Admission Essay Writing Help, Ideas, Topics, Examples

Admission Essay Writing Help, Ideas, Topics, Examples But, when it comes to writing down a short essay, you need to be very clear with your points. It is crucial to write down the information in a compact manner. Essays might be used as arguments, favour or criticism, daily life-based observations, etc. Formal essays deal with topics related to serious purposes, dignity, organization, etc. Informal essays are defined by self-revelation, humour, graceful style, etc. The guidelines for writing short length essays are almost similar to that of writing a normal long essay. Essays can be written long, fully expressing your thoughts on a topic. Let’s now discuss the Guidelines on Writing Short Essays. A short length essay means essay which is written in short. If you have an issue deciding the topic of your essay, then just prepare an outline of all the topics which you have, and it will help you to find out the best topic. If you already have a topic, then you need to prepare an outline for its content. I could’ve just said that my was 2500 words and she would’ve never known the difference. I don’t understand why I’m being punished for being honest. Is this really something that’s worth complaining about? The important issue is to write the best essay you can, not the length of words. If you’re focus in only on the words and not what you’ve written, your writing is never going to be good. To take easy reading to the next level, try using sub-headers every paragraph to three paragraphs. This is applicable to blogs and web pages, and to a certain extent, in academic writing. I look at the header, and then I scan the sub-heads to get an idea of the writer’s approach to the subject. If it looks like fluff, I kill the page and move on. I got marks off for not writing an essay with exactly 2500 words. That’s completely ridiculous but my teacher refuse to reinstate the point she took off because she said 2500 words and not 2498 words. As a humanities student, I know what it’s like to struggle with the daunting task of writing a 500-word essay. You don’t know where to start, your thesis is nonexistent, you’re dreading the inevitable late-night ahead, and you’re struggling just to turn thoughts into words. My teacher told me that I needed to write an essay that had 2500 words. Focus on what’s important, not on things like this. Since there can be a large variation on the number of words needed to fill a page, most papers are no longer assigned by page count. But if the sub-headers are interesting, and seem to tell me there’s something worth learning, I’ll read the whole piece. The most common format required for essays is double-spaced, font type Times New Roman, and font size 12pt. With that in mind,1,000 typed words is about four pages.The average person types40 words per minute, so it would take about 30 minutes to finish 1,000 words of writing. Put some virtual blinders on and write your little heart out. Correcting an existing essay is MUCH easier than writing a perfect essay from the gecko. The last sentence of the conclusion part should satisfy the reader. The reader should be satisfied with what he read in the first place in the introduction. The topics of your short essays should be very catchy.

Do Video Games Contribute to Violence Among the Youth - Free Essay Example

There are quite a few contributing factors that are considered when looking at childhood aggression. The main factors surround media violence. Violent media depicts intentional attempts by individuals to inflict harm on others. An individual can be a nonhuman cartoon character, a real person, or anything in between (EFFECTS ON VIOLENT VIDEO GAMES). Forms of violent media are video games. Violence in games has been an ongoing social issue in our time. Grand Theft Auto, Call of Duty, and other well-known games have been negatively impacting the youth. Studies have supported the effects being left on children and adolescents who interact with these games. It can change mind functioning which can lead to reckless behavior and contribute to aggression. American Psychological Association argues that video games cannot cause behavior problems and that there is insufficient evidence supporting the link that extends to criminal violence or delinquency (APA CITE).With supported evidence, it will be shown that video games does contribute to violence among the youth. As video games become more popular, society spends more time engaging in these games. Grand Theft Auto grants players the ability to kill, solicit, and steal. In the games, players are reward to carry out these actions. In Call of Duty, players are rewarded for killing others. These players also acquire extensive knowledge on guns and ammunition. Iowa State Universitys study on rewarding such behaviors believe that people who play video games that reward violence show higher levels of aggressive behavior and aggressive cognition. Reward game violence might also yield more positive attitudes toward and beliefs about using aggression to resolve real-world conflicts (REWARDING ARTICLE). Playing games in excess can encourage kids and teens to act out in a violent and aggressive manner. In games where the only objective is killing, they can be trained to handle situations aggressively. It alters their cognitive thinking and if done long enough, becomes embedded into their subconcious. Repeatedly playing these games also aid in their desensitization to real life situations, as well. A study defined video games as a reduction of emotion-related physiological reactivity to real violence (DESENSITIZATION ARTICLE). Games like those stated previously contain blood, explosives, screaming, and corpses. This type of exposure can cause this desensitization. This study helped support that video games desensitize its players which makes them more likely to commit a violent act. Playing too much might convince the audience that violence is enjoyable. Kids and teens could view this type of violence as a form of entertainment which can be displayed in their daily lives. Karen Sternheimers research study after the Columbine shooting was administered to see if school shooters were playing a game called Doom excessively. Her results showed that the students that carried out the fatal shooting were habitual players of violent video games (KAREN S. ARTICLE). This study helped strengthen the link between the video games and the desensitization to real-world issues that we carry over into our daily lives. The video game, Doom, was licensed by the United States military to have their own versions called Marine Doom and Americas Army as a recruitment tool to train soldiers (Reagan). The game is a first-person shooter that consists of a team of four soldiers that have to carry out a rescue mission and destroy enemies. This game is still used in our present day in some a reas to help soldiers train. Habitual playing of these games for an adolescent or child would have a negative outcome which is shown in Sternheimers study.   Playing in abundance can negatively affect social behaviors in three ways. First, children lack empathy. They are unable to comprehend and understand another persons feelings. Second, they lack the ability to interact. Video games can be viewed as protection from the outside world. It reduces their opportunities to go out and interact. With video games being highly addicting, it makes it difficult to practice developing good interpersonal skills. In these games where your importance is defined by ranking or leaderboard placement, it becomes hard to apply that to your real life which is why children sometimes struggle. Lastly, they struggle with dealing with conflict. Due to the fact that aggressive and violent behaviors are rewarded in video games, kids might find themselves exhibiting that behavior as their first form of conflict management. The study by effect on behavior_ shows us that childrens cognitive thinking is altered which causes them to lack in these areas. Children also suffer with health issues from excessive play. Sleep deprivation and addiction are common issues among kids that play video games. Psychology Today refers to this as wired and tired. Two main factors for the sleep deprivation when playing are unnatural brightness of the screen and electromagnetic radiation (EMR). The intense brightness disturbs circadian rhythms and also does damage to the eyes. The level of EMR in the electronic devices disrupt the bodys melatonin release (Dunckley, Wired and tired). Addiction is a common result of habitual play with children. Time and effort is constantly invested in these games which cause these kids to become addicted. Aggressive behavior, poor social skills, and many others are negative results of excessive video gaming. These games reward kids for carrying out violent acts which cause kids to be more aggressive in their lives. It also desensitizes children and increases their chances of creating violent acts. With these games as forms of entertainment, kids view violence as enjoyable. Such views pose as a problem when it is carried over into the real world. Video games have been viewed as a contributing factor to school shootings. It also contributes to social and health issues among the youth. Kids are not able to develop interpersonal relationships due to addiction to these games and lack of time with others in real-life. Evidence supports that video games do contribute to violence among the youth.

Premier of Ontario Contact Information

Email Form Email Addresspremierontario.ca Mailing AddressThe Honourable Kathleen WynnePremier of OntarioLegislative Building, Queens ParkToronto, OntarioCanada M7A 1A1 Phone Number(416) 325-1941

The World War Was A Global War - 2537 Words

The Second World War was a global war that lasted from September 1st 1939 to May 8th 1945. The Second World War was the most destructive and controversial wars in history and involved more than 100 million people, over 30 countries. The war involved the vast majority of the world’s nations including the Great Powers which eventually formed into opposing military alliances: the Allied Powers consisting of Germany, Italy and Japan and the Axis Powers consisting of Russia, Britain and France. In many respects the Second World War was believed to be Hitler’s war, after the invasion of Poland using the Blitzkrieg (lightning war) tactics in 1939. However, this early success came to an end when Nazi Germany and its Allies fought the Soviet†¦show more content†¦The birth of the Blitzkrieg, meaning lightning war was a term used to describe the fast passed surprise attacks of the German Army during World War Two. The Blitzkrieg military tactic was intended to create psychological shock and subsequent inefficiency in the enemy forces. This tactic was victorious for more than two years through the employment of surprise, speed and superiority in materiel of firepower. In a reliable primary source, British army officer, military historian and strategist, Major General Fuller stated, â€Å"Speed, and still more speed, and always speed was the secret†¦and that demanded audacity, more audacity and always audacity.† (Kaplan, 2015, page 38). This proves that Nazi Germany’s success using the tactic at the beginning of the Second World War was largely due to that fact that it was the only country that had effectively linked its forces with radio communications. Together with the use of movement, shock and locally concentrated firepower, Germany skillfully corresponded attacks that paralysed the opponents capacity to organise defenders, rather than attempting to physically overcome them allowing the opponents to disturb the system of administration and communications. The Blitzkrieg tactics, disrupted the main enemy’s battle position at the Schwerpunkt (strategy

Society the Film Portrays Essay Example For Students

Society the Film Portrays Essay In this study I will make specific references to Ken Loachs 2002 film Sweet Sixteen, which holds significance in relation to the censorship debate and especially the Censors attitudes towards strong language. Film censorship in any country or context is a multifaceted debate, which when looked at in detail, is as much to do with psychology and politics, as it is the art of film making itself. And if set against the continuingly shifting attitudes and beliefs of our diverse society, the issue of censorship and indeed the modernisation of it, is extremely complex. Therefore, to provide a context for my study to be based within, I will explore the comparisons of both domestic and international censorship and look at the progression of censorship historically. Sweet Sixteen is a powerful drama documentary film with a socialist agenda, which essentially documents the struggle caused by unemployment, deprivation, depression and a black economy of drug dealing in the town of Greenock. The film centres on a local boy approaching his 16th birthday, and seemingly holds immense relevance to other youths of that age bracket in similar situations. Thus, an unfortunate irony is apparent as the British Board of Film Classification (BBFC) certified Sweet Sixteen as an 18 purely based on the strong language within the text, and so 15, 16, 17 year olds are required by law not to view the film. In effect the censors are telling the youths the film portrays, who have no presence in any form of mainstream media that their company is so harmful that they have to be put in the same bracket as pornographers just because of the way they speak. The case put forward by the BBFC focuses on the frequency of the word fuck and the aggressive use of the word cunt. According to the BBFCs 15 rating guidelines There may be frequent use of strong language; the strongest terms (eg cunt) are only rarely acceptable. And Continued aggressive use of strong language and sexual abuse is unacceptable. Although these are guidelines they do pay little attention to one of the most important factors to do with spoken language, context. Loachs films have always had a very grainy documentary style to them and the actors, although aware of the story line up to the specific scene they are acting, are improvising, so to enhance the realism of the film. Therefore, the strong language used by the actors is purely coincidental to the situations intensity, as it would be in real life. The vast majority of swearing in this sense is used for rhythm or just to stress a sentence out, and thus does not constitute aggressive use. However, there is one scene in the film where the main protagonists Liam step father Stan gives Liam a 7 second beating, during which the f word is used 12 times and the c word is used twice. There is no denial that the language in this scene is used aggressively, but this is the one and only scene in the film that can be criticised for such aggressive use, and I believe the BBFC is going to far in saying that such a scene is going to corrupt 15, 16 and 17 year olds. Especially when such age groups can witness extreme violence where mutilation is commonplace documented in such films as Black Hawk Down where no warning is given about the violence, never mind the poisonous re-writing of Somali history. The BBFC definitely have an issue with their continuity of guidelines and which specific issues are more harmful to children. The censors ignore that this is the way the vast majority of teenagers speak, and especially youths in poorer areas of West coast Scotland such as Greenock. And so, to not have these actors, who were all from the Glasgow area, not speak as they would in the contexts of the film, would be an injustice to the true representation of such characters. .uee068b94c449ab53dd930b1ee3d122ca , .uee068b94c449ab53dd930b1ee3d122ca .postImageUrl , .uee068b94c449ab53dd930b1ee3d122ca .centered-text-area { min-height: 80px; position: relative; } .uee068b94c449ab53dd930b1ee3d122ca , .uee068b94c449ab53dd930b1ee3d122ca:hover , .uee068b94c449ab53dd930b1ee3d122ca:visited , .uee068b94c449ab53dd930b1ee3d122ca:active { border:0!important; } .uee068b94c449ab53dd930b1ee3d122ca .clearfix:after { content: ""; display: table; clear: both; } .uee068b94c449ab53dd930b1ee3d122ca { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uee068b94c449ab53dd930b1ee3d122ca:active , .uee068b94c449ab53dd930b1ee3d122ca:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uee068b94c449ab53dd930b1ee3d122ca .centered-text-area { width: 100%; position: relative ; } .uee068b94c449ab53dd930b1ee3d122ca .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uee068b94c449ab53dd930b1ee3d122ca .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uee068b94c449ab53dd930b1ee3d122ca .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uee068b94c449ab53dd930b1ee3d122ca:hover .ctaButton { background-color: #34495E!important; } .uee068b94c449ab53dd930b1ee3d122ca .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uee068b94c449ab53dd930b1ee3d122ca .uee068b94c449ab53dd930b1ee3d122ca-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uee068b94c449ab53dd930b1ee3d122ca:after { content: ""; display: block; clear: both; } READ: The way in which Shakespeare dramatizes the prejudices of his own society in the court scene of The Merchant of Venice EssayPaul Laverty the writer of Sweet Sixteen had previously visited many schools, childrens homes and secure units for teenagers, so to research exactly how to represent his characters. In Lavertys introduction to his published screenplay (4/9/02) he recounts a letter persuading the BBFC to change their classification of the film to a 15, in which he states he found many of the subjects of research had seen his and Loachs previous films, namely My Name is Joe, and enjoyed them because of the similarity they presented to the youths own experiences. They recognised their own world reflected back at them via the story and the dilemma of the characters, principally because of the language we used Laverty. Surely this means there has been an injustice to the society being portrayed, as similar teens that had so enjoyed previous films that reflected the society they are familiar with, are not allowed to view this film about 15 to 16 year olds. Paul Laverty, Ken Loach and the executive producer Michelle Poter claim class prejudice suffuses the BBFCs guidelines and the decision to classify Sweet Sixteen an 18. Although to an extent bias, echoing Laverty and Loachs personal socialist views, it does seem to be somewhat correct. Four Weddings and a Funeral which depicts the higher classes and is also expletive rich, holds a rating of 15. Although the characters dont use swear words in the intonation of their speech as with Sweet Sixteen, strong language is used aggressively when the characters are angry. There are obviously far fewer swear words all together in Four Weddings and a Funeral, however, this is simply because the characters being represented do not talk like those in Sweet Sixteen as they have different class backgrounds. In effect the BBFC are promoting a film representing the higher classes as more acceptable for a larger age group to view, thus in relation to strong language, they are holding an elitist view that Standard English is more acceptable than a North West Scotland youth dialect. In terms of language this is a prescriptive perspective on language, meaning that the censors take a view of right and wrong language, or in relevant censorship terms, non-harmful and harmful language, instead of taking into account the context and identity attached to a certain dialect. However, the BBFC is probably at its most liberal at present due to arrange of factors including changing moral standards, increased audience understanding in terms of media analysis, and probably most importantly the internet. The BBFC has certainly changed in relation to its values since being set up in 1912 as the British Board of Film Censors rather than classification. Cinemas were licensed by local authorities and films were classified as suitable for everyone or adults only. Middle ground was introduced in the 20s, recognising that there were some films that children could see under the supervision of parents, however, a lot of films were simply banned instead of classified, usually on moral, blasphemous or political grounds fear of revolution led to banning of Battleship Potemkin (1926) because of its pro-communist slant. In the 70s, the 18 rating was introduced and AA was introduced for 14 plus only. Although class prejudice, morality and political censorships were still enforced by the ruling class, institutions like the Greater London Council (GLC) and the BBC both recognised the changes that had, in reality, been in the air since the mid 1960s, by conducting surveys into public attitudes to censorship and the depiction of sex and violence on film and television. In the 80s the framework became U, PG, 12, 15 and 18 and was also applicable to video retail and rental. In 1982 the Board changed its name from Censors to Classification to acknowledge the fact that, in the vast majority of cases, their role was not to prevent exhibition of films, but to control the audience. Before the 1909 Act, censorship was voluntary in the sense that filmmakers wanted their new medium to be established as a respectable art form. .uee08f5ea0146c0255cf2d6232319d9ef , .uee08f5ea0146c0255cf2d6232319d9ef .postImageUrl , .uee08f5ea0146c0255cf2d6232319d9ef .centered-text-area { min-height: 80px; position: relative; } .uee08f5ea0146c0255cf2d6232319d9ef , .uee08f5ea0146c0255cf2d6232319d9ef:hover , .uee08f5ea0146c0255cf2d6232319d9ef:visited , .uee08f5ea0146c0255cf2d6232319d9ef:active { border:0!important; } .uee08f5ea0146c0255cf2d6232319d9ef .clearfix:after { content: ""; display: table; clear: both; } .uee08f5ea0146c0255cf2d6232319d9ef { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uee08f5ea0146c0255cf2d6232319d9ef:active , .uee08f5ea0146c0255cf2d6232319d9ef:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uee08f5ea0146c0255cf2d6232319d9ef .centered-text-area { width: 100%; position: relative ; } .uee08f5ea0146c0255cf2d6232319d9ef .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uee08f5ea0146c0255cf2d6232319d9ef .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uee08f5ea0146c0255cf2d6232319d9ef .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uee08f5ea0146c0255cf2d6232319d9ef:hover .ctaButton { background-color: #34495E!important; } .uee08f5ea0146c0255cf2d6232319d9ef .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uee08f5ea0146c0255cf2d6232319d9ef .uee08f5ea0146c0255cf2d6232319d9ef-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uee08f5ea0146c0255cf2d6232319d9ef:after { content: ""; display: block; clear: both; } READ: The Crime Film EssayThe Act led to the establishment of the BBFC and then films were either cut or banned fairly frequently when they were deemed unsuitable for the public. This notion of unsuitability has since been fiercely contested as it suggests a very passive and easily influenced public who have decisions made for them as to what is suitable. Examining the discourses of censorship seems to indicate lot about its functions. The following are all quotes from either censors or other groups, ranging from the 50s to recent years: The Exorcist (1973): the most shocking sick-making and soul-destroying work ever to emerge from filmland The Daily Mail.  The Wild One (1954): the police were shown as weak characters and the teenagers did not get the punishment they deserve the BBFC.  Straw Dogs (1971): if anyone tries to re-enact this, god help Britain.- The Sunday Times.  Crash (1996): this film is about sexual autoeroticism a movie beyond the bounds of depravity The Evening Standard. All these quotes hold recurring connotations of a passive audience who do not have the textual understanding to view these films as art or a personal perspective of art. They show how in the past the press have referred to taboo films in a Hollywood style, using sensationalist terms like soul-destroying, god help Britain and beyond the bounds of depravity, which is very ironic. The BBFCs comments assume that because The Wild One does not reflect a morally sound system, youths will be influenced into re-enacting crimes shown on the cinema screen.  However, more recently the press and the BBFC have modernised their opinions and therefore their discourse, to account for the increasingly media aware audience that transcends our society.

Twelfth Night - Analysis Of Fools Essays (1272 words) -

Twelfth Night - Analysis Of Fools Twelfth Night - Analysis of Fools A fool can be defined in many meanings according to the Oxford English Dictionary On Historical Principles. The word could mean a silly person, or one who professionally counterfeits folly for the entertainment of others, a jester, clown or one who has little or no reason or intellect or one who is made to appear to be a fool (word originated from North Frisian). In english literature, the two main ways which the fool could enter imaginative literature is that He could provide a topic, a theme for mediation, or he could turn into a stock character on the stage, a stylized comic figure. In William Shakespeare's comedy, Twelfth Night, Feste the clown is not the only fool who is subject to foolery. He and many other characters combine their silly acts and wits to invade other characters that evade reality or rather realize a dream, while our sympathies go out to those. It is natural that the fool should be a prominent & attractive figure and make an important contribution to the action in forming the confusion and the humor in an Elizabethan drama. In Twelfth Night, the clown and the fools are the ones who combine humor & wit to make the comedy work. Clowns, jesters, and Buffoons are usually regarded as fools. Their differences could be of how they dress, act or portrayed in society. A clown for example, was understood to be a country bumpkin or 'cloun'. In Elizabethan usage, the word 'clown' is ambiguous meaning both countryman and principal comedian. Another meaning given to it in the 1600 is a fool or jester. As for a buffoon, it is defined as a man whose profession is to make low jests and antics postures; a clown, jester, fool. The buffoon is a fool because although he exploits his own weaknesses instead of being exploited by others....he resembles other comic fools. This is similar to the definition of a 'Jester' who is also known as a buffoon, or a merry andrew. One maintained in a prince's court or nobleman's household. As you can see, the buffoon, jester and the clown are all depicted as fools and are related & tied to each other in some sort of way. They relatively have the same objectives in their roles but in appearance wise (clothes, physical features) they may be different. In Shakespeare's Twelfth Night, Feste's role in this Illyrian comedy is significant because Illyria is a country permeated with the spirit of the Feast of Fools, where identities are confused, 'uncivil rule' applauded...and no harm is done. In Illyria therefore the fool is not so much a critic of his environment as a ringleader, a merry-companion, a Lord of Misrule. Being equally welcome above and below stairs.. makes Feste significant as a character. In Twelfth Night, Feste plays the role of a humble clown employed by Olivia's father playing the licensed fool of their household. We learn this in Olivia's statement stating that Feste is an allowed fool(I.v.93) meaning he is licensed, privileged critic to speak the truth of the people around him. We also learn in a statement by Curio to the Duke that Feste is employed by Olivia's father. Feste the jester... a fool that the Lady Olivia's father took much pleasure in(II.iv.11). Feste is more of the comic truth of the comedy. Although he does not make any profound remarks, he seems to be the wisest person within all the characters in the comedy. Viola remarks this by saying This fellow's wise enough to play the fool(III.i.61). Since Feste is a licensed fool, his main role in Twelfth Night is to speak the truth. This is where the humor lies, his truthfulness. In one example he proves Olivia to be a true fool by asking her what she was mourning about. The point Feste tried to make was why was Olivia mourning for a person who's soul is in heaven? CLOWN Good madonna, why mourn'st thou? OLIVIA Good Fool, for my brother's death. CLOWN I think his soul is in hell, madonna. OLIVIA I know his soul is in heaven, fool. CLOWN The more fool, madonna, to mourn for your brother's soul, being in heaven. Take away the fool, gentlemen. Adding to the humor of the comedy, Feste, dresses up as Sir Topaz, the curate and visits the imprisoned Malvolio with Maria and Sir Toby. There he uses his humor to abuse Malvolio who is still unaware that he is actually talking to the clown than

Farai Chideya essays

Farai Chideya essays Farai Chideya has accomplished many things at 28 years old that many journalists can only hope to achieve. She began her career as an intern at Newsweek while studying at Harvard. After her graduation, she was hired at Newsweek as a reporter and stayed on from 1990-1994. Chideya covered news in Newsweek's New York and Chicago bureaus, as well as in the Washington bureau, where she covered national politics, from an article titled "Skewering Congressional Pork," to following President Clinton as a pool reporter on Air Force One. Soon afterward, Chideya made her transition to newswriting at MTV from 1994-1996. During this short period of time, Chideya also completed a fellowship at the Freedom Forum Media Studies Center, examining why young Americans are tuning out the news. She published a book in 1995 called Don't Believe the Hype: Cultural Misinformation About African-Americans, which is now in its eigth printing. Using statistics largely from government sources, she attempted to undercut the argument that African-Americans are at the roots of problems such as crime, welfare and drugs. Chideya spent time as a CNN Political Analyst during the 1996 presidential campaign. It was at this time that she was named to the New York Daily News' "Dream Team" of political reporters and commentators. She appeared on programming such as "TalkBack Live" and "CNN She saw the publishing of her new book, The Color of our Future: How the Nation's Most Diverse Generation is Reshaping American Culture., in 1997. That was also the year that she began her two current positions as an ABC News Correspondent and Editor of National Affairs at VIBE magazine. During same period, Newsweek named her to its "Century Club of 100 people to watch as we approach the year 2000." As a freelance journalist, she has wri...