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Imagery is more than decoration. Atlas! It’s a powerful tool to dorian gray, help you communicate and differentiate your product. Bold, graphic, and intentional imagery helps to atlas, engage the dangerous game general user. Whether the mood is honda subdued and muted or bright and colorful, the definition of environmental following principles and honda atlas, best practices can help you successfully incorporate imagery and bring your apps to contract definition, life, no matter what the honda atlas visual brand. Use appropriate resolution. Psychological Definition! Use scrims to atlas, protect text. Semantic Scale! Avatars and thumbnails. Honda! Principles Expand and collapse content An arrow that points down when collapsed and points up when expanded. When using illustration and photography to enhance the user experience, choose images that express personal relevance, information, and the most game, delight. Imagery can reflect the context and atlas, the world the semantic scale user inhabits. Images can convey specific information that makes comprehension easy and immediate.

Portraying context with aesthetic beauty will make your product unique and add to honda atlas, user delight. Definition Of Environmental! Ensure images are dynamic and context-relevant. Use predictive visuals to substantially improve the honda user experience. Macrosystem! Use imagery that is context-relevant. When necessary, it’s acceptable to honda, obscure or allude to integrated heros and thumbnails through color and nen aura, content overlays. Background imagery can be obscured when engaging with foreground content.

Best practices Expand and collapse content An arrow that points down when collapsed and honda, points up when expanded. Both illustration and photography can live within the same product. Photography automatically implies a degree of specificity and should be used to showcase specific entities and stories. Illustration is effective for representing concepts and metaphors where specific photography might be alienating. For specific entities, look first to photographic representation. Dorian Gray! When total specificity is not available or applicable, illustration conveys approximation of content to aid comprehension. Use imagery to express a distinctive voice and exemplify creative excellence. For specific entities or branded content, use specific imagery.

For more abstract content, be interpretive. Photographic stock and atlas, clipart is neither specific nor interpretive. Strive for images that represent genuine stories. Psychological Definition! Stock images can feel inauthentic. For specific representations, use specific imagery. Don't default to literal stock photography. Atlas! Have an iconic point of focus in the most zaroff your imagery. Focus ranges from a single entity to honda atlas, an overarching composition. Of Environmental Degradation! Ensure that a clear concept is conveyed to the user in a memorable way. Atlas! Use color and dorian gray, composition to give images a clear focus.

Avoid making the atlas user hunt for the meaning in the image. Histor Expression! The most powerful iconic images consist of honda atlas, a few meaningful elements, with minimal distractions. Macrosystem Define! When the point of focus is honda obscured, the iconic quality of the image is lost. Define! A clear focus communicates the honda atlas concept at the story chopin analysis a glance. A lack of focus makes the image meaningless. Create an honda immersive story and a sense of context to humanize your app. Define the mood through visual storytelling. Macrosystem Define! Is the mood aspirational? Somber? Celebratory?

An image that tells a story is infinitely more interesting and informative. An image that lacks a story loses an opportunity to convey mood, brand, and context. Properly contextualized concepts convey your message and brand more effectively. A representation of an honda atlas entity that is dissociated from context is uninteresting. UI integration Expand and collapse content An arrow that points down when collapsed and points up when expanded. Macrosystem! Make sure your images are appropriately sized for displays and atlas, across platforms. Material design emphasizes large images. Ideally, the assets should not appear pixelated. Test appropriate resolution sizes for specific ratios and devices. Appropriately sized imagery. Introduce alternative scales to create levels of histor blue, visual importance.

Within a gallery context, introduce thumbnails of various sizes to honda atlas, convey content hierarchy. Encourage multiple containers living in nen aura the same ecosystem. To make typography legible on top of honda atlas, imagery, apply text protection in the form of scrims . Scrims are lightweight, translucent material layers. 1. Dark end of gradient: Opacity values depend on context. 2. Center point of gradient: 3/10ths closer the darker end. Basil Dorian! 3. Honda! End point of gradient: Opacity of 0. To avoid banding (the formation of distinct stripe shapes), the general zaroff gradient should be long, 3x standard app bar height, with the honda atlas centerpoint about general, 3/10 towards the darker side of the honda gradient. This gives the expression blue gradient a natural falloff and avoids a sharp edge. Honda Atlas! The gradient’s opacity should be chosen based on its environment.

Some imagery can use darker gradients, such as the nen aura image displayed here with a 60% gradient. Gradients could be as low as 10-20% in honda some contexts. In this image, the gradient is 60% black. This is the gradient which has been applied to nen aura, the image at the left. Dark scrims should ideally be between 20%-40% opacity depending on honda atlas, the content. Light scrims should ideally range from 40%-60% opacity depending on the content. Don't obscure imagery when you use a scrim. For larger real estate, target specific areas for gray text protection instead of atlas, blanketing the semantic scale entire image. Don’t ‘over-scrim’ large images.

Color overlays are different than text-protection scrims and can be used as a design element. When creating complementary color overlays, use the honda atlas Palette API to definition, define your color scheme based on atlas, content. You can use your brand’s color palette decoratively to enhance imagery. Avatars and thumbnails represent entities or content, either literally through photography or conceptually through illustration. Definition Degradation! Generally, they are tap targets that lead to atlas, a primary view of the entity or content. Avatars can be used to represent people. Of Environmental Degradation! For personal avatars, offer personalization options. As users may choose not to honda atlas, personalize an avatar, provide delightful defaults. When used with a specific logo, avatars can also be used to histor, represent brand. Honda Atlas! Thumbnails allude to more information – letting the user peek into nen aura content – and atlas, assist navigation. Basil! Thumbnails let you include imagery in tight spaces.

Avatars make an app feel more personal – and honda, occupy minimal space. A brand avatar communicates information at a glance. Macrosystem! Hero images are images that are usually anchored in a prominent position, above the atlas fold, such as a banner at psychological contract definition the top of the screen. They serve to draw in atlas a user, provide context about the content, or reinforce the brand. A feature image is a bold, primary point of define, focus within a heterogeneous layout. Integrated hero image. Integrated hero images create a setting for atlas heterogeneous pieces of content within a layout.

They are not the primary points of definition, focus. Atlas! Gallery images are bold visual hero images within homogenous layouts in either a grid or as a single image.

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MLA Format Papers: Step-by-step Tips for honda atlas Writing Research Essays. 0.1) If you’ve been asked to submit a paper in MLA style, your instructor is asking you to format the page and nen aura present the content in a specific way. Just as football referees dress a certain way, and honda atlas Japanese chefs cook a certain way, writers in certain disciplines follow a certain set of conventions. This document will show you how to format an essay in MLA style. 0.2) If, instead of questions about putting the macrosystem define final formatting touches on your essay, you have questions about what to write, see instead my handouts on writing a short research paper, coming up with a good thesis statement, and using quotations in the body of your paper. (no comma between the author and page number; commas and periods go outside of honda inline quotes) Works Cited List. (lots of tricky details! sort alphabetically by the most dangerous game general zaroff, author, not by the order the quotes appear in your paper) For the most complete information, check your campus library or writing center for the MLA Handbook for Writers of Research Papers , 8th ed. MLA Style Format (First Page) How to format the Works Cited page of an MLA style paper. Your word processor comes with default settings (margin, line height, paragraph spacing, and honda atlas typeface) that will likely need adjustment.

For MLA style, you need: 1-inch margins all around 2.0 line height (double-space the whole paper, including title block and Works Cited list) no extra spacing after the nen aura title, between paragraphs, or between bibliography items 12-point typeface (usually Times New Roman ) 1.1 Adjusting Document Settings in MS-Word (Windows) My copy of Microsoft Word for Windows defaults to. 1-inch margins all around 1.15 line height 10pt spacing between paragraphs Calibri 11-point typeface. Changing to MLA Style (Windows) The default margins in my test run were fine, but if you need to change them: Page Layout - Margins - Normal (1-inch all around) The default line height is too low. Change it to honda atlas 2.0. CTRL-A (select all your text)

Home - Line Spacing - Remove Space After Paragraph Change the typeface to Times New Roman 12-point. Home - Font Face Selector (change to Times New Roman) 1.2 Adjusting Document Settings in MS-Word (Mac) My copy of Microsoft Word for Mac defaults to. 1.25 inch left and right margins, 1 inch top and bottom 1.0 line height no extra spacing after paragraphs Cambria 12-point typeface. In my test run, the left and right margins are too big.

To change them: Layout - Margins - Normal (1-inch all around) The default line height is too low. Change it to 2.0. Home - Line Spacing - 2.0 My Mac copy of MS-Word does not add extra spaces after paragraphs. If yours does: Don’t add space between paragraphs of the same style (check this box) - OK The 12-point Cambria will probably be fine, but to psychological definition change the honda typeface: Home - Font Face Selector (change to Times New Roman) In the top right of every page, use your word processor’s “Page Header” function add an automatic page number and your surname. 2.1 Adding the contract definition Page Header in honda atlas, MS-Word (Windows)

Insert - Page Number - Top of Page - (choose the right-justified “Plain Number” option) The cursor will jump automatically to the right place for you to blue t ype your surname . Honda! Click anywhere in the body of the psychological contract paper to exit the honda atlas header area. 2.2 Adding the nen aura Page Header in MS-Word (Mac) Insert (in the top menu) - Page Numbers… - (Set “Position” to “Top of Page (header)” and “Alignment” to honda “Right”) Click just to the left of the new page number, and type your surname . On my test document, my name was too far over to the left; grab the triangular tab adjuster just above your name, and drag it a notch to the right . In the nen aura upper left corner, type your name, your instructor’s name, the atlas course number and section, and nen aura today’s date. Centered on the next line, type an informative title that actually informs the reader of your main point (not just “English Paper” or “A Comparison between Hamlet and honda Macbeth”). Like all the other text in an MLA style paper, the title block is nen aura, double-spaced . The title is in atlas, the same font as the rest of the paper — it is not boldface, or enlarged.

There is no extra space above or below the title. A truly informative title will include the general topic, and your precise opinion on histor that topic. (So, if you pan to compare Hamlet and Macbeth, your title should state the unique point you want to make about Hamlet and Macbeth. Reuse part of your thesis statement.) This handout presumes you already know why you should cite your sources (to establish your authority, to introduce persuasive evidence, to avoid plagiarism, etc.), These instructions focus on how you format the page. (For a resource to atlas help you determine how to semantic scale cite a specific source, see the MLA Bibliography Builder). To fully cite a source requires two stages. The first happens in the body of your paper (the “in-text citation”) and the second happens on honda a separate page at semantic scale the end of your paper (see “Works Cited List,” below.) 4.1 Citing a Block Quote (more than three lines) Long quotes can start to look like filler. Only use a block quote if you have a very good reason to include the whole passage. (You can usually make your point with a shorter quote.) If you do have a good reason to quote a passage that is several lines long: Select the text and click the “ Increase Indent ” icon (see image, right). Place the parenthetical citation (the author’s name and the page number) after the period . (This is different from inline quotes, below.) There is honda, no comma between the author’s name and the page number. If the expression quotation runs across more than one page: (Wordsworth-Fuller 20-21) or (Wordsworth-Fuller 420-21).

Skip wordy introductions such as, “In his informative guide The Amazing Writing Book , published by Elizabeth Mount College in 2010, the noted composition expert Maxwell Wordsworth-Fuller describes the atlas importance of citations in semantic scale, MLA style papers.” Cutting the filler leaves more room to honda develop your own original ideas. By Kate Chopin Analysis! (See “Integrating Quotations.”) 4.2 Citing an Inline Quotation. When the honda passage you want to quote is less than three lines long, use inline style. Here we have two brief passages, taken from the same page of the same source, so we can handle both with a single parenthetical citation. The parenthetical citation appears outside the quoted material. Semantic Scale! The period that ends the sentence comes after the close parenthesis . Atlas! (This is different from block quotes, above.) In this example, we have changed the first word a little, lowercasing it in game zaroff, order to fit it into our own sentence.

To let the atlas reader know what we changed, we put [] around it. Again, note the absence of a full sentence that explains who Wordsworth-Fuller is and where the quote comes from. All that info will be in the Works Cited list, so we leave it out of the dangerous game general body of the paper. Let’s imagine we want to reference Wordsworth-Fuller’s general idea about citation as a way to establish credibility, but we don’t need to include any of the technical details. We can save space, and make it much easier on our reader, if we paraphrase:

Use paraphrasing for variety, or to make a passing reference without taking up much space. If we use an author’s idea, rephrased in our own words, we must still cite the idea. A research paper isn’t a research paper unless you end with full bibliographical details on every source you cited. This part can be tedious and tricky; leave yourself plenty of honda atlas time to semantic scale do it. Start a new page . MS-Word Wind: Insert - Page Break - New Page.

MS-Word Mac: Document Elements - Break - Page. Title your new page: Works Cited. MLA style calls for no extra spaces above or below the honda atlas page title; no special formatting. 5.1. How to Create an semantic scale, Individual Works Cited Entry.

Exactly what goes into each item in your bibliography depends on what kind of item it is. The following pages give you some questions to answer, then let you push a button to get an individual works-cited entry. If you prefer a more narrative explanation, see Purdue OWL’s handouts for how to atlas create a bibliography entry for a book, an article in game general, a periodical (such as a journal or newspaper), or an electronic source (such as an email, web page or a YouTube clip). Honda! See also this list of semantic scale other common sources (such as a personal interview or a movie). 5.2. How to honda Organize Your Works Cited list. Sort the entries alphabetically by the author ‘s last name. If the author is an psychological, organization (such as a government agency or non-profit foundation), alphabetize according to the name of the honda organization . Histor! If you are citing a painting, or a composer, then obviously “author” has to be interpreted a little loosely. Unless your instructor ask you to atlas organize your Works Cited list differently, everything should be alphabetized together, in of an chopin, a single list. MLA does not require that you separate works of different kinds, or that you cite works in the order that they appeared in your paper, or that you write annotations to honda atlas go along with each item. Psychological Contract Definition! Use double-spaced line height. (in my copy of Word, I select the text and choose Format - Paragraph - Line spacing - Double - OK.) Use hanging indent paragraph format. (In my copy of atlas word, I select the text then choose Format - Paragraph - Indentation - Special - Hanging Indent.)

29 May 2011 — new document posted, replacing outdated handout written in 1999. 06 Jun 2011 — expanded section on general zaroff organizing the honda atlas Works Cited list, since several readers asked for clarification. 07 Jun 2011 — reorganized for emphasis. 19 Apr 2012 — added numbers to more subheads. 30 Nov 2016 — added annotated Works Cited sample image. If your college instructor wants you to cite every fact or opinion you find in an outside source, how do you make room for definition your own opinion? Paraphrase, quote selectively, and avoid summary.Dennis G. Jerz.

MLA Works Cited Citation Builder. 0 thoughts on “ MLA Format Papers: Step-by-step Tips for Writing Research Essays ” I think you should add an explanation about page numbers. That was what I was looking for, but I couldn’t find the significant area. Section 2 explains how to honda put page numbers in the header, and of an by kate section 4 discusses page numbers in citations. How do you in text cite a website?

I didnt really see much about that. Very good information, I really needed this incite on research paper formats. Honda Atlas! It has such thorough details and that make it so much easier to understand. when you say page numbers (Wordworth-Fuller 20), are you referring to the page number within the MLA document or the psychological page number the text appears on within the atlas authors works? That means the quote is from page 20 of the book or article written by the story of an chopin, Wordsworth-Fuller. Thank you for valuable information. Before my college year in America I didn’t know what MLA Format was, but with this delicate information I will survive my college year. Thank you for useful information about how to atlas write MLA format essay.

Before my college year I didn’t know there were many different forms of essay. When my professor asked me to the most dangerous game general zaroff write MLA format I had no idea how to write it, but with your delicate information I think I will survive my college year. Thank you again. I’m glad to honda atlas know you found this page helpful. Most instructors will be happy to help if you stop by histor blue, during their office hours, and if your prof is too busy for that most universities will have a writing center where you can get help at any stage of honda any assignment involving writing.

With your delicate information about to semantic scale write MLA format essay in right way will lead me to successful college year. when you say page numbers (Wordworth-Fuller 20), are you referring to the page number within the MLA document or the page number the text appears on within the authors works? In this case, your paper would be referring to something you found on page 20 of the text by Wordsworth-Fuller. i think you should add an explanation about honda, page header. that was what i was looking for. Is the Table of Contents double spaced – MLA? “@pretti_slimm: @Thyler_Jonzy http://t.co/QIf00vlgws try this site looks helpful”I just found a sample paper on Google. Im in nen aura, middle school and I have to do this. I have never heard of MLA Format and this helped ALOT. Thanks so much! Hopefully I get a good grade on this paper!

I really find this useful (especially fudging the line spacing to honda atlas 2.1). Semantic Scale! Good job! Can you put what information is honda, supposed to be in each paragraph. Emma, I’m afraid I don’t understand the macrosystem question. Honda Atlas! I feel like you’ve asked me what emotions are supposed to be in define, each verse of a song, or what colors are supposed to be in a painting. There are many different kinds of songs and paintings, created for different reasons; likewise, there are many different kinds of honda paragraphs, written for different reasons. that was beautiful.

I am writing to macrosystem request permission to link your webpage, “MLA Format Papers: Step-by-step Instructions for Writing Research Essays” to atlas our website. Lansdale School of Business. I am glad you found this page helpful. Yes, you are welcome to include a link and a brief extract. Thank you so much!! I love the Bib builder!! I’m glad to hear you found it helpful! RT @DennisJerz: MLA Format Papers: Step-by-step Instructions for Writing Research Essays #mlastyle http://t.co/B6pGb3Pkeh. How do you add footnotes to an MLA style paper?

Most word processors will have an the story of an hour analysis, Insert - Footnote or Insert - Note (footnote or endnote) option. Atlas! Most short college papers don’t need footnotes. (They aren’t for documenting sources — use an in-text citation and a Works Cited list instead.) I suggest you talk to your instructor about psychological contract definition, whether you really do need to honda atlas use a footnote. When using MLA format, do you list the book title, the title of the article or both? For guidance on citing individual sources, see the link in item 4, above. Nen Aura! This page is about formatting the paper once you’ve already written it. I wrote a paper and it looks just like your example. I followed everything to honda the “t” and my professor says that my header is indented and my paragraphs are double indented and analysis the page numbers are in wrong format. What can I do? Winston, I suggest you talk to your professor. I have been teaching from thiis handout for years, and when a student makes a formatting error on a rough draft, I just ask them to fix it for the revision.

But your instructor is the honda atlas one who designed the assignment and expression who evaluates your submissions, so he or she is the person to atlas approach with questions. I agree. .let me ask you this. Are your headers indented? The screenshot was taken from a page that I created following the instructions for using MS-Word with a MacBook Pro. Expression Blue! I followed the honda instructions that are on the page. Hour By Kate Chopin Analysis! But surely your instructor gave you guidelines, in a handout or an honda atlas, assigned textbook, which is why I encourage you to have this conversation with your instructor. Macrosystem Define! Whether your instructor does or does not agree with the honda atlas information on this page really doesn’t matter, since your instructor created the assignment and evaluates it according to his or her own criteria. Hour By Kate Analysis! I suggest you let your your teacher know you are confused about what you did wrong, and ask for an opportunity to make minor formatting changes to atlas a paper that, we hope, met all the major criteria. We get asked often about what “format” the college application essay should be in. Although not generally… http://t.co/v1TTNxtE4e.

seems easy enough. Dennis, what lends itself to science in the APA system? And what lends itself to hour by kate analysis the Humanities with the MLA? TIA. As compared to MLA papers, APA papers tend to be shorter, and divided up into sections. Authors who use APA style tend to publish more frequently, because their knowledge goes out of date more quickly; so the date is prominent in APA citations, and page numbers are rare. By contrast, people who use MLA style tend to write longer essays that aren’t divided up into standard sections like “procedure” and “conclusions.” Humanities scholarship generally doesn’t go out of date quickly.

Instead of atlas conducting experiments, humanists read and the most general zaroff write a lot of longer essays and books, re-interpreting and quoting passages from atlas, them. MLA style makes the page numbers prominent, so that other scholars can easily find and re-read those same passages for themselves, and further the psychological contract work of scholarship as it is conducted in the humanities. Thanks for honda the reply. What do you mean by dangerous, ” MLA style tend to write longer essays that aren’t divided up into standard sections like “procedure” and “conclusions.”? Are we not suppose to use conclusions in MLA format? In my English class, we use MLA with conclusions, but what do you mean by “procedure” and honda atlas “conclusions”?

I understand each instructor is different but is it right to macrosystem use conclusions in honda, an MLA paper…or am I getting confused? Typically papers written in nen aura, MLA style DO have a conclusion, but it would not be set off in a separate section under the subheading “Conclusion.” MLA papers tend NOT to follow a standard, particular structure. Papers written in the sciences DO have a fairly rigid set of sections, with separate subheadings. But it’s best for you to talk to your teacher about the specifics of honda any asisgnment. Ok, thanks. I just wanted to ask and clarify it. Also, doesn’t the word “humanist” means something else entirely? The Humanist term today implies ‘human’ and the story by kate chopin analysis is often used for atlas atheists, for expression blue example… or am I wrong? I used the term “humanist” to atlas mean “a person who studies the culture of histor blue humans,” without intending the more specific meaning you mention. At my school, the humanities division includes theologians.

this was very helpful i got an A 95 percent. hi my name is Jessie i have to writ a 2 pages Essay about MLA can someone help me. thank u i got an atlas, A 97 percent. u a real nigga dennis. This wasn’t helpful at all. Shavez, what were you looking for?

This page is about formatting a paper you have already written. The first section includes links to pages about how to define write essays. Thank you very much for this useful information. As a freshman in honda, highschool, my biology teacher asked for nen aura me to write an essay in mLA format about evolution. Atlas! I had no clue what mLA format was,so I searched it up and it brought me here. Semantic Scale! In middle school I never wrote an honda atlas, essay in this format before,but I feel very confident to type my first mLA essay and I’m excited to do so! (Right after I finish my draft .) thank you very much! (???)? I’m using a book title and author as my paper heading. How is that formatted? I would tell my own students that a book title and the name of an author is psychological contract definition, not a good paper title, and I would ask them to write a title that catches the reader’s attention, identifies the topic, and honda identifies what position the paper is going to take on the topic. But if you are not my student, then I’m not the person who will be evaluating your paper. Definition! MLA style puts the book title in honda, italics.

Other than that, I really don’t have any advice for you. Very informative. It helped introduce my tired old mind to the MLA format. Of An Hour By Kate Chopin! So, I can better help coach and prepare my wife for her English course. Thank you very much. which writing style (MLA, APA) have more importance for students of social sciences, media sciences and business? I think you should include online resource citation instructions. Click on “Citing” at honda the top of the of an by kate page. One of the options on honda atlas the other end of that link is how to cite a web page.

This article..thing is the by kate chopin analysis only reason I am passing my online college class. Especially the citation builder. Thank you! cool it was helpful. is the text or what you wrote supposed to be centered in the page or to honda the left margin. How do I cite a photo that I found online? Is it a historical photograph or a photograph published in a book that someone scanned and posted on the story by kate chopin line, is it a photograph of something like a sculpture? Is your paper focused on the work of the photographer, the makeup artist who prepared the model, the digital image enhancer who altered the image, the model?

There is no single correct way to cite a photograph, because there are many different reasons to cite a photograph. Your instructor would be able to give you more specific advice. In general, though, the 8th edition of the MLA guide would say something like this: Olsen, Jimmy. “Superman Rescues Boy Scouts from Lava Pit.” Photograph. Honda! The Daily Planet . July 22, 1956. If you found the picture on expression a blog or a Flickr gallery, adjust the citation accordingly. If you found the image as the result of a Google search for honda atlas something, you might very well end up finding a page that re-uses someone else’s picture without appropriately giving credit. Semantic Scale! There are many variables. Talk to your instructor, who will be the one grading your work, and will therefore be the right person to advise you on what to do. hahahah xD me too same. I would Like You To Give Simple Instructions Not Complicated Ones , and atlas Include also how much Papers Should be worked on.

Khalid, if there is any particular detail you are confused about, please let me know what question you have and perhaps I can help. There is no specific answer to how much a paper should be worked on. It depends on what grade you want to earn, how much time you have, whether your instructor is willing to meet with you before the due date, whether your instructor will give you the chance to zaroff revise your work, and many other factors. This article..thing is the only reason I am passing my online college class. Especially the citation builder.

Thank you!

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The Definition of a Hero Essay Outline. Nowadays, all people have their role models that inspire that in their lives, and they want to honda atlas be like them. By Kate! Some people want to resemble famous actors, while others are more inspired by national heroes. This means they all have specific heroes, so it’s no wonder a definition of atlas, a hero essay is definition, one of the most common academic assignments given to students by atlas their professors who want to get a better idea of how they think. Of An Hour Analysis! If you are assigned with the qualities of honda atlas, a hero essay , you need to macrosystem define show your ability to analyze a specific figure. If you don’t know how to do that, don’t feel upset because there are many essay writing services to choose from.

Make sure you are using the best one, such as the professional help offered by our academic writers at quite reasonable rates. If you’re not familiar with an outline, keep in mind that it’s your framework of important points that should be discussed when writing any academic paper. For example, when it comes to your writing an opinion essay , you need to make a plan or a summary of your future work. Take into honda consideration the following order if you want to write the best outline and essay: The introduction of your definition of a hero essay. This is expression blue, where it’s necessary to make a thesis statement describing your chosen character. Focus on the action where heroics take place with and honda, all crucial supporting details. Don’t forget to include the characteristic of your chosen hero, such as his negative and positive actions with details, benefits, effects on the public, and semantic scale, so on. Honda! Describe heroic acts, present actions related to your chosen topic with supporting coursework examples.

Write a brief and solid conclusion to summarize your essay and restating your thesis. Writing the Best Definition of a Hero Essay Topic Sentences. According to statistics, more students usually don’t find it quite hard to write this kind of academic paper. However, when developing their topic sentences, they may get worried, and if you are one of of an analysis, them, pay attention to the following questions that should be answered to come up with a great topic sentence relevant to atlas your definition of hero essay. What is the right definition of this term? When completing this academic assignment, you should describe a legendary creature or a figure with extraordinary abilities or divine authority.

What are these extraordinary qualities of heroes? Make your detailed case study analysis about courage, bravery, honesty, integrity, and so on. Why is anyone called a hero? If people have the above-mentioned qualities, they can be called heroes. To get a better idea of how to write a topic sentence in your definition of a hero essay, you need to take a look at nen aura, good examples. They will tell you more about the honda atlas, most important elements that should be included. Psychological Definition! The above-mentioned questions will help you create a perfect topic sentence, but you should give your own answers first. Atlas! Make sure you use proper and matching words, especially when it comes to a conclusion, to make your definition of a hero essay appear more innovative, creative, and interesting to readers.

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100+ List Of Persuasive Essay Topics. Honda. Should abortion be legal? Who has the right to life? Should euthanasia be made legal? The ethics of who chooses care The ethics of health insurance Private versus public health care Do we have an psychological contract, obligation to provide care to criminals? How should we approach the problem of mental health? Should we create a doctor service similar to the taxi-services which have proliferated now that the digital world has grown so much? When is it okay for medical professionals to break confidentiality? Eugenics Everybody should learn CPR How will the legalization of marijuana affect healthcare? Should there be a limit imposed on how much purely cosmetic plastic surgery one person can have? The ethics of organ donation Is steroid use dangerous?

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essays and invective Slavoj #381;i#382;ek: Say Anything. In The Fright of Real Tears: Krzysztof Kieslowski between Theory and Post?Theory (London: BFI, 2001), Slavoj #381;i#382;ek makes some criticisms of my arguments bearing on the history of film style. I reply to those criticisms in the last chapter of honda atlas Figures Traced in psychological contract definition Light (pp. 260264). But there is much more to say about FRT , and this online essay supplements my remarks in Figures . The Book and the Background. Most of FRT offers standard film criticism, providing impressionistic readings of various Kieslowski films in atlas regard to recurring themes, visual motifs, dramatic structures, borrowed philosophical concepts, and define the like. #381;i#382;ek also reiterates 1970s argument about how film editing “sutures” the viewer into the text.

I’ll have almost nothing to honda say about these stretches of FRT . But #381;i#382;ek launches the book with an introduction and two chapters criticizing arguments made in a collection of semantic scale essays edited by atlas, myself and Noël Carroll, Post?Theory: Reconstructing Film Studies (Madison: University of general zaroff Wisconsin Press, 1996). The subtitle of #381;i#382;ek’s book indicates the centrality of what he takes to be the honda, Post?Theory movement, even though he doesn’t pursue arguments about it through the book. Indeed, the first two chapters seem to me awkwardly welded onto a fairly conventional book of free-associative film interpretation. Why invoke Post?Theory at all, then? The Preface to game zaroff FRT by Colin MacCabe explains that he asked #381;i#382;ek “to address the weaknesses and honda atlas insularity of film studies as they had developed in the university sector over the previous two decades” (vii). Film studies, MacCabe feels, has developed a “narrowness and sterility” (vii). It’s worth pausing on the ironies here. MacCabe was one of the dangerous game zaroff, moving spirits of Screen magazine in the 1970s, where the foundations of honda atlas Lacanian and neo-Marxist film theory were laid.

As MacCabe put it in 1974: “Given Screen ’s commitment to theoretical understanding of film, the magazine has been engaged over the last five years in semantic scale the elaboration of the various advances in atlas semiotics, structuralism, psychoanalysis and Marxism.” 1 It is this blend that has been endlessly reiterated in the precincts of academic film studies. Across many years, it was the orthodoxy. For many of semantic scale us, that trend seemed and still seems “narrow and sterile.” Judge for yourself, based on this passage signed by MacCabe from the golden age of Screen : The problem is to honda atlas understand the terms of the construction of the subject and the modalities of the replacement of define this construction in specific signifying practices, where “replacement” means not merely the repetition of the place of that construction but also, more difficultly, the supplacementthe overplacing: supplementation or, in honda certain circumstances, supplantation (critical interruption)of that construction in expression the place of its repetition. 2. It’s a remarkable sentence in many respects, but assuming that it can be explicated, what saves this intellectual project from narrowness and sterility? In the 1970s MacCabe declared that this theory was committed to Marx’s concept of class struggle. Exactly how Lacanian psychoanalysis was to assist the honda atlas, class struggle, and why it should be preferred to other means of assisting that struggle, was never made clear in Screen . In any event, MacCabe trots this claim out contract, again as another aim of #381;i#382;ek’s book, which “intervenes” in contemporary debates “without ever abandoning questions of class struggle and the unconscious” (viiiix). Once more, neither MacCabe nor #381;i#382;ek explains why one cannot be a good socialist without reading Lacan. Honda Atlas! (More on define this below.) MacCabe’s objections apply, he says, not to honda atlas film historians, who have conducted “vital and important [sic] work” (vii). This too harbors irony, since the Theoretical Correctness of Screen and its followers blocked historical research from developing in semantic scale the 1970s.

Primary-document history was labeled “empiricist” and honda “positivist,” Screen published almost no such work, and for decades afterward, many historians feared being attacked for define, their lack of atlas Grand Theory acumen. Efforts to study early cinema history, the history of the U.S. film industry, and the like emerged in quite different venues from the BFI publications. Now, however, MacCabe welcomes historical research as an area of film studies. Rather, it’s film theory that has become inert, “either banally rehashed or obtusely opposed” (viii). Though MacCabe isn’t specific, it seems that the obtuse opposition is incarnated in “ ‘Post?Theory’ and cognitivism” (viii). I say “seems” because this is as close as MacCabe gets to naming names: “For those followers of fashion who look for a retreat from Marx and Freud, a hideous mimicking of the threadbare nonsense of the ‘third way,’ this book will be a grave disappointment” (viii). Nen Aura! Just parsing this cryptic sentence raises questions: What fashion dictates a retreat from atlas, Marx and Freud? One would think that Post?Theory was sweeping the academy. And why didn’t MacCabe object to fashion when Screen theory was reiterated uncritically for decades? Presumably MacCabe finds Post?Theory has parallels with Tony Blair and New Labour’s “Third Way.” 3 What are these affinities?

What grounds can MacCabe have for linking ideas about cinema floated by Midwest college professors to a crisis in psychological British politics, let alone finding the parallels “hideous”? In any event, what’s wrong with positing alternatives to intellectual positions? In any field of honda inquiry, can’t there be a third, or fourth, or fifth way of nen aura asking and answering questions? Evidently MacCabe’s purpose isn’t to make a claim or back a case, merely to fulminate, but even his terms of abuse (“fashion,” “hideous,” “threadbare nonsense”) aren’t specific. Apart from reviving the allegiance of Lacan and class struggle, MacCabe says, “#381;i#382;ek’s account of Post?Theory lays bare both its obvious fallacies and its more hidden vanities” (ix). On the atlas, contrary. Although MacCabe designated #381;i#382;ek his hitman, it’s more than a little surprising to find that at nearly every opportunity #381;i#382;ek doesn’t engage with the substantive arguments of Post?Theory at all.

There are three essays in the anthology that directly criticize the psychoanalytic project in film theory: Stephen Prince’s “Psychoanalytic Film Theory and the Problem of the Missing Spectator”; my “Contemporary Film Studies and the Vicissitudes of Grand Theory”; and Noël Carroll’s “Prospects for Film Theory: A Personal Assessment.” How does #381;i#382;ek address the challenges these essays propose? His chief strategy consists of invective and rhetorical questions. “Does what [the Post?Theory attacks] describe as Theory, or what they attribute to Theory, not read as a comically simplified caricature of Lacan, Althusser et al? Can one really take seriously Noël Carroll’s description of Gaze theorists?” (4). Histor Expression Blue! #381;i#382;ek takes you no further. No argument, no evidence, just dismissal à la MacCabe. Then, #381;i#382;ek asks, who are the atlas, “Lacanians” referred to in Post?Theory ? “Except for Joan Copjec, myself, and contract definition some of my Slovene colleagues, I know of no cinema theorist who effectively accepts Lacan as his or her ultimate background” (2). He goes on to mention other writers, such as Laura Mulvey and Kaja Silverman, who accept Lacan’s descriptions of patriarchy but criticize him as a “phallogocentrist” (2). What’s odd here is honda, that Carroll, Prince, and I don’t attack “Lacanians”; the phrase is not to be found in our essays. Prince concentrates on Freud, while Carroll discusses Lacan as one ingredient of 1970s and 1980s film theory. My essay emphasizes what I call subject-position theory, of histor blue which Lacanian doctrines form only part.

All three essays speak of psychoanalytic film theory and psychoanalytically inclined theorists. To use a term #381;i#382;ek employs often in FRT , one might say that the Lacanians in these essays exist only as his phantasms. In any event, he doesn’t try to fight these phantoms by defending Lacan’s account of mental life against its many rivals. He accepts, as we’ll see shortly, key premises of atlas Lacanianism on faith, as do many people he wouldn’t characterize as deep-dyed Lacanians. #381;i#382;ek’s complaints about psychological definition, lumping Lacanians together diverts our attention from the point at issue. Honda Atlas! Whether Lacan forms an “ultimate background,” whatever that means, isn’t worth disputing. #381;i#382;ek knows perfectly well that a great many film scholars have cited Lacan and semantic scale used his work to bolster theoretical or interpretive claims. Although the three essays invoke many writers by name (and my essay analyzes one essay by the #381;i#382;ek-endorsed Lacanian Copjec), the crucial issue is the role Lacan’s theories play within the intellectual doctrines of contemporary film theory.

This #381;i#382;ek doesn’t address. Once we get past rhetorical questions and diversionary tactics, #381;i#382;ek is given an atlas excellent opportunity to engage with Post?Theory by nen aura, Stephen Prince’s essay. Honda Atlas! Prince argues, I think plausibly, that psychoanalysis lacks reliable data on which to build its theories. Records of the clinical session are available only to the analyst (yielding “nontraceable disclosures”); there are no established standards for interpreting the patient’s discourse; and the analyst inevitably filters the the story of an analysis, full range of the patient’s reports, summarizing and inflecting them in her interpretation. Prince then argues that these failings are present in Freud’s own classic paper, “A Child is Being Beaten.” Prince goes on to suggest that psychoanalytic theory of atlas cinema is at a disadvantage because of its weak account of perception and its resolute ignoral of the ways in which cinema resembles the world, both of which can be better accounted for by rival theories. There are many things #381;i#382;ek (and MacCabe, the book’s patron) would object to here.

But #381;i#382;ek never discusses any of them. It’s entirely possible that Prince has mischaracterized psychoanalytic method, or has misread Freud’s paper, or has misunderstood Lacanian film theory. But #381;i#382;ek doesn’t make any effort to show weaknesses in the essay. He merely mocks the title (p. The Most Game! 1). Likewise, you’d think that he’d slice my essay to ribbons. “Contemporary Film Studies” delineates two trends in the field, what I call subject-position theory (the Screen legacy) and culturalism. I trace those trends historically and try to show continuities between them. The conceptual continuities I argue for honda atlas, involve social constructivism, theories of subjectivity, the centrality of identification, and an underlying commitment to semiotics. I also argue that subject-position adherents and culturalists follow similar argumentative routines, notably a commitment to doctrine-driven inquiry, a fondness for pasting together ideas from quite divergent theorists, a reliance on association rather than linear reasoning, and a commitment to hermeneutic applications of theory to films (producing “readings”). On each point I advance some critical remarks, including charges of self-contradiction. A philosopher ought to be rubbing his hands at the prospect of going after this essay.

I could be vulnerable from many angles. #381;i#382;ek could attack my characterization of Freud, Lacan, and the rest; my critiques of same; and nen aura above all my outline of the two trends. Honda! Most important, although I didn’t have #381;i#382;ek in mind when I wrote the essay, he himself instantiates all the conceptual commitments and rhetorical habits I criticize. His work is a pastiche of many, widely varying intellectual sources (from Ernest Laclau to psychological Stephen Jay Gould). He is an honda atlas associationist par excellence. His use of films is semantic scale, purely hermeneutic, with each film playing out honda atlas, allegories of theoretical doctrines.

And he never doubts his masters Hegel and Lacan, exemplifying the tendency I characterize this way: “The pronouncements of Lacan, Althusser, Baudrillard, et cie are often simply taken on faith” (21). So my complaints should strike very close to home. Yet not a peep from #381;i#382;ek on any of these points. If I’m right, his theoretical program is semantic scale, seriously on the wrong track, but he feels no obligation to engage with my claims. This isn’t the atlas, thinker MacCabe says is “determined to psychological follow the logic of honda any concept or text through to its bitter or sweet end” (FRT, viii). 4. Carroll and #381;i#382;ek 1: Reply as Confirmation. #381;i#382;ek is the most game zaroff, a philosopher, so perhaps we’d expect him to engage most fully with another of his profession. Noël Carroll’s essay “Prospects for Film Theory: A Personal Assessment” presents criticisms that are severe and atlas pointed. Semantic Scale! Carroll argues that proponents of honda atlas Grand Theory embrace a monolithic conception of theorizing, conflate theorizing with interpreting specific films, use political correctness to attack their opponents, unwontedly charge opponents with “formalism,” and exhibit a bias against the concept of the story of an hour chopin truth.

Remarkably, #381;i#382;ek responds to not a single one of these charges. He doesn’t, contra MacCabe, lay bare any fallacies, nor does he mount what he promises in honda atlas his introduction will be a “critical dialogue with cognitivist/historicist Post?Theory” (7). Hour Analysis! What he does lay bare, apparently all unawares, are statements wide open to Carroll’s objections. Here is Carroll: Proponents of the Theory let on that the Theory grew out of the student movement and out of honda atlas a resistance to oppression everywhere. Consequently, from their point of view, criticism of the Theory virtually represents a clear and present danger to the very Revolution itself. Hour By Kate! Anyone who opposes the honda, Theory, for whatever reason, is politically suspect. Definition! Criticisms of the atlas, dubious psychoanalytic premises of the Theory are denounced as reactionaryin a political sense!as if a belief in of an by kate chopin the equality of races requires assent to Lacan and the rest of the pet paraphernalia of the Theory. (45). MacCabe’s evocation of the class struggle in honda his introduction strikes this note, as does #381;i#382;ek’s promise to show how Kieslowski’s work, “the site of antagonistic ideological tensions [sic], of the nen aura, ‘class struggle in art’, can be redeemed by a Lacanian approach” (7). #381;i#382;ek begins his book by saying that the Post?Theory trend is “often sustained by a stance of profound political resignation, by a will to obliterate the traces and disappointments of political engagement” (13).

The one piece of evidence he supplies for this is honda atlas, startlingly shaky. #381;i#382;ek takes the scholar Ben Brewster as “emblematic of the present-day state of cinema theory” (13). Semantic Scale! Why? Because Brewster shifted from being a proponent of Screen theory to becoming a film historian displaying an “exclusive preoccupation with pre?1917 cinema” (13). Why does this matter? Because Brewster focuses on a period “prior to the October Revolution, as if to honda emphasise the will to obliterate the trauma of the failed leftist involvement in Theory” (13). Define! About #381;i#382;ek’s diagnosis that Brewster’s research constitutes a form of honda atlas fetishistic disavowal reminiscent of a reluctance to look at feminine genitals, I shall say nothing.

I just want to point out that Brewster has not restricted his research to cinema before 1917, not even in the book #381;i#382;ek mentions in a footnote, 5 so the tenuous thread of association fails even as a literary conceit. On its first page, FRT presents a strained reach for cleverness at the expense of nuance and accuracy. We’ll encounter this strategy again. For our theorists, politics equals left politics equals the glory years of May 1968 theory. Marx is always invoked, with nods to Eurocommunism, Althusser, and, surprisingly, Mao.

In 1974 MacCabe saluted the Chinese Cultural Revolution as proof that ideology remained a potent force. 6 In a recent DVD liner note on nen aura Godard’s Tout va bien , he describes the Cultural Revolution as Mao’s effort to honda have the Red Guards “revolt against semantic scale, the ruling state and party apparatus. Honda! The young were encouraged to question authority and to insist on the importance of the class struggle.” 7 MacCabe doesn’t mention that Mao stirred up the young in order to regain his power over that same party apparatus, or that the Red Guards were not encouraged to question his authority, or that the ten years of Cultural Revolution shut down China’s education, exiled intellectuals to labor camps, destroyed centuries of cultural artifacts, killed hundeds of thousands of people, and ruined the lives of millions more. #381;i#382;ek also invokes the Great Helmsman: “To put it in good old Maoist terms, the the story hour by kate analysis, principal contradiction of today’s cinema studies. To continue in a Maoist vein, I am tempted to[identify a given opposition] as the second, nonantagonistic contradiction of cinema studies, to be resolved through discussion and atlas self-criticism”(1, 2). Needless to say, why Maoism is good as well as old doesn’t concern #381;i#382;ekperhaps because, like many of his other citations, this tip of the hat to the cult of histor personality serves merely as an effort at knowing rhetoric.

Certainly self-criticism doesn’t enter his text. So Carroll’s diagnosisthat theoretical sallies are often justified by honda, an unwarranted link to a particular brand of politicsis borne out by the very book seeking to demolish Carroll’s views. Similarly, Carroll’s essay argues that in general film theories don’t necessarily bear traces of the histor, theorist’s political orientation. “I have evolved theories of movie music and point-of-view editing, but they do not, in honda any sense that could be called logical, imply my political position about anything from gun control, to sexual harassment, to communal ownership of the psychological contract, means of production” (46). The reason is that theories generally underdetermine political viewpoints. “Given theories may be espoused by either the forces of light or the honda, forces of darkness” (47). We might expect this to semantic scale arouse a sustained critique from #381;i#382;ek, who obviously doesn’t believe in the underdetermination of theories; but no such luck. He remains silent. There’s yet another moment in which #381;i#382;ek confirms Carroll’s critique. Carroll’s essay criticizes totalizing conceptions of honda theory:

Under its aegis, the film theorist sets out to subsume every aspect of cinematic phenomena under the putative laws and categories of his or her minimally customized version of the reigning orthodoxy. Theorizing becomes the routine application of some larger, unified theory to questions of cinema, which procedure unsurprisingly churns out roughly the same answers, or remarkably similar answers, in every case. The net result, in short, is macrosystem, theoretical impoverishment (41). And here is #381;i#382;ek, claiming that Post?Theory. starts to behave as if there were no Marx, Freud, semiotic theory of ideology, i.e. as if we can magically return to some kind of naivete before things like the unconscious, the overdetermination of our lives by the decentred symbolic processes, and honda atlas so forth became part of our theoretical awareness (14). #381;i#382;ek can’t entertain the prospect that ideas can be “part of our theoretical awareness” and still be invalid. Dangerous General Zaroff! Suppose, just suppose, that all these “things”points of doctrineare shot through with conceptual and empirical mistakes. This is what Prince, Carroll, and I are saying.

We don’t ignore this theory; we criticize it. Being skeptical about weak theories isn’t a return to innocence. It’s an advance; it can cast out error. The task is not to call us naïve but rather to honda atlas show that the unconscious, the semantic scale, overdetermination of atlas so on and so forth remain valid ideas. Define! The way to show this is not by waxing nostalgic for the days when everyone read Althusser, but by honda, overcoming our criticisms. Yet in #381;i#382;ek’s hands, confirming Carroll’s objections once more, Lacanian theory functions as a set of axioms or dogmas rather than working ideas to be subjected to critical discussion. Post?Theory argues against the very idea of Theory and nen aura supports the idea of theories and theorizing (p. xiv).

Theories operate at many levels of honda atlas generality and tackle many different questions. Theorizing is a process of proposing, refining, correcting, and perhaps rejecting answers, in the context of semantic scale a multidisciplinary conversation. But for atlas, #381;i#382;ek, the unconscious, the overdetermination of by kate our lives, and all the rest is Theory entire and whole. Honda Atlas! No intellectual activity (save “historical research”) lives outside it, and it can be discussed only by those already accepting the premises of its sacred texts. And once the only correct Theory is packaged with the only correct political attitudes, you have a powerful weapon against macrosystem define, anyone who differs. FRT confirms Carroll’s claim: “The Theory has been effectively insulated from honda, sustained logical and empirical analysis by semantic scale, a cloak of honda atlas political correctness” (45). Carroll and #381;i#382;ek 2: Dialectics of psychological contract definition Inquiry and of Nature. #381;i#382;ek ignores almost all the substantive points Carroll makes in his essay. The one issue he singles out is Carroll’s proposal that film studies should be more self-consciously dialectical.

Carroll explains at several points what he means by this. Honda Atlas! In his sense, dialectics is an alternative to the method #381;i#382;ek embraces, that of psychological deriving a film theory from axioms or first principles. Instead, dialectical exchange is atlas, a form of debate, “defending one’s own theory by demonstrating that it succeeds where alternative theories falter” (56). More extensively: Theories are framed in specific historical contexts of research for the purpose of answering certain questions, and semantic scale the relative strengths of honda atlas theories are assayed by comparing the answers they afford to the answers proposed by alternative theories.

This conception of theory evaluation is pragmatic because: (1) it compares actual, existing rival answers to the questions at hand (rather than every logically conceivable answer); and (2) because it focuses on solutions to expression contextually motivated theoretical problems (rather than searching for answers to any conceivable question one might have about cinema) (56). #381;i#382;ek does object to Carroll’s point, but he misconstrues it. He says that this conception of dialectics is “simply the notion of cognition as the gradual progress of our always limited knowledge through the honda, testing of specific hypotheses” (14). Now this is plainly not what the psychological, passage quoted above says. #381;i#382;ek eliminates the atlas, communal and nen aura comparative dimensions of honda atlas inquiry Carroll invokes, and introduces “the testing of specific hypotheses.” He goes on to add that the process is “unending,” assigning to Carroll “a modest view of endless competive struggle” (15). But again, Carroll does not say that the process is infinite. He says that by eliminating error and mounting sound theories, we can arrive at reliable if approximate truths. These theories may stand for a long time; perhaps a better theory will never come along (58). “There is macrosystem, no reason to concede that we cannot also craft film theories in the here and honda now that are approximately true” (58). There is nothing inherently unending about this process. So #381;i#382;ek has misunderstood Carroll’s conception of the story analysis dialectical inquiry. But that’s not all.

Having rewritten Carroll’s claims, #381;i#382;ek blurts out: “Well, if this is dialectics, then Karl Popper, the honda atlas, most aggressive and dismissive critic of nen aura Hegel, was the greatest dialectician of atlas them all!” (15). This expostulation encapsulates many assumptions, all of them questionable. First, Carroll’s conception of theory-building doesn’t follow Popper, since Carroll has made no reference to falsifiability as the psychological, key criterion for conjecture and refutation. Carroll’s view of collective problem-solving through debate is a far broader position in honda atlas the philosophy of science than Popper’s account. Secondly, as Carroll points out in macrosystem define a subsequent version of his essay, “an unbiased examination of the history of philosophy will show, I believe, that Hegel has no patent on dialectics.” 8 I’d go further and honda observe that the hour by kate, concept of dialectic derives from ancient Greece, and it simply means “conversing.” Carroll is using the honda, concept in its most basic and uncontroversial sense. #381;i#382;ek could have distinguished Carroll’s use from that of macrosystem define other thinkers, notably Hegel, but that would require a careful and painstaking response, not a cri de cœur . To assume that Hegel possesses the only valid concept of the dialectic is something of an undergraduate howler. Finally, Carroll uses the concept of the dialectic as a regulative and pragmatic principle of inquiry. #381;i#382;ek, like Hegel, believes that the dialectic also exists in the world, as a constitutive principle of honda nature, society, and indeed being itself.

Thus #381;i#382;ek says that there is a dialectic informing the history of film style (pp. 2225). In this way, a particular version of hour chopin dialectical inquiry is justified by an ontological assumption. #381;i#382;ek brooks no dispute on this: again and again he refers to the “proper” use of honda atlas dialecticsthe one forged by Hegel and, mysteriously, Freud (25). But he nowhere defends Hegel’s idea of dialectic against the hosts of objections that have been raised by over a century of critics; nor does he defend his somewhat idiosyncratic version of Hegel. 9 Another philosophical slip#381;i#382;ek confuses epistemic criteria with ontological onesand another moment at which a canonical thinker becomes a security blanket. #381;i#382;ek has one more cluster of objections to Carroll’s conception of nen aura dialectical theory-building. Honda! “Dialectics proper,” he says, is distinguished by “the way the subject’s position of enunciation is macrosystem define, included, inscribed into the process: the honda atlas, cognitivist speaks from the safe position of the excluded observer who knows the relativity and limitation of all human knowledge, including his own” (15). These are presumably the “hidden vanities” to which MacCabe alludes. The easy answer to this claim is this: #381;i#382;ek uses enunciation theory as the basis for his objection. If you don’t accept a theory of enunciation (which neither Carroll nor I do), the the most zaroff, objection fails. (Note, in passing, #381;i#382;ek’s invocation of enunciation theory rests upon the oft-cited liar paradox: the semantic contradiction involved in saying “I am lying” supposedly exemplifies split subjectivity in all of language.) The equally obvious riposte is that Carroll, cited above, doesn’t believe in the relativity of all human knowledge (he in fact argues against relativism) and instead argues that truth is to some degree attainable. Once more #381;i#382;ek has misunderstood the claims he’s criticizing.

#381;i#382;ek goes on to create a sort of theoretical ad hominem . Honda Atlas! Having ascribed “modesty” to the position he attacks, he goes on to say that it’s actually an arrogant view. The Story By Kate! But he does this by again caricaturing the honda atlas, claims. The Story By Kate Analysis! “When I say, ‘The theory (which I am deploying) is just an impotent mental construct, while real life persists outside,’ or engage in honda atlas similar modes of referring to the wealth of pre-theoretical experience, the apparent modesty of such statements harbours the arrogant position of enunciation of the the story of an by kate chopin, subject who assumes the capacity to compare a theory with ‘real life’” (15). In passing, I note that #381;i#382;ek here seems to atlas equate the semantic scale, subject with an entity like an individual, capable of honda atlas actions like assuming; but this is nen aura, a philosophical error, as I point out in my Post?Theory contribution (1415). Also in passing, I note that until #381;i#382;ek shows that enunciation theory is a plausible account of language or mental activity, his diagnosis, which wholly depends on this theory, need cause me no worries. More substantially, Carroll, Prince, and I never say or imply that our theoretical conjectures are “impotent mental constructs” when faced with the teeming reality outside our theories. Where does he get this stuff?

And what’s so arrogant about comparing a theory with real life? #381;i#382;ek does it all the time. Consider this passage from an interview, in which #381;i#382;ek is asked about atlas, his fondness for the story of an hour, Lenin’s theories: What I like in Lenin is precisely what scares people about him-the ruthless will to discard all prejudices. Why not violence? Horrible as it may sound, I think it’s a useful antidote to all the aseptic, frustrating, politically correct pacifism. Let’s take the atlas, campaign against smoking in the U.S. I think this is a much more suspicious phenomenon than it appears to be. If #381;i#382;ek can apply Leninist politics of violence to anti-smoking legislation (will he found a Cheka to purge nonsmokers?), I assume that other theorists aren’t being arrogant in talking of how comparatively harmless movies relate to the world we live in. Dialogue versus Monologue. Throughout #381;i#382;ek’s objections to semantic scale Carroll’s notion of dialectical inquiry, one blind spot is evident. In his references to “testing hypotheses” and the isolated “subject of enunciation,” in his accounts of dialectical thinking by the solitary theorist, he ignores the intersubjective dimension of theorizing.

Dialectical inquiry proceeds because a researcher belongs to a community committed to honda both rational and empirical investigation. Whatever one’s personal feelings about people arguing against you, the regulative ideal of a research community is respect for argumentation and evidence. People who don’t agree with you aren’t your enemies; their criticisms may be painful, but one cooperates with them in an effort to attain more conceptual precision and empirical adequacy. Yet consider what #381;i#382;ek claims in psychological another book, in commenting on an essay in Post?Theory : Lenin liked to point out that one could often get crucial insights into one’s own weaknesses from the perception of honda atlas intelligent enemies. So, since the current essay attempts a Lacanian reading of David Lynch’s Lost Highway , it may be useful to start with a reference to “Post?Theory,” the recent cognitivist orientation of cinema studies that establishes its identity by nen aura, a thorough rejection of Lacanian cinema studies. 10. Lenin, of course, saw his political opponents as his enemies, and he dealt with them as such. But to honda characterize one’s intellectual opponents this way is revealing of definition #381;i#382;ek’s attitude toward debate. One doesn’t cooperate with enemies. Another regulative principle of collective truth-seeking is dialogue. Whatever their personal motives, scholars are united in seeking logically sound theories that illuminate a range of phenomena.

That’s what allows debate to flourish. When the community norms flag, debate withers and theory becomes a chorus of atlas monologues. Arguably, though, #381;i#382;ek fails to grasp the intersubjective dimension of theorizing because he doesn’t believe in theory as a conversation within a community, a process of question and of an hour analysis answer and atlas rebuttal. This construal of his attitude toward theory fits what we know of his intellectual demeanor. Consider these reports from an admiring journalist: 11. Bearded, disheveled, and dangerous game general loudBarely pausing to sit down, #381;i#382;ek launches into a monologue so learned and amusing that it could very well appearverbatimin one of the many books he has written (42).

“Discussing Hegel and Lacan is like breathing for Slavoj. Atlas! I’ve seen him talk about theory for expression blue, four hours straight without flagging,” says UCBerkeley’s Judith Butler. When not mediated by the printed page, however, the obsessive-compulsive quality that makes his hyperkinetic prose so exhilarating is somewhat overwhelmingeven, evidently, for atlas, #381;i#382;ek himself. Popping the occasional Xanax to settle his nerves, he tells me about his heart problems and panic attacks. As his eyes dart around the room and macrosystem his manic monologue becomes more frantic, I fear that I may be his last interviewer. #381;i#382;ek is like a performance artist who is terrified of atlas abandoning the stage; once he starts talking, he seems unable to stop (42). #381;i#382;ek has developed an elaborate set of psychological tricks to nen aura manipulate his American students and enable him to have as little contact with them as possible. At the first meeting of each course, he announces that all students will get an A and should write a final paper only if they want to. Atlas! “I terrorize them by creating a situation where they have no excuse for giving me a paper unless they think it is really good. This scares them so much, that out of forty students, I will get only a few papers,” he says. “And I get away with this because they attribute it to dangerous general zaroff my ‘European eccentricity.’ ” #381;i#382;ek says that he deals with student inquiries in a similar spirit. “I understand I have to take questions during my lectures, since this is honda atlas, America and everybody is allowed to talk about everything. But when it comes to office hours, I have perfected a whole set of strategies for how to nen aura block this,” he says with a smirk. “The real trick, however, is to minimize their access to me and simultaneously appear to be even more democratic!” Initially, #381;i#382;ek scheduled office hours immediately before class so that students could not run on indefinitely.

Then he came up with the honda, idea of requiring them to submit a written question in advance, on the assumption that most would be too lazy to do it (they were). #381;i#382;ek reserves what he calls “the nasty strategy” for large lecture classes in which the students often don’t know one another. “I divide the time into six twenty-minute periods and then fill in the slots with invented names. General! That way the students think that all the hours are full and honda atlas I can disappear,” he claims (49). There’s a lot to digest hereparticularly the rich image of a theorist who pronounces on all things political, historical, aesthetic, and psychological criticizing Americans for being “allowed to expression blue talk about honda atlas, everything”but you don’t need to be either a cognitivist or a psychoanalyst to hazard one conclusion. An insistent monologist and a teacher confessing himself uninterested in student response might not be able to general zaroff appreciate the honda, community-driven nature of inquiry postulated by Post?Theory . This, then, is semantic scale, what #381;i#382;ek’s “critical dialogue” with Post?Theory amounts to. Atlas! Once more Carroll proves prophetic: “Sustained, detailed, intertheoretical debate and criticism is define, rare in the history of film theoryNowadays this tendency is honda, particularly pronounced in histor expression discussions of cognitivism, which view is swiftly dismissed by atlas, castigating buzz-words like ‘formalism,’ or maybe ‘idealism,’ uttered just before the author goes on to repeat, at length, yet again, the received wisdom of Theory” (57). #381;i#382;ek obviously thinks that he has engaged in a critical dialogue, and he’s not alone. A review 12 of semantic scale FRT praises #381;i#382;ek as “formidably well-read,” a “subtle theorist” able to operate “at the highest levels of psychological and honda philosophical abstraction.” The book offers, in the reviewer’s opinion, “A mode of aesthetic analysis that fully describes the psychological contract definition, most spectral and intangible [sic] of film without compromising the underlying theoretical rigor.” Everything I’ve said so far indicates that I can’t agree. Honda! Where are the subtleties? Where is the rigor?

The reviewer doesn’t say, passing over the book’s avowedly theoretical chapters in the story of an by kate chopin analysis a couple of paragraphs. Perhaps the reviewer accepts #381;i#382;ek’s own conception of atlas Post?Theory . Expression Blue! The reviewer says that #381;i#382;ek’s “fierce critique” rests on the idea that Post?Theory “attempts to move away from a reliance on theory and back toward more empirical accounts of film.” Since anyone who read Post?Theory would understand that we plead for better theories, not the atlas, elimination of theoretical work, I have to conclude that the dangerous game general, reviewer relies on #381;i#382;ek’s characterization of the book’s project. And this is honda atlas, a mistake, for nen aura, #381;i#382;ek makes several errors. First, he claims that the Post?Theory collection is “a kind of manifesto” of cognitive film theory. 13 This flies in honda the face of the psychological, introduction to Post?Theory , where Carroll and I say, “It needs to be stressed that though a number of the honda, articles in this volume are cognitivist, the volume itself is not a primer in cognitivism. The unifying principle in histor expression blue this book is that all the research included exemplifies the possibility of scholarship that is not reliant upon the psychoanalytic framework that dominates film academia (xvi).” Moreover, there is cognitivist film theory that isn’t “post-theoretical”; presumably many people pursuing cognition-based answers to theoretical questions don’t reject psychoanalysis from the standpoint we adopt. Atlas! Many psychologists studying filmic perception have probably never heard of Jacques Lacan. I conclude that #381;i#382;ek uses the term “Post?Theory” to sum up a broad movement he takes to be emerging within film studies as the definition, principal rival to honda the psychoanalytic (specifically, Lacanian) paradigm. This makes a conveniently broad target, but only at the expense of subtlety and rigor. When #381;i#382;ek treats the Post?Theory movement as “the cognitivist and/or historicist reaction” to Grand Theory ( FRT , 1), he displays a second confusion. To call the historical essays collected in Post?Theory “historicist” is at best ambiguous.

In the relevant sense, historicism involves the belief that concepts held by nen aura, historical agents at a given time are sui generis and can’t be unproblematically translated into terms available at the historian’s moment. Atlas! For example, Foucault’s position in “What Is an Author?” can be described as historicist. Chopin Analysis! He posits that the modern concept of the honda atlas, author came into existence at a particular time and place and can’t be presumed to operate in earlier circumstances. But historicism in this sense plainly isn’t advocated or even presupposed by the historians in the Post?Theory collection; their essays don’t take a position on game general zaroff this issue. Of course it’s possible that #381;i#382;ek simply means to indicate that the essays are historical studies; but then he’s misusing the term “historicism.” As a philosopher, #381;i#382;ek should be committed to clarifying terms rather than fogging them. At some point someone is likely to say that #381;i#382;ek is elusive because he’s playful. His flights of atlas fancy try to get you to think outside the box; he’s a provocateur. I suppose this comes down to psychological definition taste, but I find #381;i#382;ek not provocative at all.

Praising Lacan, Lenin, and Mao seems to me not rebellion but a retread. And we come at honda atlas some point to a matter of sincerity. When is he not being playful? When is he putting forth a claim he’s committed to? For example, in the story of an hour by kate analysis FRT he proposes that pictures have two frames, one external, one internal, “the frame implied by the structure of the painting” (130). “These two frames by definition never overlap” (130). 14 Yet in his prologue, #381;i#382;ek explains that at a conference, asked to comment on a picture, he “engaged in a total bluff” (5) by positing the existence of these two frames. He goes on to make fun of people who took it seriously: To my surprise, this brief intervention was a huge success, and many following participants referred to honda the dimension in-between-the-two-frames, elevating it into a term.

This very success made me sad, really sad. What I encountered here was not only the definition, efficiency of honda a bluff, but a much more radical apathy at the very heart of today’s cultural studies (6). The postmodern emperor doesn’t need a child in the crowd to point out his nakedness; he does so himself, and mourns the fact that he fooled so many. Histor! But the question nags us: Are we to believe the two-frames theory when it’s floated later in the book? Evidently not, since it’s admittedly a bluff.

But perhaps #381;i#382;ek really believes the atlas, theory, so that in macrosystem define the prologue, when he says that his theory is a bluff, he’s bluffing. Atlas! This compels us to macrosystem define ask: Might not everything he says about Lacan, Post?Theory, and the rest be a bluff akin to the two-frames bluff? No wonder #381;i#382;ek takes the atlas, Liar’s Paradox to be the prototype of language use. What others might find a dizzying display of academic cleverness makes me sad too, but perhaps in a different way. Nen Aura! Are we wasting our time in expecting #381;i#382;ek to offer reasonable arguments? Fundamental questions of responsibility arise here, especially in relation to a writer not hesitant to condemn the beliefs and actions of others. Atlas! It’s tedious to be lectured on morality and ethics from someone who casually announces petty acts of deceit, like sneaking out of semantic scale office hours or fooling gullible academics who are eager to take a master’s every word as a revelation. “Well,” #381;i#382;ek or a sympathetic reviewer might ask me, “can’t we say that he engages seriously and straightforwardly with your claims? He has much to say about your book, On the History of Film Style and honda your claims about contingent universals in one essay of Post?Theory .” He does indeed. I was surprised, however, that when he turns on his analytical powers, how little his objections amount to. I’ve made my reply in Figures Traced in Light (260264), so I won’t rehash it here.

I think I show that when #381;i#382;ek tries to be serious and dismantle an argument critically, the semantic scale, results are vague, digressive, equivocal, contradictory, and either obviously inaccurate or merely banal. This might explain why he so seldom tries to be analytical. Honda! Vagueness, digressions, equivocations, etc. are less apparent if you’re playful. But we can forgive all this, others will reply, because #381;i#382;ek is such a lively writer. Recall that Boynton, above, calls his prose “hyperkinetic” and the most dangerous game general zaroff “exhilarating,” and names him “a dazzlingly acute thinker and prose stylist.” Frankly, I can’t imagine Boynton and I are reading the same writer. As with many contemporary theorists, #381;i#382;ek’s dominant register is what Frederick Crews has called ponderous coyness. 15 His humor is academic, and academic humor is to atlas humor as military intelligence is to intelligence. As for the texture of the prose, try to find the acuteness and hyperkinesis here:

The underlying principle and support of this thesis of the symbolic order is that, in each field of define meaning, if this field is to be ‘totalised,’ there has to be an additional/excessive signifier which, as it were, gives a positive figure to that which cannot be properly included into this field, somewhat like Spinoza’s well-known criticism of the traditional personalized notion of God: at the point at which our positive knowledge of the causal links fails, we supplement this lack with the honda atlas, idea of ‘God,’ which, instead of providing a precise idea of a cause, just fills in the lack of this idea. ( FRT , 6465). Not only is this an obscure and pretentious way of recycling a familiar post-Structuralist idea, the sentences aren’t minimally well-written. (I grant that “as it were” is a nice touch, as if the entire passage weren’t built on metaphors and the story hour chopin supposition.) In all, this writing style isn’t a good way to achieve #381;i#382;ek’s goal of distinguishing “Theory proper” from “its jargonistic imitation” ( FRT , 5). What makes people think that #381;i#382;ek writes gracefully, I think, is the casual way he drops in movies, current event, and homely examples. Atlas! So this: “These partial objets petit a are neither subjective nor objective, but the short-circuit of the two dimensions: the subjective stain/stand-in that sustains the order of objectivity, and the objective ‘bone in the most dangerous general the throat’ that sustains subjectivity” ( FRT , 65) is followed by: “Does this not provide the reason why, in so-called caper films?” ( FRT , 66). A stretch of churned mud is softened by a stream of colorful, if far-fetched, examples.

Cutely illustrating an ontological concept through mundane instances seems to make for a user-friendly approach. In every appreciation of atlas #381;i#382;ek, there is a sentence somewhere marveling at how his vision sweeps from lofty abstraction to pop-culture examples. “He takes in subjects including national cuisines, the Cathar heresy and the literature and film of the GDR, citing Plato, Hegel, Derrida, Heidegger and more” (Monroe, “Fright of Real Theory”). But such potshot erudition is in psychological contract definition fact quite easy to achieve. Honda! If academics are this easily impressed by definition, name-dropping, no wonder #381;i#382;ek’s bluffs find success. And from honda, this standpoint, #381;i#382;ek’s claim that correct thought moves from universal concepts to singular manifestations can be seen to serve the by kate, strategic purpose of atlas justifying his grandiloquent rhetorical leaps from the macrosystem, sublime to the ridiculous, from Leninist strictures on violence to honda anti-smoking legislation. Finally, I’m left with the define, question: Why do #381;i#382;ek and MacCabe elevate a single anthology ( Post?Theory ) into a movement (Post?Theory)? The book has won little attention, and no one else has built it into a mighty opposite to Lacanian theory. I can only speculate. My hunch is that both #381;i#382;ek and MacCabe see intellectual work as a struggle for power. Recall their admiration for the likes of Lenin and Mao, note their rhetoric of enemies and obtuse opposition, and then observe that other passages suggest that by calling for honda atlas, conceptual and empirical theorizing, Post?Theory aligns itself with science. And science is macrosystem, a threat.

After telling us that no quantum physicists worry about the ontology of what they observe (I suspect this will depend on what you mean by ontology), #381;i#382;ek complains: The objectivised language of experts and scientists. Honda Atlas! . .can no longer be translated into the common language, available to everyone, but is the story of an hour by kate chopin, present in it in the mode of fetishized formulae that no one really understands, but which shape our artistic and popular imaginary (Black Hole, Big Bang, Superstrings, Quantum Oscillations). Honda! The gap between scientific insight and common sense is unbridgeable, and it is this very gap which elevates scientists into the popular cult-figures of the ‘subjects supposed to the story hour analysis know’ (the Stephen Hawking phenomenon) ( FRT , 67). As usual, any few lines of #381;i#382;ek demand both glossing and interrogation. Honda! He starts by talking about common language, then shifts to talking about common sense; but the two aren’t the semantic scale, same. Although many scientific ideas violate common sense, they can be put in intelligible language.

Can it really be said that science writers like Stephen Gould, Richard Dawkins, Matt Ridley, Jared Diamond, Deborah Blum, Helena Cronin, John Gribbin, and honda atlas James Gleick can’t explain difficult scientific concepts to readers prepared to spend a little time thinking? Moreover, given #381;i#382;ek’s tortured style, does he seem to have any regard for definition, writing in honda a “common language, available to everyone”? And if it’s wrong for scientists to be elevated as “subjects supposed to know,” why isn’t the same stricture applied, say, to Freud and Lacan, who have become far more Delphic oracles than Einstein or Hawking? Or even applied to the “popular cult-figure” of the larger-than-life, I-am-ze-bull European intellectual who says outrageous things in order to rouse us from histor expression blue, our bourgeois slumber? Needless to say, #381;i#382;ek is honda atlas, strategically vague; his comments evoke attitudes, not arguments. Nor does he mention that, whatever cult value may attend to scientists in the popular press, the general public remains remarkably resistant to scientific findings and scientific thinking. Most Americans believe in the story hour by kate angels and a literal place called Hell. Most accept astrology, consider the theory of evolution unfounded, and think that dinosaurs and humans lived at the same time. This state of affairs, surely related to the class struggle, won’t be changed by honda atlas, another gloss on the concept of histor blue suture. Someone will remark that at least #381;i#382;ek loves movies. To this there’s an easy reply.

Who doesn’t? 1 : Colin MacCabe, “Days of Hope-A Response to Colin McArthur,” Screen 17, 1 (Spring 1976), 103. 2 : Ben Brewster, Stephen Heath, and Colin MacCabe, “Comment,” Screen 16, 2 (Summer 1975), 87. 3 : Thanks to Benjamin Noys for pointing this out to me. 4 : I can’t resist adding that #381;i#382;ek’s third chapter, devoted to the notion of suture, misses another opportunity. Instead of recycling confused 1960s and 1970s claims about point-of-view cutting, he could have attacked the cognitivist criticisms of suture theory that I float in Narration in the Fiction Film (Madison, 1985), 110113. 5 : Ben Brewster and Lea Jacobs, Theatre to Cinema: Stage Pictorialism and honda the Early Feature Film (Oxford: Oxford University Press, 1998).

See the many discussions of define 1917 releases in atlas the book, as well as the analysis of (1919), 133-136. See also Ben Brewster, “The Circle: Lubitsch and the Theatrical Farce Tradition,” Film History 13, 4 (2001), 372389. 6 : Ben Brewster and psychological contract Colin MacCabe, “Editorial: Semiology and honda atlas Sociology,” Screen 15, 1 (Spring 1974), 78. 7 : Colin MacCabe, “Postscript to macrosystem define May 1968,” Tout va bien program booklet, Criterion DVD no. 275 (2005), 20.

9 : I say idiosyncratic because #381;i#382;ek says (and he’s apparently not being playful here): “The basic rule of dialectics is thus: whenever we are offered a simple enumeration of subspecies of a universal species, we should always look for the exception to the series” (27). Honda! I’m not sure that Hegel would agree that this is the basic rule, but it’s a good research strategy. Always look out for counterexamples to dangerous game general universal claimsespecially those made by psychoanalytic theory! Remarkably, #381;i#382;ek goes on: “For example, it is my conjecture that the key to honda atlas Hitchcock’s entire opus [sic] is the film which is semantic scale, integral and at the same time an exception. The Trouble with Harry (1954)” (27). Ontology and epistemology, not argued for but rather illustrated, and by a Hitchcock movie at honda atlas that: such is the zigzag of the #381;i#382;ekian dialectic. 11 : All these quotations come from Robert S. Semantic Scale! Boynton, “Enjoy Your #381;i#382;ek!” Lingua Franca 8, 7 (October 1998): 4150. 12 : Alexei Monroe, “The Fright of Real Theory,” in honda Kinoeye: New Perspectives on European Film , available at http:/www.kinoeye.org/01/04/monroe04.php.

14 : To be fussily philosophical, if this distinction is true “by definition” it can only the story of an by kate chopin, be a deductive truth (which it obviously isn’t) or a stipulative definition posited by the speaker. If it’s the latter, we require further conceptual or empirical proof that the stipulation is reasonable. #381;i#382;ek provides none. 15 : Frederick Crews, “‘Kafka Up Close’: An Exchange,” New York Review of honda Books (7 April 2005), 80. have comments about the nen aura, state of this website? go here.

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