assist LGBTQ youthRead MoreInclusivity Is At The Root For Recreation, Parks, Tourism Ideals863 Words   |  4 PagesFor example, the Lavender Youth Recreation and Information Center, or otherwise known as LYRIC. It is their mission to build community and inspire positive social change through education enhancement, career trainings, health promotion, and leadership developme nt with LGBTQ+ youths, their families, and allies of all races, classes, genders, and abilities. They provide a safe space for LGBTQ+ and questioning youth without judgement. One issue within recreation and the LGBTQ+ community is that spacesRead MoreLGBTQ Students849 Words   |  4 PagesWhat should be done to help the LGBTQ students succeed? The Lesbian, Gay, Bisexual, Transgender, and Queer student population has continued to face harsh challenges and circumstances throughout their educational years. Statistics show that 84.9% of LGBTQ students experience verbal harassment which has ultimately lead to 63.5% of students feeling unsafe in their current school. (McCormick 72). The high rates of harassment, bullying, and discrimination has lead to an increase of depression, suicideRead MorePride School Atlanta Is An Alternative For Lgbt Students853 Words   |  4 Pagessoon be home to a private school specifically for young people in the LGBTQI community. There are a small number of these schools throughout the United States but the one opening its doors in Atlanta will be the first of its kind in the south east. â€Å"Pride School Atlanta is a k-12 institution designed to be an alternative for LGBT students, though the school is open to any student who believes they’re not getting the support they need for â€Å"being different,† says Pride School founder Christian ZsilavetzRead MoreHelping Process For Teens896 Words   |  4 Pagesaspects of assisting and supporting teens in the LGBTQ community. My site, Youth Outlook offers drop-in sites throughout the suburbs of Chicago that offers adolescents a safe and supportive environment to discuss issues that they experience, as well gain education about various topics. Teenagers who attend weekly group sessions often come to socialize with peers and also to discuss issues they may be experiencing in their home, social and school environments. Over the last few weeks, I have observedRead MoreMulticultural Topic Presentation : Counseling Transgender Students2355 Words   |  10 Pagesleaving primary school Less than 4% of participants came to the realization that they were trans after the age of 18. 33% of transgender youth have attempted suicide Nearly 1/2 of transgender students regularly skips school because of concern for their safety 74% of transgender youth reported being sexually harassed at school Transgender students who face harassment have lower grade point averages than other students and are less likely to go to college 90% of transgender youth reported feelingRead MoreThe Impact Of Public Education On The Advancement Of Women s Rights982 Words   |  4 Pages The role of public education in the advancement of women’s rights and ideas within Canada is incredibly influential. Contemporary public education brings together the guidance and wisdom of instructors with the modern ideology of Canadian youth to create a hotbed of political discussion. With the guidance of a feminist teacher, a classroom can be transformed into a politically savvy force, pushing for the progression of women within Canadian society. Through my studies and volunteer activities,Read MoreTexas Sexual Education Policy : A Proposed Policy Change1625 Words   |  7 Pagesany sexuality other than heterosexuality must be portrayed in a negative light in Texas as Texas law prevents sexual education from being inclusive of LGBTQ people. In 2014, Texas received over $5.1 million dollars in federal funding to promote abstinence based sexual education programs. However, there has been a recent shift in many Texas school districts as they have opted towards abstinence plus programs – sexual education courses that heavily stress abstinence as the foremost method of contraceptionRead MoreEssay On Well Managed Learning Environment1024 Words   |  5 PagesPalacios Professor Sara Cooper Writing 105 25 August 2017 While it is up to the student to make sure they keep up their grades and complete all their school work, a well-managed learning environment will motivate a student to do well, unlike an unwelcoming and unsafe one. This gives students who attend a healthy and safe school an academic advantage. Creating better programs and effective policies will improve student’s attitudes and performance in class. The education we get in our early childhood is

The Effects of Violence on Women Essay - 1662 Words

The Effects of Violence on Women Violence affects the lives of millions of women worldwide, in developing, as well as in developed countries. It cuts across cultural and religious barriers, restricting women from fully participating in society. Violence against women has many forms in which it comes in, from domestic abuse and rape to child marriages and female circumcision. All are violations of the most fundamental human rights. Violence can be physical, sexual, verbal/psychological, stalking, as well as other forms of control and abuse of power. Physical violence can include both physical assaults, which refers to the physical†¦show more content†¦Verbal/psychological violence is a form of violence done without touching the victim’s body. The assaults are made viciously on the victim by destroying personal belongings, family heirlooms, or the family pet. The destruction is done on purpose and the psychological impact may be as devastating as a physical attack. Many of the assaults are forms controlling behaviours. One of the most common examples of psychological violence against women is intimate partner psychological abuse. Some examples of psychological/verbal violence done by intimate partners, especially in the developing countries, are restictions or attempts to prevent contact with other men by becoming angry if girfriend/wife speaks with other men, not being supportive if she tries to be involved in activites outside the home, attempts to limit her contact with family or friends, following her or keeping track of her whereabouts, calling her names, insulting her or behaving in a way to put her down or to make her feel bad, and damages or destroys her possenssions or property. (http://www.now.org/issues/violence/stats.html) Sexual violence is defined by anything that is related to physical attacks or abuse such as rape, attemptedShow MoreRelatedThe Effects Of Violence On Women s Violence1735 Words   |  7 Pages Effects of Violence against Women According to Violence Type by Ines Alvarez Mrs. Madrell English 4, Honors, Period 6 Miami Coral Park Senior High School March 18,2016 Mrs. Madrell English 4, Honors, Period 6 Miami Coral Park Senior High School March 18,2016 Violence against Women Women have been and continue to be victims of violence in all of its faces. The purpose of this research is to explore the many ways in which women are abused and mistreated, focusing on theRead MoreThe Effects Of Domestic Violence On Women1652 Words   |  7 PagesDomestic violence is present in all regions of the world regardless of race, culture, or religion. It is not uncommon for men to experience spousal abuse. However, in reality abuse done by men towards women is a much more common occurrence. Men often abuse women as a result of negative domestic relationships experienced during childhood, the feeling of inadequacy and mental illness. However, the leading cause for this behaviour is the feeling of inferiority and the need to exert power. StereotypicallyRead MoreThe Effects Of Domestic Violence On Women Essay1246 Words   |  5 Pagesaddressed the domestic violence and continue to persist as a social problem affecting a large number of Canadian Women. The authors are trying to answer this question giving some statistics, how the women are abused from their partner, such as the violence reported when the relationship is ended, and is some other case the violence starts after the separation. Furth more the authors mention another key answer that I think could be a question, is what are the effects of domestic violence? Alaggia, RegehrRead MoreThe Effects Of Domestic Violence On Women1362 Words   |  6 PagesDomestic violence is a sensitive topic even though media and society are providing more information about this topic. Domestic violence not only affects women but children and family in general. This issue is a very sensitive topic and not a lot of individuals are comfortable talking about it or sharing if they have either experience or have someone in their lives that had been subjected to abuse. Sadly, domestic violence is experienced by many people and it does not matter what race, gender, socialRead MoreThe Effects Of Domestic Violence On Women1654 Words   |  7 PagesIntroduction Violence against women has been recognised internationally by the world Health Organization (WHO, 2013).Women has been facing different types of violence since the age of 15 such as physical, emotional or verbal abuse. The highest prevalence of domestic violence (DV) is from their intimate partner/perpetrator both physical emotional (WHO, 2013). It has been depicted by the Australian Bureau of Statistics (ABS, 2013) that rate of domestic violence against women by their intimateRead MoreThe Effects Of Domestic Violence On Women1601 Words   |  7 Pagesquestions that women who suffer from domestic violence ask themselves everyday. Thousands of women every year face abuse from their male partners. It is estimated that three women a day are murdered in the US everyday by a current or past male partner (Huffington Post), therefore proving that an argument between two people in love can result in more than just heartbreak. Partner abuse against women is an epidemic that needs to be addressed. Domestic violence is a very serious issue that women face in modernRead MoreDomestic Violence And Its Effects On Women1599 Words   |  7 PagesDomestic violence is a large social issue around the world that is commonly associated with the mistreatment of women. However, there are many different forms of domestic violence that affect men, women, and children (Domestic Violence 1). Victims of domestic violence may suffer not only physically, but emotionally and mentally as well. Domestic violence is a very important social issue because it negatively affects both the abuser and the victim. In the article, â€Å"Domestic Violence and Abuse: TypesRead MoreThe Effects Of Violence On Hispanic Women Essay1407 Words   |  6 PagesThe topic that will be analyzed in this literature review is relationship violence in Hispanics. Specifically, it will be physical and sexual abuse in intimate partners. It is mentioned that Hispanic women are less likely to report or use services available to anybody. The services that are available to them are healthcare and housing. As well as, therapy of any type. Also, Hispanic women are less likely to report abuse (Cho 2012). The reasons for not reporting abuse can vary depending on the legalRead MoreThe Effects Of Domestic Violence On Women2258 Words   |  10 Pagespossible effects of witnessing domestic violence as a child. Use psychological theory to explain your answer. Research has continuously shown that men are the primary perpetrators of violence and women being the victims which has led to increased awareness of the effects of Domestic violence on women. However, what researchers have failed to acknowledge is that women too can be perpetrators of violence and abuse against their partners and children (World Health Organisation, 2012). Although women canRead MoreThe Effects Of Domestic Violence On Women889 Words   |  4 PagesDomestic violence can often go unnoticed, unreported and undeterred before it’s too late. Unfortunately, recent awareness efforts have gathered traction only when public outcry for high profile cases are magnified through the media. Despite this post-measured reality, a general response to domestic violence (DV) and intimate partner violence (IPV) by the majority of the public is in line with what most consider unacceptable and also with what the law considers legally wrong. Consider by many, more

Inaugural Speech Free Essays

string(47) " politicians communicate much more than words\." Comparative Analysis of Language Used in Inaugural Speech of Barack Obama and Abhisit Vejjajiva Presented to A. Kemtong Sinwongsuwat Mr. Steffen Ruholl By NattawanTrakarnmethakulID. We will write a custom essay sample on Inaugural Speech or any similar topic only for you Order Now 5011110059 NihaslindaHayiwangohID. 5011110096 NetsaiNetpukkanaID. 5011110099 SaowalakPolthiangID. 5011110220 HongphaSaejiaID. 5011110223 ArpornSazakhunID. 5011110244 Section. 02 Language for Development Program, Faculty of Liberal Arts 1. Introduction 2. Research questions 1. Are there differences and similarities between verbal and nonverbal language used in the inaugural speeches of Barack Obamaa and Abhisit Vejjajiva? . Are there any catch phrases found in the inaugural speeches of Barack Obama and Abhisit Vejjajiva? 3. Purposes of the study 1. To examine differences and similarities between verbal and nonverbal language used in the inaugural speeches of Barack Obamaa and Abhisit Vejjajiva. 2. To compare catch phrases found in inaugural speeches of Barack Obama and Abhisit Vejjajiva. 4. Literature Review Language is very important for politics. Political power struggles have effects on the working inside governments. Moreover, it is an important aspect of socialization into governmental works. Political language, as Michael Geis points out in The Language of Politics, conveys both the linguistic meaning of what is said and the corpus, or a part of it, of the political beliefs underpinning any given statement. Literature reviews that relate in this research are divided into four main sections: 4. 1Profile of Barack Obama and Abhisit Vejjajiva 4. 2Literature review about verbal language 4. 3Literature review about non-verbal language 4. 4Related Research about political language 4. 1Barack Obama and Abhisit Vejjajiva Barack Hussein Obama is the 44th and current President of the United States. He is the first African American to hold the office. He previously served as a United States Senator from Illinois, from January 2005 until he resigned after his election to the presidency in November 2008. A native of Honolulu, Hawaii, he is a graduate of Columbia University and Harvard Law School, where he was the president of the Harvard Law Review. He was a community organizer in Chicago before earning his law degree. He worked as a civil rights attorney in Chicago and taught constitutional law at the University of Chicago Law School from 1992 to 2004.He served three terms in the Illinois Senate from 1997 to 2004. Following an unsuccessful bid against a Democratic incumbent for a seat in the U. S. House of Representatives in 2000, he ran for United States Senate in 2004. In the 2008 general election, he defeated Republican nominee John McCain and was inaugurated as president on January 20, 2009. (Wikipedia 2010) Abhisit Vejjajiva, Thailand’s newly named prime minister, comes to the office with both youth and good looks on his side but daunting political and economic challenges ahead of him. He is definitely not from the hoi polloi.He was born on August 3, 1964, in Newcastle-upon-Tyne, England, to Athasit and Sodsai Vejjajiva, both medical professors. He returned to England for his college studies, first attending Eton College and then Oxford University, where he got a bachelor’s degree in Philosophy, Politics and Economics. At 44, He will be Thailand’s youngest elected prime minister after Thai King Bhumibol Adulyadej endorses his selection by Parliament in a 235-198 vote on Monday. Thai strongman Field Marshal Pibul Songkram was younger, only 41, when he became prime minister in 1938, but he came to power in a military coup.His youth and good looks have made him a popular candidate, especially among the ladies, in the capital where he was re-elected in the 1995, 1996, 2001, 2005 and 2007 polls. He became Democrat leader in 2005. His spoken English puts many native English speakers to shame, and helped win him the posts of Democrat spokesman and then government spokesman, before taking on various ministerial portfolios including minister to the Prime Minister’s Office under former Democrat premier Chuan Leekpai.And there is the economy, which faces the dual challenges of dealing with the financial meltdown and recessions in the developed economies such as the US, EU and Japan, compounded with falling confidence in Thailand after of months of political instability. 2. Verbal Language Figurative languages play an important role in political language. Many politicians use them for their political speeches that will be better appreciated. Figurative languages are words or expressions that differ from the customary everyday conversational use of such expressions for purpose of assigning them a special meaning.We should thereby understand them with their connotative meanings rather than their denotative meanings. Awonusi (in Essien and Okon 2003) argues, â€Å"figures of speech are used as rhetorical devices especially when politicians are confronted with abstract concepts which are difficult to explain for the easy understanding of the layman. † The figures of speech that will be discussed in this section are metaphor and idiom. 1. Metaphor This figure of speech expresses an idea through the image of another object. Metaphors suggest the essence of the first object by identifying it with certain qualities of the second object.An example of metaphor used in the language of political campaign is presented below: â€Å"Smart Guy. He couldn’t take the heat. So, he stayed out of the kitchen† (Sunday Sun, March 16, 2007: 12). In the extract above, the politicians compared what Senator Obanikoro would have faced if he had attended the public debate to the heat that came from the kitchen. 2. Idioms Idioms are phrasal constructions or verbal expressions closely associated with a given language. Africans, especially Nigerians, enjoy the use of idioms in every day speech.Consider the following examples: – He who pays the Piper dictates the tunes. Ekiti, beware! The devourers are here again. (Friday Punch, April 16, 2007: 18) The italicized parts of the extracts above are good examples of idioms used by politicians during political campaign as a way of giving extra meaning to an utterance. 4. 3Non-verbal Language Language used in political language not only verbal language but non – language also used in because the ability to use nonverbal communication is powerful tools that will help politicians connect with their people. Therefore, politicians communicate much more than words. You read "Inaugural Speech" in category "Papers" There are many different types of nonverbal communication. Good communication is the foundation of successful relationships, both personally and professionally, but we communicate with much more than words. The majority of our communication is nonverbal. Nonverbal communication, or body language, includes facial expressions; continually change during interaction and are monitored constantly by the recipient, and there is evidence that the meaning of these expressions may be similar across cultures.Gestures; are woven into the fabric of our daily lives, and use the hands when we’re arguing or speaking animatedly. Eye contact; is also important in maintaining the flow of conversation and for gauging the other person’s response. Posture; the way you move and carry yourself communicates a wealth of information to the world. The tone of our voice; provide subtle but powerful clues into our true feeling and what we really mean. The ability to understand and use nonverbal communication is powerful tools that will help you connect with others, express what you really mean, navigate challenging situations, and build better relationships. Jeanne Segal, 2009) In inaugural address of Obama, he was expert at using eye contact to draw in millions and tone of voice to drive home points. The words he used were essential to his message, but his nonverbal behaviors were just as important, if not more so, in getting his message across. Research shows nonverbal communication conveys as much as 93% of the emotional meaning behind what is said. People respond strongly to what they see, or to the tone of voice that is used to speak the words they hear. Everything from dress, the amount of physical space between the speaker and audience can make or break a leader’s message. (William A. Gentry, Ph. D. , 2009) 4. 4Political Language The employment of language to sanctify action is exactly what makes politics different from other methods of allocating values† (114). Edelman examines the relationship between language and perception and defines what he believes to be the forms and meanings of political language. Through language, larger ideas are turned into frequently used terms such as â€Å"liberty†, â€Å"freedom†, and â€Å"social welfare† (p. 22). Language allows terms to be used by those in leadership capacities and turn these terms like segregation and turn a simple world into a vehicle for expression a group interest (p. 125). The language that a person with political power uses symbolizes how they are viewed by the public that listens to them (p. 160). He identifies four styles of language: hortatory, legal, administrative, and bargaining (p. 133). These styles of language he argues allow language to be an important symbol in American politics. (Edelman, M. , 1964)A Critical Analysis of Barack Obama’s Speeches that Junling can summarize the features of Barack Obama’s speeches as follow. First, he used more simple words and short sentences instead of difficult ones. His language is easy and colloquial. Thus, it can easily shorten the distance between him and the audience. Second, from this process of Obama speeches, Obama showed what the government has achieved, what they are doing, what they will do, and applying transitivity. His speeches are trying to arouse the American people’s confidence toward the president and his government in the following four years.Third, modality refers to a speaker’s attitudes towards or opinion about the truth of a proposition expressed by a sentence. He made his audience more easily to understand and accept his political speeches by means of modal verbs, tense and first person pronouns. He used simple present tense to present the domestic and worldwide situations ranging from political, economic and cultural fields at present. Then depending on simple future tense, he laid out his following reforms and steps taken in his term. In this way, the government’s objectives are shown and at the same time, the audience’s confidence is built. Moreover, by using first person pronouns and religious belief, he successfully shortened the distance between him and the audience. So it can help him persuade the public to accept and support his policies. (Junling Wang, 2010) The data collected from an ousted Thailand tycoon-cum-Prime Minister, Mr. Thaksin Shinnawattra’s talks on his weekly radio program. Nipa studies with society with social phenomena of Thaksin’s policy that say â€Å"poverty† has to be urgently evaporated from Thai society with in six years. It shows that this creates new frame of thought to the Thai people.The study demonstrates that the power of discourse and the mechanism in human mind/brain and social practice in the given society. This study found that PM Thaksin employs strategies of discourse signification and discourse manipulation through five-transmission discourse at the level of people’s cognitive system and at the level of language with lexical choices and various strategies. (Nipa Geerapatr, 2010) Gusseva V. V. (2008) examined the publicist style on Barack Obama’s Nobel Peace Prize Speech. He can analyze them and try to describe the phonetic portrait of Barack Obama.He taken a sample speech of Barrack and conducted a mini-research, and he used a computer program for acoustic analysis. He found that all the prosodic peculiarities of publicistic style may be found in Graph B Obama’s speech; dignified timbre, proper delimitation, varying loudness and pitch levels and ranges, pauses explicable in semantic and syntactic terms. Hence, a properly organized rhythm, appropriate terminal tones and pre-nuclear patterns are used, the contrast between accented and unaccented segments is not great, the kinesic component is present – Obama makes use of various gestures. . Pauses between phrases and intonation groups within phonopassages are extraordinary long (up to 2. 2 seconds). 2. The predominance of falling terminal tones (19 cases within a 2-minute passage). 3. The abundance of pauses and terminal tones creates a special rhythm of speech (Arguments combined with this rhythm sound a way stronger). 4. Obama’s spirit and personal involvement expressed verbally are confirmed by his gestures: firm, convincing, encouraging. 5. Research Methodology 5. 1Data CollectionSeveral methods are used in this research in order to obtain the desired data to answer the research questions. The data will be analyzed by focusing merely on the speech the American president Barack Obama gave in his inaugural address before the Capital Rotunda in Washington on January 20, 2009 and Thai Prime Minister Abhisit Vejjajiva gave in his inaugural address at Democracy Party Office in Bangkok on December 17, 2009. Speech texts and videos of the inaugural speeches will be used as main instruments to study in the research. (1) Speech Texts A transcribed inaugural speech of Barack Obama, from http://www. huffingtonpost. com/2009/01/20/president-obamas-inaugura_n_159370. html – A transcribed inaugural speech of Abhisit Vejjajiva, from http://pizzicatoj. exteen. com/20081218/entry (2) Videos – Videos inaugural speech of Barack Obama, from http://www. youtube. com/watch? v=DEGd75awApM and http://www. youtube. com/watch? v=MjUTymL1T5s;feature=related – Videos inaugural speech of Abhisit Vejjajiva, from http://www. youtube. com/watch? v=eiSdgPw9v8w and http://www. youtube. com/watch? v=1KWNvjcsmpU;feature=related . 2Data Analysis For doing analysis, inaugural speeches will be divided into three sections: verbal language, non-verbal language and structure organization of the speeches. (1) Verbal Language Firstly, reading speech texts to observe verbal language that found in Barack Obama and Abhisit Vejjajiva’s inaugural speeches. In this method, verbal language will be classified into four categories: 1) Figurative Language This is a way of saying something other than the literal meaning of the words. There are many kinds of figurative language, such as irony, simile, paradox etc.However, in this research will focus merely on metaphor and idiom. 2) Language Feature (Structures, Personal Pronouns) We will focus language feature about structures and personal pronouns. For example, we will interest in how different speech make use of â€Å"I† and â€Å"me† versus â€Å"we† and â€Å"us†. 3) Genre Construction of Speech (Reporting, Problem, Expected, Indirect Question) For example, search for a construction of the speech, such as â€Å"We will†¦Ã¢â‚¬ , â€Å"We can†¦Ã¢â‚¬ , â€Å"We must†¦Ã¢â‚¬  4) Catch Phrases To examine catch phrases, the inaugural speeches will be read and ideos will be watched to acquire the understanding the plot all the speeches to find their catch phrases. (2) Non-verbal Language Then videos of the speeches of Barack Obama and Abhisit Vejjajiva on inaugural day will be watched for several times to attain the meaning of non-verbal language describing through: 1) Body language 2) Facial expression 3) Eye contact. (3) Structure Organization of the Speeches Finally, the inaugural speeches will be discovered how differences or similarities between them. To analyze the differences and similarities of the speeches, they will be compared in terms of: 1) Introduction ) Body3) Conclusion. 5. 3Interpretation In the inaugural speech of Barack Obama, non-verbal language and catch phrase are used apparently. On the other hand, Abhisit vejjajiva make his inaugural speech emphasizing on verbal language. Expected Result We can get the structure of language and dominant feature of language use that show in inaugural oration to be the way of development of using language including reading, writing and speaking until fundamental level of using language to high level of using language. 6. Timeline Time |Milestone | |Nov 1,2010 |Observation | | |Listening and watching the videos of inaugural speeches and | | |reading the speech texts for divide it in three parts: verbal | | |language, non-verbal language, and catch phrase. |Dec 1,2010 |Data Collection | | |To collect data from 3 parts: | | |First, verbal language is collected from reading speech texts. | | |Second, non-verbal language is collected from watching videos. | |Last, catch phrases are collected from watching videos and | | |reading speech texts. | |Jan 1,2011 |Data Analysis | | |Analysis data in four main sections: first section, analysis | | |verbal language. How to cite Inaugural Speech, Papers

Oleg Vladmirovich Penkovsky Essay Example For Students

Oleg Vladmirovich Penkovsky Essay Oleg Vladmirovich Penkovsky Glenn HardingColonel Oleg Vladmirovich PenkovskyColonel Oleg Vladmirovich Penkovsky is a name that doesnt ring a bell for most people.However, for many in the intelligence community this name is as about household as you can get.He is a legend in his own right.Those who lived during and through the Cuban missile crisis actually benefited from this mans activities.Colonel Penkovsky was a joint spy for the United States and England.He is often thought of as the highest ranking, most damaging person to spy on the Soviet Union.While most everybody is thankful for the information he provided there are questions to be brought to light.For example, why did such a devoted officer turn on his own country and spy for the west?What were the motives to keep him doing such a thing?To try to answer these various and complex inquiries one must start at the beginning. Oleg Penkovsky was born in a small town on the 23rd of April in 1919.By 1939 he had graduated from a Soviet military school and had been part of a group called Komosomol, meaning young communists.He also went to war serving as a unit commander of an artillery unit. Penkovsky was decorated four times during his 1939-1940 tour of duty.After that tour he was injured and spent most of his time doing various assignments that took him between Moscow and the Ukrainian front for the rest of the Second World War. When the war was over, Penkovsky attended two military academies.One of the academies was the Frunze Military Academy and the other was the Military Diplomatic Academy.By 1950 he had married a woman who was the daughter of a fairly important general in the Soviet army.At this time he was also promoted to the rank of Colonel and was a member of the Soviet military intelligence agency, also known as the GRU.He was given various foreign assignments, Ankara, Turkey being the last locatio n of these assignments (Richelson 274). While in Turkey Penkovsky was noticed by the British intelligence agency known as Military Intelligence department 6 (MI6), more precisely a man named Greville Maynard Wynne.Wynne felt that they could possibly use Penkovsky since he showed dissatisfaction in the Soviet Unions communist system of government (Volkman, Warriors 98).When Penkovsky returned to Moscow in 1956 his military career came to a screeching halt.By 1960 he had had enough and decided to take matters into his own hands (Richelson 275). On August 12, 1960, Colonel Oleg Penkovsky approached two Americans on a bridge.The two Americans were Elden Ray Cox and Henry Lee Cobb (Shecter, Deriabin 5). The two men were unsure about Penkovskys motives since they had been warned about how the KGB (Soviet intelligence agency) tried to entrap people for spying (Volkman, Spies 23). Cox decided to go to the U.S. embassy where the diplomat on duty looked at the information Penkovsky had handed over.There was a letter written by Penkovsky indicating his desire to provide the U.S. with vital information.The second item was a detailed description of how the CIA could contact him (Volkman, Spies 23).The information was dismissed as purely provocation from the KGB.This was believed to be the case on more than one occasion.He had tried to get the Canadian embassy as well as the U.S. embassy to listen to him.They were suspicious because of his impeccable record and he was too obvious about offering his services (Pincher, Too Secret 264).He did not fit the profile of a traitor.Eventually, England took notice of Colonel Penkovsky and felt that he was genuine.The CIA decided to join Englands secret service in a joint venture and see if Penkovsky was genuine. It was the before mentioned Greville Maynard Wynne who finally contacted Penkovsky.Greville Wynne was a businessman who was trying to make a business arrangement with the Soviet Union.He represented several companies involved in the steel and electrical machine making industry.Wynne was also a secret agent of the SIS (Secret Intelligence Service for England).More accurately he worked in the MI6 (Richelson 275).Secretly, Wynne had been conducting one of the most successful covert operations against the Soviet Union (Volkman, Warriors 99).Wynne set up a delegation from the Soviet Union to come to London to learn more about some of the companies he represented.Penkovsky was in this delegation that was bound for London (Richelson 276).Once in England, the delegation was kept busy by a rigorous schedule to tour several plants.While this was transpiring, Colonel Penkovsky was unloading vast amounts of information including 78 pages of confidential material (Richelson 275).Examples of the information include missile technology, construction areas, launch sites, and even information on GRU operatives stationed around the world (Volkman, Warriors 102). Initially the CIA and the SIS were both awestruck and suspicious of the information that they received.There were some who felt that Penkovsky knew too much and acquired information to effortlessly to be legitimate (Knightly 320).Eventually, Many of the doubts but not all about his bona fides faded in the light of one intelligence maxim.That maxim or fact was that he had to be a genuine based on the information he was providing.It was inconceivable that the Soviets would willingly give up this kind of delicate information just to get a plant in place.Eventually most everyone accepted Penkovsky as genuine because of this very fact (Knightly 320). For approximately three years Colonel Penkovsky provided some of the Soviet Unions most sensitive military secrets using a Minox camera (Costello 581).The camera used microfilm, which he would give to the west to decipher. At the debriefings Penkovsky provided the United States and England with over 140 hours of taped debriefing, roughly 1200 pages of transcripts from the debriefings, and at least 11 roles of microfilm.This operation produced approximately 10,000 pages of intelligence information (Richelson 278).Later on, the CIA produced the Penkovskys memoirs from these debriefing tapes (Pincher, Traitors 221). Hate Crimes EssayThere is much speculation about the motives that led Colonel Penkovsky to live the life he chose.One such theory is that Penkovsky was a KGB plant to serve the Soviets by providing the west with disinformation. By doing so would confuse both the United States and England.The disinformation would provide a sense of false trust in each countries own intelligence agencies.If the theory is correct, it can be used to explain a couple of issues.One issue is the fact that when Kennedy demanded that the Soviets pull out of Cuba, Kennedy also agreed not to invade Cuba.In the long run this agreement turns out to be more advantageous to the Soviets as well as Cuba.Even today Cuba is strategically important.Since Cuba is a communist nation they provided the Soviets a thorn in the side of the United States.Secondly, the disinformation may have possibly propagated the feeling that the United States had superiority in ICBM technology and numbers.This feeling may have proved false when the United States admitted to being behind in both of these two areas.These facts would seem to support this theory(Pincher 266).However these facts can possibly have other explanations. Kennedy may have agreed to not attacking Cuba to make it easier for Krushchev to back down with out looking weak.This would explain why Kennedy agreed to this condition. As for the United States being behind the Soviets in ICBM development, that could be explained as only a recent development.While the United States agreed to arms reductions the Soviets could have continued building up and surpassed the United States in numbers and technology. A second theory is that the Soviets provided Penkovsky in order to draw out an English spy with which the Soviets could bargain for the freedom of a well-known Russian spy.That spy was Gordon Lonsdale also known as Conon Molody.Lonsdale was a valuable agent with which the Soviets were pleased.They were willing to exchange a less important spy (Wynne) for Lonsdale.Greville Wynne had been imprisoned in the Soviet Union and was indeed traded in return for Gordon Lonsdale.This theory seems unlikely, since it would appear that the Soviets went through a lot of effort to convince the United States and England just to get an agent to trade.The Soviets would not give up that much valuable information just for the sake of one man (Knightly 315). Further speculation brings another idea to light.The idea that Penkovsky was a mere pawn in a game of high stakes diplomacy where the loser was Penkovsky.There may have been high-ranking Soviet officials that did not agree with Krushchev and all his boasting.They may have felt that he was leading them towards nuclear war with the United States.These same individuals could have made it easier for Penkovsky to get access to this information and allowed it to make it to the west where it could be used effectively.It would be a way for some in the Soviet government to pass the message to the United States that they did not want nuclear war and at the same time illustrate to not be united behind their leader, Nikita Krushchev (Knightly 325).Facts supporting this theory include the time at which Penkovsky was arrested, at the climax of the Cuban missile crisis.This could have been to give final proof that Penkovsky was real.Another supporting piece of information is the kind of information was both timely and the exact kind needed.A third point of evidence is in 1971 Richard Helms who was the director of the CIA at the time made a statement indicating that there were several persons in the Soviet government aided the Americans during the Cuban missile crisis (Knightly 326, 327).In this instance it purports that the information was indeed genuine and in a different sense, Penkovsky was real. The facts are simply this.Penkovsky volunteered himself as an MI6 mole with U.S. cooperation (Volkman, Warriors 209).He provided the west with vital information.Penkovsky fell under KGB suspicion and was soon after caught, arrested, tried, and convicted (Lloyd 106).He was then subsequently sentenced to die for treason against the Soviet Union.The theories presented are merely circumstantial, but the prevailing theory is that Penkovsky was most likely being used by a faction in the Soviet government to get a message to the west to prevent a nuclear war (Knightly 326).Even in light of all these facts, it does not in the least detract from the fact that Colonel Oleg Penkovsky was a truly brave man.Even if unwittingly used as some pawn, it was still Penkovsky, who took the risk to inform the United States as well as England of the vital information he had. As a mole behind the Iron Curtain he did this for a cause he deemed just and right.The outcome of this brave mans decision quite poss ibly saved millions upon millions of lives.He paid the ultimate price for this, his life.Colonel Oleg Vladmirovich Penkovsky was a true hero.