Chapter 1—Into the Primitive
Arbors- n. vines
Aristocrat- n. wealthy person
Array- n. an orderly arrangement
Artesian well- n. a well drilled through impermeable layer to reach water capable of rising to the surface by internal hydrostatic pressure
Calamity- n. disaster
Cayuses- n. small Western horses used by cowboys
Conciliated- v. made friends with
Conveyance- n. means of transportation
Culprit- n. a person guilty of a crime
Demesne- n. lands of an estate
Docilely- adv. Yieldingly to treatment or handling
Dominion- n. the exercise of control
Genial- adj. friendly
Impending- v. likely or due to happen
Imperiously- adv. urgently
Incurious- adj. not curious
Insular- adj. Isolated; detached
Kindred- n. family
Latent- adj. present or potential
Legion- n. a large number
Metamorphosed- v. changed or transformed
Paddocks- n. enclosed fields in which horses are exercised
Populous- adj. many people
Primitive- adj. very basic
Progeny- n. children
Prowess- n. superior ability
Revelation- n. something revealed or learned
Ruction- n. quarrel or noisy disturbance
Sated- adj. fully satisfied
Slaver- n. saliva
Soliloquized- v. talked to one’s self
Square-head- n. slang a Scandinavian or a German
Tidewater- n. seacoast
Treachery- n. betrayal
Uncowed- adj. not frightened
Unwonted- adj. unusual
Weazened- adj. wizened; shriveled; withered
Wheedlingly- adv. attempting to persuade
Chapter 2-- The Law of the Club and Fang
Appeasingly /appeasement- adv./n. trying to please
Cadence- n. beat or rhythm of movement
Disconsolate- adj. hopelessly sad
Draft animal- adj./n. an animal used for hauling heavy loads
Fastidiousness- n. carefulness in all details
Gaunt- adj. haggard and emaciated
Ignominiously- adv. shamefully
Introspective- adj. given to private thought
Malignant- adj. actively evil in nature
Malingerer- n. one who pretends to be ill in order to escape work
Placatingly- adv. appeasingly giving in easily
Primordial- adj. primitive
Reproof- n. scold
Retrogression- n. the act of deteriorating
Vicarious- adj. substituted from one thing for another
Chapter 3—The Dominant Primordial Beast
Adversary- n. enemy; opponent
Apex- n. the highest point of something
Climes- n. poetic for climate
Covert- adj. concealed; hidden; disguised
Daunted- adj. made afraid or discouraged
Dubiously- adv. doubtfully
Inexorable- adj. unwilling to give in
Insidious- adj. sly; crafty
Insubordination- n. disobedience
Paradox- n. a situation that seems to have contradictory or inconsistent
qualities
Pre-eminently- adv. dominantly
Wraith- n. ghost
Chapter 4—Who Has Won to Mastership
Lugubriously- adv. very sadly or mournfully
Obdurate- adj. unyielding; stubborn
Chapter 5—The Toil of Trace and Trail
Amenities- n. pleasant qualities
Averred- v. declared
Callous- adj. unfeeling
Chaffering- v. haggling over terms or price
Callowness- n. youth and inexperience; immaturity
Copiously- adv. abundantly
Evinced- v. showed clearly
Fissures- n. narrow cracks
Fraught- adj. accompanied
Innocuously- adv. harmlessly
Irresolutely- adv. lacking a solution
Jaded- adj. worn-out
Manifestly- adv. obviously; revealingly
Perambulating- v. walking
Remonstrance- n. a gesture of protest or scold
Rending- v. violently tearing apart into pieces
Repugnance- n. extreme dislike
Rouse- v. to excite into anger or action
Salient- adj. noticeable; prominent
Slipshod- adj. poorly made; shabby
Slovenly- adv. carelessly
Superfluous- more than is necessary
Wayfarers- n. those who travel
Chapter 6—For the Love of Man
Conjuration- n. making a magic spell
Contagion- n. a disease that can be transmitted
Convalescence- n. gradual return to good health
Extremity- n. dying stage
Grubstaked- v. bought supplies for
Millrace- n. the current of water that drives a mill wheel
Peremptorily- adv. absolutely; without question
Plethoric- adj. too full
Wiliness- n. trickiness
Chapter 7—The Sounding of the Call
Ambuscade- n. place of surprise attack
Belie- v. to tell lies about
Certitude- n. certainty
Cessation- v. ceasing or stopping
Chaff- n. husks of grain that are separated when the grain is beaten
during threshing
Commingled- v. mixed together
Excrescence- n. natural outgrowth
Imperiously- adv. overbearing; arrogant; domineering
Multitudinous- adj. crowded, great numbers
Obliterated- v. wiped out
Palmated- adj. shaped like a hand with the fingers spread
Palpitate- adj. quivering; trembling
Paroxysms- n. outbursts or convulsions
Pell-mell- adv. jumbled or confused
Pertinacity- n. stubbornness; perseverance
Placer- n. a deposit of sand mixed with gold
Ptarmigan- n. a northern or alpine game bird
Rampant- adj. unrestrained; spreading unchecked
Slake- v. to satisfy
Sluice boxes- n. long channels through which water is run, leaving
the gold
Usurp- v. takes control over
Vigor- n. active physical or mental strength
Virility- n. masculine mental or physical strength
Wantonness- n. lack of discipline
Sunday, September 19, 2010
Literary Vocabulary
Allegory: an extended metaphor - the whole poem or story is representative of another idea. Animal Farm is literally about an animal rebellion against their human oppressors on a farm. Allegorically, it is about the Russian Revolution and the rise of Communism in the USSR. An allegory is intended to teach a moral or lesson.
Alliteration: forming word patterns by repeating initial consonant sounds. It depends on sound, not spelling.
Allusion: a brief reference to a person, event or thing religious or historical.
Ambiguity: This is the quality in a piece of writing that makes it possible to interpret it in more than one way.
Analogy: where you explain a complex situation by relating it to a simpler idea.
Antagonist: a character, or characters, in a short story, novel, or play, that gives the Protagonist a challenge.
Apostrophe: directly addressing a person or thing as if it/s/he were really there. (Romeo & Juliet, where Juliet speaks, “O Romeo, Romeo, wherefore art thou Romeo?).
Assonance: the repetition of a stressed vowel sounds (ex: Three/beach; say/played; flame/pain).
Autobiography: literature about a real person and is written by the person the story is about. Example: John wrote a book about his own life.
Biography: a factual piece of literature that is about someone and was written by another person. Example: Janet wrote a book about John's life.
Climax: the high point of a story... when the Protagonist makes his/her decision or faces their challenge
Consonance: the repetition of consonant sounds at the end of words. Ex. Thick stuck gunk, first and last.
Fiction: literature that is not factually true, but may be based on true events.
Hyperbole: exaggeration, either for comic or serious effect. Ex. I cried a river of tears.
Imagery: creating vivid mental pictures through using words that appeal to the senses and emotions.
Inference: making conclusions about a piece of literature when the connection is not provided in a piece of literature.
Metaphor: a comparison that doesn’t use comparison words such as like or as.
Mood: the dominant feeling or atmosphere of a work. Dark, light, happy, sad, are simple moods.
Narrator: the voice that is telling the story in a novel or short story. There are two popular forms of narration:
• First person narrator--the story is told through the eyes of a character.
• Third person--the story is told by a person outside of the story.
Non-Fiction: literature that is true or is based on factual events
Ode: a form of lyric poetry using elaborate vocabulary. It usually focuses on a single object or person.
Onomatopoeia: words that sound like the sound they are describing. Ex. BANG, buzz, pop.
Oxymoron: two opposite or conflicting words, side by side. Example:, Dark day, white night
Parody: using comedy or satire when imitating a well-known, serious work. It is much like re-writing a story with foolish characters and actions similar to the original. Parodies often make fun of the original author’s style, or criticize the authors’ views.
Personification: giving human qualities to a non-human thing or idea. Ex. The angry sky...
Protagonist: the main character of a short story, novel, or play, who is faced with a challenge or a decision to make.
Repetition: the repeating of lines, words, or phrases for emphasis
Rhyme: similar sounding words in the end or within a line.
Satire: makes fun of some part of human nature, customs, or attitudes in order to make a positive change.
Simile: comparison using like or as. Ex. Her hair was like spun gold.
Stress: saying certain syllables or words in a line with more emphasis or volume.
Symbolism: using an image to represent an idea.
• Ex. Storms often symbolize impending disaster
• red rose=love
• dove=peace
• black cat=bad luck
Alliteration: forming word patterns by repeating initial consonant sounds. It depends on sound, not spelling.
Allusion: a brief reference to a person, event or thing religious or historical.
Ambiguity: This is the quality in a piece of writing that makes it possible to interpret it in more than one way.
Analogy: where you explain a complex situation by relating it to a simpler idea.
Antagonist: a character, or characters, in a short story, novel, or play, that gives the Protagonist a challenge.
Apostrophe: directly addressing a person or thing as if it/s/he were really there. (Romeo & Juliet, where Juliet speaks, “O Romeo, Romeo, wherefore art thou Romeo?).
Assonance: the repetition of a stressed vowel sounds (ex: Three/beach; say/played; flame/pain).
Autobiography: literature about a real person and is written by the person the story is about. Example: John wrote a book about his own life.
Biography: a factual piece of literature that is about someone and was written by another person. Example: Janet wrote a book about John's life.
Climax: the high point of a story... when the Protagonist makes his/her decision or faces their challenge
Consonance: the repetition of consonant sounds at the end of words. Ex. Thick stuck gunk, first and last.
Fiction: literature that is not factually true, but may be based on true events.
Hyperbole: exaggeration, either for comic or serious effect. Ex. I cried a river of tears.
Imagery: creating vivid mental pictures through using words that appeal to the senses and emotions.
Inference: making conclusions about a piece of literature when the connection is not provided in a piece of literature.
Metaphor: a comparison that doesn’t use comparison words such as like or as.
Mood: the dominant feeling or atmosphere of a work. Dark, light, happy, sad, are simple moods.
Narrator: the voice that is telling the story in a novel or short story. There are two popular forms of narration:
• First person narrator--the story is told through the eyes of a character.
• Third person--the story is told by a person outside of the story.
Non-Fiction: literature that is true or is based on factual events
Ode: a form of lyric poetry using elaborate vocabulary. It usually focuses on a single object or person.
Onomatopoeia: words that sound like the sound they are describing. Ex. BANG, buzz, pop.
Oxymoron: two opposite or conflicting words, side by side. Example:, Dark day, white night
Parody: using comedy or satire when imitating a well-known, serious work. It is much like re-writing a story with foolish characters and actions similar to the original. Parodies often make fun of the original author’s style, or criticize the authors’ views.
Personification: giving human qualities to a non-human thing or idea. Ex. The angry sky...
Protagonist: the main character of a short story, novel, or play, who is faced with a challenge or a decision to make.
Repetition: the repeating of lines, words, or phrases for emphasis
Rhyme: similar sounding words in the end or within a line.
Satire: makes fun of some part of human nature, customs, or attitudes in order to make a positive change.
Simile: comparison using like or as. Ex. Her hair was like spun gold.
Stress: saying certain syllables or words in a line with more emphasis or volume.
Symbolism: using an image to represent an idea.
• Ex. Storms often symbolize impending disaster
• red rose=love
• dove=peace
• black cat=bad luck
Monday, August 23, 2010
Presentation Tips
Hello all,
This is some advice on presenting I put together for another class, since you will be presenting on Wednesday I think it is important that we talk about what a good presentation is.
Tips
The material of your presentation should be concise, to the point and tell an interesting story. In addition to the obvious things like content and visual aids, the following are just as important as the audience will be subconsciously taking them in:
• Your voice - how you say it is as important as what you say
• Body language - a subject in its own right and something about which much has been written and said. In essence, your body movements express what your attitudes and thoughts really are.
• Appearance - first impressions influence the audience's attitudes to you. Dress appropriately for the occasion.
As with most personal skills oral communication cannot be taught. Instructors can only point the way. So as always, practice is essential, both to improve your skills generally and also to make the best of each individual presentation you make.
Preparation
Prepare the structure of the talk carefully and logically, just as you would for a written report. What are:
• the objectives of the talk?
• the main points you want to make?
Make a list of these two things as your starting point
Write out the presentation in rough, just like a first draft of a written report. Review the draft. You will find things that are irrelevant or superfluous - delete them. Check the story is consistent and flows smoothly. If there are things you cannot easily express, possibly because of doubt about your understanding, it is better to leave them unsaid.
Never read from a script. It is also unwise to have the talk written out in detail as a prompt sheet - the chances are you will not locate the thing you want to say amongst all the other text. You should know most of what you want to say - if you don't then you should not be giving the talk! So prepare cue cards which have key words and phrases (and possibly sketches) on them. Postcards are ideal for this. Don't forget to number the cards in case you drop them.
Rehearse your presentation - to yourself at first and then in front of some colleagues. The initial rehearsal should consider how the words and the sequence of events go together. How will you make effective use of your materials?
Making the presentation
Greet the audience (for example, 'Good morning, ladies and gentlemen'), and tell them who you are. Good presentations then follow this formula:
• tell the audience what you are going to tell them,
• then tell them,
• at the end tell them what you have told them.
Keep to the time allowed. If you can, keep it short. It's better to under-run than over-run.
Be prepared and keep your presentation moving. Do not have long pauses of dead air, you will eat up time and lose everyone’s attention.
At the end of your presentation ask if there are any questions - If questions are slow in coming, you can start things off by asking questions of the audience - so have some prepared.
Delivery
Speak clearly. Don't shout or whisper - judge the acoustics of the room. If you have a soft voice use a microphone.
Don't rush, or talk deliberately slowly. Be natural - although not conversational.
Deliberately pause at key points - this has the effect of emphasizing the importance of a particular point you are making.
Avoid jokes - always disastrous unless you are a natural expert
To make the presentation interesting, change your delivery, but not to obviously
• speed
• pitch of voice
Use your hands to emphasize points but don't indulge in too much hand waving. People can, over time, develop irritating habits. Ask colleagues occasionally what they think of your style.
Look at the audience as much as possible, but don't fix on an individual - it can be intimidating. Pitch your presentation towards the back of the audience, especially in larger rooms.
Don't face the white board behind you and talk to it.
Avoid moving about too much. Pacing up and down can unnerve the audience, although some animation is desirable.
Keep an eye on the audience's body language. Know when to stop and refocus their attention.
Aids
Aids can significantly improve the interest of a presentation. However, they must be relevant to what you want to say. What you use depends on the type of talk you are giving.
Keep it simple though - a complex set of materials can often cause you to get lost in your presentation and then lose control of the other students.
Finally ...,
Enjoy yourself. The audience will be on your side and want to hear what you have to say!
This is some advice on presenting I put together for another class, since you will be presenting on Wednesday I think it is important that we talk about what a good presentation is.
Tips
The material of your presentation should be concise, to the point and tell an interesting story. In addition to the obvious things like content and visual aids, the following are just as important as the audience will be subconsciously taking them in:
• Your voice - how you say it is as important as what you say
• Body language - a subject in its own right and something about which much has been written and said. In essence, your body movements express what your attitudes and thoughts really are.
• Appearance - first impressions influence the audience's attitudes to you. Dress appropriately for the occasion.
As with most personal skills oral communication cannot be taught. Instructors can only point the way. So as always, practice is essential, both to improve your skills generally and also to make the best of each individual presentation you make.
Preparation
Prepare the structure of the talk carefully and logically, just as you would for a written report. What are:
• the objectives of the talk?
• the main points you want to make?
Make a list of these two things as your starting point
Write out the presentation in rough, just like a first draft of a written report. Review the draft. You will find things that are irrelevant or superfluous - delete them. Check the story is consistent and flows smoothly. If there are things you cannot easily express, possibly because of doubt about your understanding, it is better to leave them unsaid.
Never read from a script. It is also unwise to have the talk written out in detail as a prompt sheet - the chances are you will not locate the thing you want to say amongst all the other text. You should know most of what you want to say - if you don't then you should not be giving the talk! So prepare cue cards which have key words and phrases (and possibly sketches) on them. Postcards are ideal for this. Don't forget to number the cards in case you drop them.
Rehearse your presentation - to yourself at first and then in front of some colleagues. The initial rehearsal should consider how the words and the sequence of events go together. How will you make effective use of your materials?
Making the presentation
Greet the audience (for example, 'Good morning, ladies and gentlemen'), and tell them who you are. Good presentations then follow this formula:
• tell the audience what you are going to tell them,
• then tell them,
• at the end tell them what you have told them.
Keep to the time allowed. If you can, keep it short. It's better to under-run than over-run.
Be prepared and keep your presentation moving. Do not have long pauses of dead air, you will eat up time and lose everyone’s attention.
At the end of your presentation ask if there are any questions - If questions are slow in coming, you can start things off by asking questions of the audience - so have some prepared.
Delivery
Speak clearly. Don't shout or whisper - judge the acoustics of the room. If you have a soft voice use a microphone.
Don't rush, or talk deliberately slowly. Be natural - although not conversational.
Deliberately pause at key points - this has the effect of emphasizing the importance of a particular point you are making.
Avoid jokes - always disastrous unless you are a natural expert
To make the presentation interesting, change your delivery, but not to obviously
• speed
• pitch of voice
Use your hands to emphasize points but don't indulge in too much hand waving. People can, over time, develop irritating habits. Ask colleagues occasionally what they think of your style.
Look at the audience as much as possible, but don't fix on an individual - it can be intimidating. Pitch your presentation towards the back of the audience, especially in larger rooms.
Don't face the white board behind you and talk to it.
Avoid moving about too much. Pacing up and down can unnerve the audience, although some animation is desirable.
Keep an eye on the audience's body language. Know when to stop and refocus their attention.
Aids
Aids can significantly improve the interest of a presentation. However, they must be relevant to what you want to say. What you use depends on the type of talk you are giving.
Keep it simple though - a complex set of materials can often cause you to get lost in your presentation and then lose control of the other students.
Finally ...,
Enjoy yourself. The audience will be on your side and want to hear what you have to say!
Some Advertising Vocabulary
AVANTE GARDE
The suggestion that using this product puts the user ahead of the times e.g. a toy manufacturer encourages kids to be the first on their block to have a new toy.
FACTS AND FIGURES
Statistics and objective factual information is used to prove the superiority of the product e.g. a car manufacturer quotes the amount of time it takes their car to get from 0 to 100 k.p.h.
WEASEL WORDS
“Weasel words" are used to suggest a positive meaning without actually really making any guarantee e.g. a scientist says that a diet product might help you to lose weight the way it helped him to lose weight.
MAGIC INGREDIENTS
The suggestion that some almost miraculous discovery makes the product exceptionally effective e.g. a pharmaceutical manufacturer describes a special coating that makes their pain reliever less irritating to the stomach than a competitor`s.
PATRIOTISM
The suggestion that purchasing this product shows your love of your country e.g. a company brags about its product being made in America and employing American workers.
DIVERSION
Diversion seems to tackle a problem or issue, but then throws in an emotional non-sequitor or distraction. e.g. a tobacco company talks about health and smoking, but then shows a cowboy smoking a rugged cigarette after a long day of hard work.
TRANSFER
Words and ideas with positive connotations are used to suggest that the positive qualities should be associated with the product and the user e.g. a textile manufacturer wanting people to wear their product to stay cool during the summer shows people wearing fashions made from their cloth at a sunny seaside setting where there is a cool breeze.
PLAIN FOLKS
The suggestion that the product is a practical product of good value for ordinary people e.g. a cereal manufacturer shows an ordinary family sitting down to breakfast and enjoying their product.
SNOB APPEAL
The suggestion that the use of the product makes the customer part of an elite group with a luxurious and glamorous life style e.g. a coffee manufacturer shows people dressed in formal gowns and tuxedos drinking their brand at an art gallery.
BRIBERY
Bribery seems to give a desirable extra something. We humans tend to be greedy. e.g. Buy a burger; get free fries.
TESTIMONIAL
A famous personality is used to endorse the product e.g. a famous basketball player (Michael Jordan) recommends a particular brand of skates.
WIT AND HUMOR
Customers are attracted to products that divert the audience by giving viewers a reason to laugh or to be entertained by clever use of visuals or language.
SIMPLE SOLUTIONS
Avoid complexities, and attack many problems to one solutions. e.g. Buy this makeup and you will be attractive, popular, and happy.
CARD STACKING
The propaganda technique of Card-Stacking is so widespread that we may not always be aware of its presence in a commercial. Basically, Card-Stacking means stacking the cards in favor of the product; advertisers stress is positive qualities and ignore negative. For example, if a brand of snack food is loaded with sugar (and calories), the commercial may boast that the product is low in fat, which implies that it is also low in calories. Card-Stacking is such a prevalent rational propaganda technique that gives us only part of the picture.
GLITTERING GENERALITIES
The glittering generalities technique uses appealing words and images to sell the product. The message this commercial gives, through indirectly, is that if you buy the item, you will be using a wonderful product, and it will change your life. This cosmetic will make you look younger, this car will give you status, this magazine will make you a leader-all these commercials are using Glittering Generalities to enhance product appeal.
BANDWAGON
Bandwagon is a form of propaganda that exploits the desire of most people to join the crowd or be on the winning side, and avoid winding up the losing side. Few of us would want to wear nerdy cloths, smell differently from everyone else, or be unpopular.
The popularity of a product is important to many people. Even if most of us say we make out own choice when buying something we often choose well-advertised items- the popular ones. Advertising copywriters must be careful with the bandwagon propaganda technique because most of us see ourselves as individuals who think for themselves. If Bandwagon commercial is to obvious, viewers may reject the product outright.
The suggestion that using this product puts the user ahead of the times e.g. a toy manufacturer encourages kids to be the first on their block to have a new toy.
FACTS AND FIGURES
Statistics and objective factual information is used to prove the superiority of the product e.g. a car manufacturer quotes the amount of time it takes their car to get from 0 to 100 k.p.h.
WEASEL WORDS
“Weasel words" are used to suggest a positive meaning without actually really making any guarantee e.g. a scientist says that a diet product might help you to lose weight the way it helped him to lose weight.
MAGIC INGREDIENTS
The suggestion that some almost miraculous discovery makes the product exceptionally effective e.g. a pharmaceutical manufacturer describes a special coating that makes their pain reliever less irritating to the stomach than a competitor`s.
PATRIOTISM
The suggestion that purchasing this product shows your love of your country e.g. a company brags about its product being made in America and employing American workers.
DIVERSION
Diversion seems to tackle a problem or issue, but then throws in an emotional non-sequitor or distraction. e.g. a tobacco company talks about health and smoking, but then shows a cowboy smoking a rugged cigarette after a long day of hard work.
TRANSFER
Words and ideas with positive connotations are used to suggest that the positive qualities should be associated with the product and the user e.g. a textile manufacturer wanting people to wear their product to stay cool during the summer shows people wearing fashions made from their cloth at a sunny seaside setting where there is a cool breeze.
PLAIN FOLKS
The suggestion that the product is a practical product of good value for ordinary people e.g. a cereal manufacturer shows an ordinary family sitting down to breakfast and enjoying their product.
SNOB APPEAL
The suggestion that the use of the product makes the customer part of an elite group with a luxurious and glamorous life style e.g. a coffee manufacturer shows people dressed in formal gowns and tuxedos drinking their brand at an art gallery.
BRIBERY
Bribery seems to give a desirable extra something. We humans tend to be greedy. e.g. Buy a burger; get free fries.
TESTIMONIAL
A famous personality is used to endorse the product e.g. a famous basketball player (Michael Jordan) recommends a particular brand of skates.
WIT AND HUMOR
Customers are attracted to products that divert the audience by giving viewers a reason to laugh or to be entertained by clever use of visuals or language.
SIMPLE SOLUTIONS
Avoid complexities, and attack many problems to one solutions. e.g. Buy this makeup and you will be attractive, popular, and happy.
CARD STACKING
The propaganda technique of Card-Stacking is so widespread that we may not always be aware of its presence in a commercial. Basically, Card-Stacking means stacking the cards in favor of the product; advertisers stress is positive qualities and ignore negative. For example, if a brand of snack food is loaded with sugar (and calories), the commercial may boast that the product is low in fat, which implies that it is also low in calories. Card-Stacking is such a prevalent rational propaganda technique that gives us only part of the picture.
GLITTERING GENERALITIES
The glittering generalities technique uses appealing words and images to sell the product. The message this commercial gives, through indirectly, is that if you buy the item, you will be using a wonderful product, and it will change your life. This cosmetic will make you look younger, this car will give you status, this magazine will make you a leader-all these commercials are using Glittering Generalities to enhance product appeal.
BANDWAGON
Bandwagon is a form of propaganda that exploits the desire of most people to join the crowd or be on the winning side, and avoid winding up the losing side. Few of us would want to wear nerdy cloths, smell differently from everyone else, or be unpopular.
The popularity of a product is important to many people. Even if most of us say we make out own choice when buying something we often choose well-advertised items- the popular ones. Advertising copywriters must be careful with the bandwagon propaganda technique because most of us see ourselves as individuals who think for themselves. If Bandwagon commercial is to obvious, viewers may reject the product outright.
Sunday, August 22, 2010
1st Essay
Each of you wrote an academic essay in class. Congratulations on your first high school essay. On Friday I asked the class to have it posted on their blogs by Sunday night. I will be giving pass fail credit for a homework assignment. I will not be grading them; I just want to make sure you did them.
Don’t forget to bring your materials to school on Monday to finish your advertisement.
Don’t forget to bring your materials to school on Monday to finish your advertisement.
Wednesday, August 18, 2010
A Poem I like
Our deepest fear is not that we are inadequate.
Our deepest fear is that we are powerful beyond measure.
It is our light not our darkness that most frightens us.
We ask ourselves, who am I to be brilliant, gorgeous,
talented and fabulous?
Actually, who are you not to be?
Your playing small does not serve the world.
There's nothing enlightened about shrinking so that other
people won't feel insecure around you.
We were born to make manifest the glory that is within us.
It's not just in some of us; it's in everyone.
And as we let our own light shine,
we unconsciously give other people
permission to do the same.
As we are liberated from our own fear,
Our presence automatically liberates others
—Marianne Williamson
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