Deborah Moggach uses humour to address social issues consider how she does this, paying particular attention to her use of language Essay Example for Free

Deborah Moggach uses humour to address social issues consider how she does this, paying particular attention to her use of language Essay n this essay I will look at how Deborah Moggach uses humour to address social issues. I will give my own opinion and I will also pay particular attention to her use of language. In this essay I will focus on ‘fool for love’ by Deborah Moggach, she addresses the social issues of older women having a relationship with younger men. In this story there is a middle age mother with two teenagers and she found a 26 year old man for a relationship through her day time job in a dispatch room. Deborah Moggach uses humour to address a social issue a number of times throughout the story. The first time we see this is when Deborah Moggach the 26 year old man ask Esther out, ‘want to help me buy a Christmas present for my mum’. This is used as a social issue as he is asking to spend time with her. However the humour comes in later when Deborah Moggach says ‘but did he just want the advice of mature woman’. This makes the audience think and brings reality into the story and reminds us of Esther’s age. We are reminded by the young man’s age later on in the story through humour when Esther is telling him about the state of her son’s bedroom until she realise he is young himself ‘you couldn’t complain about adolescents to somebody who was practically one himself’. This humour is shown as it is as if Esther is relating the young man of her dreams to her son. Deborah Moggach then uses humour when she gets into how Esther feels about how long it had been since she had fallen in ‘love again’ and ‘Since she had shaved her legs every single day’. This humour is shown to emphasis what it is like to fall in love and what ladies do on a daily bases to show that they care top their man. This is also linked to a social issue as it is the reason she is ‘shaving her legs on a daily bases’ for the social aspect of seeing the man. In the sixth paragraph of ‘fool for love’, Deborah Moggach uses humour by saying ‘she had lent him  £10-he never had any money-and he still paid her back’. This is used in a social issue as they are socialising together more carefully now as the story goes on. This is also humours’ as people can relate towards it and it shows that he cares for his feelings and cares for her. ‘Fool for love’ by Deborah Moggach is a story that people are able to relate to well. It seems to be that everyone has fallen in love and had ups and downs, whether they would die to be with them for the rest of their lives or be with them for a period of time. ‘Fool for love’ emphasises just how strong love can be and how powerful it is to some people and this is how people are able to relate towards the story. Humour for a social issues is used a lot of the time throughout the story as a mature woman with a younger man does happen it is not too common which gives Deborah Moggach the perfect chance to play with the writing and ass humour into the story. ‘Fool for love’ is all about social issues with Esther meeting a new young man at work to meeting her son from the airport. I lot of the things that Esther does is because of a social issue and how she wants to come across to people when being social able.

Econimic Research :: essays papers

Econimic Research 1. During the 1960's, The Soviet economy may have been growing at a rate of growth much faster that the West, but the Soviet GDP would have provided a poor statistic for determining the welfare of the soviet people for several reasons. The first reason that GDP would be obsolete for determining the welfare of the people is that during the 1960's, the Soviet Union was in fact Communist, so the people were only allotted whatever property or privilege the government would allow, so there was no "free market" on which goods could be bought and sold by anyone. It is also of interest to know that during the 1960's and early 70's, the USSR did lead the world in a few industries(forestry, mining), but with such a larger labor force than the US, the GDP per capita would, all other things being equal (ceteris paribus), show that growth could have occurred solely due to larger population. 2. If the Instructor were to choose a fixed rate, he would hope that inflation would increase, so that he would be paying back money that has a lower purchasing power than the original principal amount the instructor would have financed, (just as in the scenario He had given about his Father in Maryland, and his mortgage held with the sinister bank who detests the fact that your Father has a fixed rate mortgage and pays around $300 a month). If our Instructor chose the adjustable rate, the instructor would think that inflation would decrease, and would also hope that interest rates would decrease as well. Since Alan Greenspan is somewhat unpredictable, I would advise the instructor to refinance for a fixed rate once interest rates take a turn for the better, so that it would be locked in at the lowest going rate available. 3. Changes in Production by Black Death(Bubonic Plague) in Medieval Times Land Land Labor(pre-Plague) Labor(post-Plague) B. Wages for the workers would increase due to the decrease in labor pools caused by death. C. The surviving workers benefited from this disaster due to the increase in wages available due to the untimely death of so many. The wealthy landowners would have been overall harmed by the loss in manual labor, which caused less productivity and yet higher wages could be demanded by the surviving workers out of necessity for needed labor, while the rental(capital) rate of the land decreased according to the isoquant.

Every Reality Is a Fiction, the Player Essay

Our world consists of many realties. Two being commercial, and the other, artistic. A commercial reality is one limiting risk, and predictability, always aiming to suit those who yearn for it. Artistic reality however, breaks rules, and has social merit. This means there are many possible outcomes. One could be saddened or depressed by the reality, and others, joyful. It is because of this uncertainty in artistic realities that the film industry, as well as many other industries, have taken it upon themselves to glorify the truth. It is because of their coexistence that causes them to clash. The statement that every reality is fictitious, is rather bold however. Although in numbers, there are a few people who hold very strong moral and have a sense of quality in what they do. The Hollywood film industry is mainly commercial. Offering little or no interest in writers work that consists depth. This reality consumes those considered â€Å"naive† to the industry. Commercial realities are realities that are created by people who want to escape their own and subconsciously create a reality that is deemed impossible to the â€Å"real† world. Commercial realities are attractive to most, because you can experience something otherwise unimaginable. This is known as a reality lacking artistic merit. It is us, the audience of massive Hollywood productions, that show true appreciation of films made by producers who show no other interest than creating fictional nonsense and profiting from it. Hollywood creates commercially successful films without artistic merit, and those that have this merit are difficult to come by. Movies such as Who’s Afraid of Virginia Woolf by Ernest Lehmen, and Boys Don’t Cry by Kimberly Peirce pose a social function, and â€Å"break the rules† of The Film Industry. The film making industry is created by artificial characters living paranormal lives that we aspire to have. However, who can jump from a 4 story building and land on the ground with no injury? Who can be stabbed and instantly heeled by only a bandage and continue battling the world with heroic attributes and a vision to sustain â€Å"humanity as we know it†? Commercial realities are fictitious, stick to a strict formula, and leave us dreaming of a better life. The American Film Industry however, would argue that without these commercially rich movies, there will be no economic growth without the return or investment they provide. A contrasting reality to those of commercial is that of artistic. This reality has deeper meaning to it, and value. Artistic reality may be generally defined as the attempt to represent subject matter truthfully, without artificiality and avoiding artistic challenging elements. Artistic reality is better known as ‘realism. ’ â€Å"Realism revolted against the exotic subject matter and exaggerated emotionalism and drama of the Romantic Movement. Instead it sought to portray real and typical contemporary people and situations with truth and accuracy, and not avoiding unpleasant or sordid aspects of life. † – Sourced from Wikipedia’s â€Å"Realism (art)†. Artistic realities reveal the truth, which means they may emphasize the ugly or despicable. Artists use their work as a form of expressionism, which is open to interpretation. Their oeuvre breaks the rules, as they see the ordinary, and can create new pieces that challenge the mind and provide social merit. Many people attempt to depict things accurately, from either a visual, social or emotional perspective. Theatre Realism shares many stylistic choices with naturalism, including a focus on every day (middle-class) drama, colloquial speech, and mundane settings. Realism rejects imaginative idealization in favour of a close observation of outward appearances. Often artistic realities can be labelled as fictitious. This is due to the majority of society being so involved in consumerism, that they can no longer differentiate from commercial being formulated, and artistic as challenging. Commercial realities enhance the breeding of money. Commercial values manipulate the very anatomy of a natural, mundane reality. â€Å"Commercially precious films of ‘reality’ have become the organ grinder’s monkeys of money. † They are made to increase the generative value and staying in power of money, the power of money to breed money, to fertilize itself. They are not made to empower people and provide certain value. Artistic reality however, leaves no stone unturned. Realism sees little value in money, and it sees no reciprocal material possession that could be exchanged for money. Artistic realities merely capture that which is tangible and accurate. Society may attempt to defend themselves by escaping this as it may be deeply depressing. It is the confusion of distinguishing between commercial and artistic realities that ultimately reduces both to nothing but fictitious mumbo jumbo that controls our lives. The difference between the two is huge, however difficult for ‘commoners’, or those not involved in the film industry, to interpret. Whether an individual comprises their lives of commercial or realistic values, these values can be labelled as fabricated or factual. The film industry’s repackaging and misrepresentation of the truth to suit themselves, is entirely profitable. This profitability is their ultimate ruling guideline. If a film does not provide profits, the film was a total failure, regardless of its social merit. Artistic realities are open to interpretation and provide a bit of freedom for people to choose the outcomes of scenarios. Painters, writers, film makers and news reporters are some of the main people involved in the way reality is interpreted because they are their own masters, and creators. Every one watches them, reads their papers or interperates their work. It is important for people to recognise that regardless of the message that is trying to be brought across, that reality is subjective, and hence, it may appear fictitious to anyone apart from their maker. Commercial or artistic.

Battle of Glorieta Pass in the Civil War

The Battle of Glorieta Pass was fought March 26-28, 1862, during the American Civil War (1861-1865) and was the culminating engagement of the New Mexico Campaign. Pushing into the New Mexico Territory in early 1862, Brigadier General Henry H. Sibley sought to drive Union forces from the region and open a path to California. His initial actions proved successful and his troops won a victory at the Battle of Valverde in February. Pushing on, Sibley intended to capture the Union base at Fort Craig. Recovering from the defeat at Valverde, Union forces led by Colonel John P. Slough and Major John Chivington, engaged the Confederates at Glorieta Pass in late March. Though the Confederates won a tactical victory at the pass, a column commanded by Chivington captured their supply train. The loss of their wagons and supplies compelled Sibley to withdraw from the region. The strategic victory at Glorieta Pass effectively secured control of the Southwest for the Union for the remainder of the war. As a result, the battle has sometimes, rather grandiosely, been referred to as the Gettysburg of the West. Background In early 1862, Confederate forces under Brigadier General Henry H. Sibley began pushing west from Texas into the New Mexico Territory. His goal was to occupy the Santa Fe Trail as far north as Colorado with the intention of opening a line of communication with California. Advancing west, Sibley initially sought to capture Fort Craig near the Rio Grande. Brigadier General Henry H. Sibley, CSA. Library of Congress On February 20-21, he defeated a Union force under Colonel Edward Canby at the Battle of Valverde. Retreating, Canbys force took refuge at Fort Craig. Electing not to attack the fortified Union troops, Sibley pressed on leaving them in his rear. Moving up the Rio Grande Valley, he established his headquarters at Albuquerque. Sending his forces forward, they occupied Santa Fe on March 10. Shortly thereafter, Sibley pushed an advance force of between 200 and 300 Texans, under Major Charles L. Pyron, over the Glorieta Pass at the southern end of the Sangre de Cristo Mountains. The capture of the pass would allow Sibley to advance and capture Fort Union, a key base along the Santa Fe Trail. Camping at Apache Canyon in Glorieta Pass, Pyrons men were attacked on March 26 by 418 Union soldiers led by Major John M. Chivington. Battle of Glorieta Pass Conflict: American Civil War (1861-1865)Date: March 26-28, 1862Armies and Commanders:UnionColonel John P. SloughMajor John Chivington1,300 menConfederatesMajor Charles L. PyronLieutenant Colonel William R. Scurry1,100 menCasualties:Union: 51 killed, 78 wounded, and 15 capturedConfederate: 48 killed, 80 wounded, and 92 captured Chivington Attacks Assaulting Pyrons line, Chivingtons initial attack was beaten back by Confederate artillery. He then split his force in two and repeatedly flanked Pyrons men forcing them to retreat twice. As Pyron fell back a second time, Chivingtons cavalry swept in and captured the Confederate rearguard. Consolidating his forces, Chivington went into camp at Kozlowskis Ranch. On the following day the battlefield was quiet as both sides were reinforced. Pyron was augmented by 800 men led by Lieutenant Colonel William R. Scurry, bringing Confederate strength to around 1,100 men. On the Union side, Chivington was reinforced by 900 men from Fort Union under the command of Colonel John P. Slough. Assessing the situation, Slough planned to attack the Confederates the next day. Chivington was given orders to take his men in a circling movement with the goal of striking the Confederate flank as Slough engaged their front. In the Confederate camp, Scurry also planned an advance with the goal of attacking at the Union troops in the pass. On the morning of March 28, both sides moved into Glorieta Pass. A Close Fight Seeing the Union troops moving towards his men, Scurry formed a line of battle and prepared to receive Sloughs attack. Surprised to find the Confederates in an advanced position, Slough realized that Chivington would not be able to assist in the assault as planned. Moving forward, Sloughs men struck at Scurrys line around 11:00 AM. In the battle that followed, both sides repeatedly attacked and counterattacked, with Scurrys men getting the better of the fighting. Unlike the rigid formations used in the East, the fighting in Glorieta Pass tended to be focused on small unit actions due to the broken terrain. After forcing Sloughs men to fall back to Pigeon Ranch, and then Kozlowskis Ranch, Scurry broke off the fighting happy to have achieved a tactical victory. While the battle was raging between Slough and Scurry, Chivingtons scouts succeeded in locating the Confederate supply train. Out of position to assist in Sloughs attack, Chivington elected not to rush to the sound of the guns, but rather advanced and captured the Confederate supplies after a brief skirmish at Johnsons Ranch. With the loss of the supply train, Scurry was forced to withdraw despite having won a victory in the pass. Aftermath Union casualties at the Battle of Glorieta Pass numbered 51 killed, 78 wounded, and 15 captured. Confederate forces suffered 48 killed, 80 wounded, and 92 captured. While a tactical Confederate victory, the Battle of Glorieta Pass proved to be a key strategic win for the Union. Due to the loss of his supply train, Sibley was forced to withdraw back to Texas, ultimately arriving at San Antonio. The defeat of Sibleys New Mexico Campaign effectively ended Confederate designs on the Southwest and the area remained in Union hands for the duration of the war. Due to the decisive nature of the battle, it is sometimes referred to as the Gettysburg of the West.