Discuss Media Influences On Prosocial Behaviour Essay

Genius social practices are activities which intend to help other people. For instance, helping, sharing and thinking about others. It appears as if the media can positively affect people. It can have an impact on expert social conduct, and there are various clarifications which help us to see how the media does it. Being presented to expert social conduct is one manner by which the media can positively affect individuals. Basically, this clarification contends that when individuals are presented to star social conduct on TV and different wellsprings of the media, they at that point become affected by it. For instance, if a character in a TV program accomplishes something supportive, this clarification would contend that the individual, who is presented to this master social conduct, would be influenced by what they are seeing and this would then imply that they will duplicate that ace social conduct and furthermore become accommodating, in actuality. Greenberg did an investigation of well known children’s programs in the US and found that there were an identical number of expert social and reserved acts. This gives us that the media furnishes us with ace social acts and it additionally gives us that we are presented to these ace social practices despite the fact that now and again we may not know about it. Woodard completed an exploration which indicated that 77% of children’s programs in the US contained professional social messages. Along these lines, as per this clarification, anybody, who watches these children’s programs, would be presented to the genius social acts and afterward they would duplicate the star social acts and show them, in actuality, circumstances. In any case, having said that, this examination is ethnocentric as it was completed in the US. This implies we can't sum up the outcomes to the remainder of the populace as it is socially one-sided. For instance, in different pieces of the world, kids may just be presented to solitary conduct in TV programs but then they despite everything carry on in an expert social manner. This, hence, brings up the issue concerning whether the media can really positively affect people who are being presented to star social conduct it may very well be the person’s character that is making them show genius social practices instead of the media impacting that individual. One quality of this clarification is the reality it is reasonable to a degree. For instance, it appears to be reasonable that if a youngster is presented to expert social follows up on TV, they would then get affected by what they are seeing, and this would then lead them into duplicating that star social conduct. There has been a great deal situations where youngsters, who have watched projects, for example, Bob the manufacturer, have duplicated what they have found in these projects and afterward utilized what they have seen to support their loved ones to take care of an issue. Another quality of this clarification is the way that it can positively affect child rearing as this clarification can help guardians to comprehend that what their youngsters are watching can impact the manner by which they carry on. For instance, guardians may get careful about what their youngsters are viewing on TV-they may urge their kids to stare at the TV programs which contain all the more professional social acts and less reserved practices and this might imply that their kids may show all the more genius social practices later on life.

A Timeline of the Russian Revolution From 1914 to 1916

Terror Tales

Margaret Atwood Reveals Her Genre Kryptonite Horror/Terror Tales This post is part of our  Margaret Atwood Riot Reading Day, a celebration of one of our  favorite  authors on the occasion of the publication of her new novel, MaddAddam. Check out the full line-up here. We are thrilled to present this guest post by Margaret Atwood.  Atwood,  whose work has been published in thirty-five countries, is the author of more than forty books of fiction, poetry, and critical essays. In addition to The Handmaids Tale, her novels include Cats Eye, short-listed for the Booker Prize; Alias Grace, which won the Giller Prize in Canada and the Premio Mondello in Italy; The Blind Assassin, winner of the 2000 Booker Prize; Oryx and Crake, short-listed for the 2003 Man Booker Prize; The Year of the Flood; and her most recent, MaddAddam. She is the recipient of the Los Angeles Times Innovators Award, and lives in Toronto with the writer Graeme Gibson. Follow her on  Twitter @margaretatwood. _________________________ I was sitting around with some family members discussing “horror” and “terror” over the blueberry pie, when I   gave it as my opinion that “horror” had to do with the body and “terror” with the mind. A spirited discussion took place in which these views were challenged, and I realized I hadn’t articulated my position clearly enough. Off I went to one of the earliest specialists in horror/terror writing, Ann Radcliffe. She was the author of The Italian, the early Gothic novel that so delighted the young heroine of Jane Austen’s Northanger Abbey. Radcliffe felt that “terror” had a degree of “obscurity and indeterminacy” that contributed to its “sublime” potential, but that “horror,” being unambiguous, lacked this quality. Terror is the fear of something dreadful yet to come. Horror, on the other hand, has a bowl-of-eyeballs yuck factor. That must have been what I meant by my mind/body distinction. This is a long preface to the announcement that I’ve just reviewed Stephen King’s forthcoming novel, Doctor Sleep, for the New York Times Book Review. This is a questionable thing to do, in that it will be questioned: I anticipate a chorus of disgruntled harrumphs from both sides of the literary pond. From those who think that “literary” authors should stick to their ivory towers and not frolic in the third-class swimming pool, a curl of the lip: why am I slumming? And from those who feel that “genres” are their own private carnival, annoyance that I am sneaking under the fence: what do “literary” writers know about such specialized “genre” wordfeats, anyway? Quite a lot, as it turns out. Horror/terror tales are rooted in folktales, of which I was an avid reader since the age of seven. (My parents sent away for the collected Grimms’, not realizing that this edition was complete and unexpurgated: no red-hot eyeballs or decomposing corpses were omitted.) To add to that, the complete Edgar Allan Poe was in the primary school library â€" those were the days in which only the presence or absence of Sex determined what was suitable for children â€" so I was no stranger to tell-tale hearts, teeth ripped out of semi-corpses, dead women coming back to life through other dead women, and so forth. Add to this the fact that the Comics Code Authority didn’t impose its rules until 1954 â€" a little too late for me. These rules included the prohibition of the words “horror” and “terror” on the covers, and of “depravity, lust, sadism,” gruesome pictures, the walking dead, torture, vampires, ghouls, cannibalism and werewolves. Indeed, none such appeared in the comparatively wholesome pages of Captain Marvel, Superman, or Batman. But the rules applied only to color comics, and the outlawed motifs flourished unchecked in the black-and-whites that a young person such as myself could purchase at the corner drugstore, read after lights-out, and then deposit under the bed of an older brother because the things were just too horrifying to store in one’s own room. I was therefore well-prepared to run my little sister’s Hallowe’en-themed birthday parties. Having decorated the cake with pumpkins and bats, I painted my face green, shone a flashlight under my chin, gathered the quivering little party-goers under the diningâ€"room table, and fed them a regurgitated mash of the above-mentioned materials. These parties were very popular, but there are a number of traumatized sixty-two year olds still walking the planet. Such experiences equipped me for my later academic study of the eighteenth-century, nineteenth-century, and early twentieth-century Gothic, including the well-known classics, Frankenstein and Dracula, but also more “literary” ghost-and-weirdness tales such as those of Bulwer Lytton, Charles Dickens, Henry James, R.L. Stevenson, and M.R. James. Name your present-day horror trope: each has a long genealogy. It also seems to be a general rule that this year’s despised pop shocker may well furnish the next decade’s serious thesis material. What is Beowulf â€" what is Inanna’s descent to the Underworld â€" what is the dismemberment of Osiris, not to mention Shakespeare’s Titus Andronicus â€" but horror/terror shock material of a former age? Yes, some of it was “religious” in intent   It would be, wouldn’t it, as the membrane separating gods and monsters is notoriously thin. So no harrumphing about my interest in the form, please. Horror/terror and “literature” are not mutually exclusive. In fact, tales of this kind may be among the most “literary” that there are, being both very ancient, and â€" unlike, say, social realism, in which a real tour of a real meat-packing factory may be involved â€" derived entirely from other tales. (Hint: there aren’t really any Walking Dead. Sorry. Sad, but true. Therefore all such monsters are metaphors.) But, you may ask, why do we like this stuff? Ah. That’s another question. Come under the dining room table with me, my dears, and I will answer it. Bring your flashlights. _________________________ Sign up for our newsletter to have the best of Book Riot delivered straight to your inbox every two weeks. No spam. We promise. To keep up with Book Riot on a daily basis, follow us on Twitter, like us on Facebook, , and subscribe to the Book Riot podcast in iTunes or via RSS. So much bookish goodnessall day, every day.

Terror Tales

Margaret Atwood Reveals Her Genre Kryptonite Horror/Terror Tales This post is part of our  Margaret Atwood Riot Reading Day, a celebration of one of our  favorite  authors on the occasion of the publication of her new novel, MaddAddam. Check out the full line-up here. We are thrilled to present this guest post by Margaret Atwood.  Atwood,  whose work has been published in thirty-five countries, is the author of more than forty books of fiction, poetry, and critical essays. In addition to The Handmaids Tale, her novels include Cats Eye, short-listed for the Booker Prize; Alias Grace, which won the Giller Prize in Canada and the Premio Mondello in Italy; The Blind Assassin, winner of the 2000 Booker Prize; Oryx and Crake, short-listed for the 2003 Man Booker Prize; The Year of the Flood; and her most recent, MaddAddam. She is the recipient of the Los Angeles Times Innovators Award, and lives in Toronto with the writer Graeme Gibson. Follow her on  Twitter @margaretatwood. _________________________ I was sitting around with some family members discussing “horror” and “terror” over the blueberry pie, when I   gave it as my opinion that “horror” had to do with the body and “terror” with the mind. A spirited discussion took place in which these views were challenged, and I realized I hadn’t articulated my position clearly enough. Off I went to one of the earliest specialists in horror/terror writing, Ann Radcliffe. She was the author of The Italian, the early Gothic novel that so delighted the young heroine of Jane Austen’s Northanger Abbey. Radcliffe felt that “terror” had a degree of “obscurity and indeterminacy” that contributed to its “sublime” potential, but that “horror,” being unambiguous, lacked this quality. Terror is the fear of something dreadful yet to come. Horror, on the other hand, has a bowl-of-eyeballs yuck factor. That must have been what I meant by my mind/body distinction. This is a long preface to the announcement that I’ve just reviewed Stephen King’s forthcoming novel, Doctor Sleep, for the New York Times Book Review. This is a questionable thing to do, in that it will be questioned: I anticipate a chorus of disgruntled harrumphs from both sides of the literary pond. From those who think that “literary” authors should stick to their ivory towers and not frolic in the third-class swimming pool, a curl of the lip: why am I slumming? And from those who feel that “genres” are their own private carnival, annoyance that I am sneaking under the fence: what do “literary” writers know about such specialized “genre” wordfeats, anyway? Quite a lot, as it turns out. Horror/terror tales are rooted in folktales, of which I was an avid reader since the age of seven. (My parents sent away for the collected Grimms’, not realizing that this edition was complete and unexpurgated: no red-hot eyeballs or decomposing corpses were omitted.) To add to that, the complete Edgar Allan Poe was in the primary school library â€" those were the days in which only the presence or absence of Sex determined what was suitable for children â€" so I was no stranger to tell-tale hearts, teeth ripped out of semi-corpses, dead women coming back to life through other dead women, and so forth. Add to this the fact that the Comics Code Authority didn’t impose its rules until 1954 â€" a little too late for me. These rules included the prohibition of the words “horror” and “terror” on the covers, and of “depravity, lust, sadism,” gruesome pictures, the walking dead, torture, vampires, ghouls, cannibalism and werewolves. Indeed, none such appeared in the comparatively wholesome pages of Captain Marvel, Superman, or Batman. But the rules applied only to color comics, and the outlawed motifs flourished unchecked in the black-and-whites that a young person such as myself could purchase at the corner drugstore, read after lights-out, and then deposit under the bed of an older brother because the things were just too horrifying to store in one’s own room. I was therefore well-prepared to run my little sister’s Hallowe’en-themed birthday parties. Having decorated the cake with pumpkins and bats, I painted my face green, shone a flashlight under my chin, gathered the quivering little party-goers under the diningâ€"room table, and fed them a regurgitated mash of the above-mentioned materials. These parties were very popular, but there are a number of traumatized sixty-two year olds still walking the planet. Such experiences equipped me for my later academic study of the eighteenth-century, nineteenth-century, and early twentieth-century Gothic, including the well-known classics, Frankenstein and Dracula, but also more “literary” ghost-and-weirdness tales such as those of Bulwer Lytton, Charles Dickens, Henry James, R.L. Stevenson, and M.R. James. Name your present-day horror trope: each has a long genealogy. It also seems to be a general rule that this year’s despised pop shocker may well furnish the next decade’s serious thesis material. What is Beowulf â€" what is Inanna’s descent to the Underworld â€" what is the dismemberment of Osiris, not to mention Shakespeare’s Titus Andronicus â€" but horror/terror shock material of a former age? Yes, some of it was “religious” in intent   It would be, wouldn’t it, as the membrane separating gods and monsters is notoriously thin. So no harrumphing about my interest in the form, please. Horror/terror and “literature” are not mutually exclusive. In fact, tales of this kind may be among the most “literary” that there are, being both very ancient, and â€" unlike, say, social realism, in which a real tour of a real meat-packing factory may be involved â€" derived entirely from other tales. (Hint: there aren’t really any Walking Dead. Sorry. Sad, but true. Therefore all such monsters are metaphors.) But, you may ask, why do we like this stuff? Ah. That’s another question. Come under the dining room table with me, my dears, and I will answer it. Bring your flashlights. _________________________ Sign up for our newsletter to have the best of Book Riot delivered straight to your inbox every two weeks. No spam. We promise. To keep up with Book Riot on a daily basis, follow us on Twitter, like us on Facebook, , and subscribe to the Book Riot podcast in iTunes or via RSS. So much bookish goodnessall day, every day.

FAFSA Documents Youll Need to Fill Out the Form

For students entering college in the fall of 2016 or later, you can fill out the Free Application for Federal Student Aid (FAFSA) as early as October 1st. Applying early can improve your chances of getting scholarships and grant aid, for many schools use up their financial aid resources later in the admissions cycle. Filling out the FAFSA can be a frustrating process if you havent gathered together the information youll need. The department of education claims that the FAFSA forms can be completed in less than an hour. This is true only if you have all of the necessary documents at hand. To make this process as straightforward and efficient as possible, parents and students can do a little advanced planning. Heres what youll need: The first thing youll need before you can even begin filling out the FAFSA is a Federal Student Aid ID (you can get that here, and you can do it before the FAFSA is available). This username and password will give you access to your federal financial aid information throughout college and beyond.Your most recent federal income tax return. Note that as of 2016, you can use prior prior year tax forms. In other words, if youre applying for admission for the fall of 2017, you dont need to wait until you file your 2016 taxes, and you no longer need to estimate your current taxes. Instead, you can use your tax return from 2015.Your parents most recent income tax return if you are a dependent.  Most traditional aged college applicants are still dependents (learn more about dependent vs independent status). For both students and parents, you can greatly speed up the transfer of your tax return information using FAFSAs IRS Data Retrieval Tool. You can learn more about the tool here.Your cur rent bank statements including both checking and savings account balances. Youll also need to report any significant cash holdings.Your current investment records (if any) including real estate you own other than the house in which you live. Any stocks and bonds you own would go in this category.Records of any untaxed income you may have received. According to the FAFSA website, this can include child support received, interest income, non-education benefits for veterans.Your Drivers License (if you have one)Your Social Security NumberIf you are not a U.S. citizen: your alien registration or permanent resident cardFinally, its useful but not necessary to have a list of all the colleges to which you are likely to apply. FAFSA will automatically send financial aid information to up to 10 schools (and you can add more schools later). If you end up not applying to a school you list on the FAFSA, no harm done. You are not committing yourself to applying to the schools you list. FinAid.or g has a useful tool for finding the institutional codes youll need to use on the FAFSA: Title IV Institutional Codes. If you have all of the above information gathered before you sit down to fill out the FAFSA, youll find the process isnt that painful. Its also a remarkably important process--nearly all financial aid awards begin with the FAFSA. Even if you arent sure that youll qualify for any need-based financial aid, its worth submitting the FAFSA for some merit awards will also require the information. Third-party scholarships are one of the few exceptions to the importance of the FAFSA. Since these are awarded by private foundations, companies, and organizations, they rarely have any connection to your federal eligibility requirements. Here at About.com, we maintain lists of some of these scholarship opportunities that weve organized by the month of the application deadline:   College Scholarships by Deadline Month:  January | February | March | April | May | June | July | August | September | October | November | December

What Is the Toulmin Model of Argument

The Toulmin model (or system) is a  six-part model of argument (with similarities to the syllogism) introduced by British philosopher Stephen Toulmin in his book The Uses of Argument (1958).   The Toulmin model (or system) can be used as a tool for developing, analyzing, and categorizing arguments. Observations What is it that makes arguments work? What makes arguments effective? The British logician Stephen Toulmin made important contributions to argument theory that are useful for this line of inquiry. Toulmin found six components of arguments:[T]he Toulmin model provides us with useful tools for analyzing the components of arguments.(J. Meany and K. Shuster, Art, Argument, and Advocacy. IDEA, 2002) Claim: A statement that something is so.Data: The backing for the claim.Warrant: The link between the claim and the grounds.Backing: Support for the warrant.Modality: The degree of certainty employed in offering the argument.Rebuttal: Exceptions to the initial claim.[Toulmins] general model of data leading to a claim, mediated by a warrant with any necessary backing, has been very influential as a new standard of logical thinking, particularly among scholars of rhetoric and speech communication.(C. W. Tindale, Rhetorical Argumentation. Sage, 2004) Using the Toulmin System Use the seven-part Toulmin system to begin to develop an argument . . .. Here is the Toulmin system: Make your claim.Restate or qualify your claim.Present good reasons to support your claim.Explain the underlying assumptions that connect your claim and your reasons. If an underlying assumption is controversial, provide backing for it.Provide additional grounds to support your claim.Acknowledge and respond to possible counterarguments.Draw a conclusion, stated as strongly as possible. (Lex Runciman, Carolyn Lengel, and Kate Silverstein,  Exercises to Accompany The Everyday Writer, 4th ed. Macmillan, 2009) The Toulmin Model and the Syllogism Toulmins model actually boils down to a rhetorical expansion of the syllogism . . .. Although the reactions of others are anticipated, the model is primarily directed at representing the argumentation for the standpoint of the speaker or writer who advances the argumentation. The other party remains in fact passive: The acceptability of the claim is not made dependent on a systematic weighing up of arguments for and against the claim.(F. H. van Eemeren and R. Grootendorst, A Systematic Theory of Argumentation. Cambridge University Press, 2004) Toulmin on the Toulmin Model When I wrote [The Uses of Argument], my aim was strictly philosophical: to criticize the assumption, made by most Anglo-American academic philosophers, that any significant argument can be put in formal terms . . ..In no way had I set out to expound a theory of rhetoric or argumentation: my concern was with twentieth-century epistemology, not informal logic. Still less had I in mind an analytical model like that which, among scholars of Communication, came to be called the Toulmin model.(Stephen Toulmin, The Uses of Argument, rev. ed. Cambridge Univ. Press, 2003)

Othello, By William Shakespeare - 1515 Words

Shakespeare’s Othello is seemingly about the blooming affection between a man and a woman. However, it is a love story gone wrong—or is portrayed as so by the author. In the historical context of Othello, which is set during the Turkish-Venetian war in the 16th century, it is essential to emphasize that Othello is the love story between Othello, the Moorish general, and Desdemona, the Venetian lady. This racial difference is most problematic to the eyes of the white Venetian society, allowing characters like Brabantio, Roderigo, and Iago to use this weakness against Othello. The hatred and jealousy, especially by Iago, is clearly illustrated through the language they use in referring to Othello. While Shakespeare uses characters like Iago†¦show more content†¦To Roderigo, a â€Å"lavicious Moor† should not deserve the â€Å"fair daughter† of Brabantio (1.1.127,136). In this statement, Roderigo first draws the invisible line of physical boundary th at Othello, being a black man, cannot surpass; Othello’s character is successfully established in the â€Å"Other† category because he is a visible minority. Then Roderigo, representative of the English at the time, viewed Othello as â€Å"contaminating and threatening† (6), instilling a need to save Desdemona from the black hands, and put her where she naturally belongs, with a white man, preferably himself. This fear of the exotic and lesser-known being is what drives the racism in this play. Then, throughout the play, Othello is alluded to as the â€Å"Moor† more often as opposed to his name, Othello, reminding the audience that he is physically and emotionally an outsider and a foreigner. Even Desdemona, who loves Othello for his mind says, â€Å"That I did love the Moor†¦Ã¢â‚¬  (1.3.248). Though she means no negativity in calling him a Moor, it still separates him in a certain boundary. Iago, on the other hand, is quite vulgar in language when expressing his feelings towards Othello. â€Å"I have told thee often, and I tell thee again, and again, I hate the Moor,† Iago says (1.3.364-5). Even Emilia, a servant in the Venetian society, refers to Othello as â€Å"dull Moor† (5.2.225) and â€Å"cruel Moor† (5.2.250), inserting a negative connotation to the word. Othello is a visible minority because he