Children Development

Introduction Children development is a very complicated process. Trying to unite different ages in groups with he purpose to give some particular characteristics, scientists used the range of ages as children development may differ and some children at 4 years may possess skills and knowledge which others will acquire only at 6. There are particular norms which deviate in the issues of children development. Speaking, listening and comprehension, reading and writing are the main aspects according to which children development is accessed.Advertising We will write a custom essay sample on Children Development specifically for you for only $16.05 $11/page Learn More Early childhood (2-6) and middle childhood (6-10) are two age groups which stand close, however, children development at each of these stages is absolutely different. Giving the general characteristics of each of the stages mentioned above (early childhood and middle childhood) this paper aims t o consider the differences in language development, reading and writing. Comparative and contrast analysis is going to help in the future choice of reading and writing tasks for children of different age groups. Short Description of the Stages Early childhood stage (2-6 years) leads children through many physical, cognitive and social changes. Children at this age form stable reasoning aspects which help them develop their cognitive and mental thinking processes. Children at this age develop intuitive reasoning, their reason and consequence connections become more logical. At middle childhood stage (6-10 years) children are able to complete more complicated thinking processes. The reasoning becomes more refined and detailed. Here is a detailed comparative and contrast analysis of the language skills, reading and writing development of children at two different stages, early childhood and middle childhood. Comparative and Contrast Analysis Early childhood (2-6) Middle childhood ( 6-10) Language skills Children of this age rapidly increase and advance their vocabulary Lack of understanding of some simple words and desire to know their meaning Understanding of the â€Å"good listening† Overregularization Difficulty in pronunciation Contrast abilities Temporal words and comparatives become more understandable Lack of knowledge of the irregular words Literal understanding of information Improved pronunciation Interpretation of the heard information Ability to dwell upon a specific topic The ability to create a story with the cause-and-effect reasoning Linguistic creativity Word play Reading Reading while playing Children of this age are able to relate sounds to letters Identification of some words in the context which is familiar for children Use of the distinctive features of the world The ability to hear phonemes is separately taken words Word decoding skills are improved Increased reading-fluency Learning the skills of silent reading Drawing inferences out of the read information Writing Muscular control is increased in drawing Writing of the elements of the letters and the abilities to connect them Pseudowriting Writing of the personal name and the simplest words, e. g. mom, dad, etc. Writing of all the letters in the alphabet (after 4) Invented spellings Smoothness of handwriting is increased Size of the letters is decreased Writing of the sentences and stories is dominating over the writing of the simple words Appearance of the difficulties connected with identifying problems in personal wiring (problems connected with clarity are the most common ones Table 1. Comparative and contrast characteristics of the age groups, early childhood and middle childhood (McDevitt, Ormrod, 2004, p. 308) Each of the characteristics considered above influences the tasks teachers give. Having analyzed the characteristic features of each stage, it is possible to enumerate some exercises which may help to promote children development. Here are some specific tasks which may strengthen students’ reading or writing skills in each developmental stage. The exercises are aimed at strengthening the already existing skills and improving them. Teachers may give students the task to work individually or in groups. Early childhood (2-6) Middle childhood (6-10) Reading Reading aloud for children of the books with pictures with striking content Use of hands-on activities and engaging for learning letters Use of pictures, rhymes and games for teaching letter-sound correspondence Reading of the simplest words Aloud reading of different literature as the way to encourage children to get to know more via reading personally Reading of the words on the pictures Composing words out of the letters Reading of the simplest sentences Connecting words and pictures (stable words and activities) Learning of the families of words Reading of the books with short stories (stories should be familiar for children in most cases) Small group discussion exercises where children read the story and discuss some particular aspects of the read data Making children read more while classes aloud Completing the story by one of the offered paragraphs Reading and answering the questions Fulfilling the correct words into the stories Writing Writing of the elements of the letters after the sample Connection of the letter elements Trying to draw the letters as children see them Drawing various lines Writing personal names and other words which they seem interesting for them Giving children an opportunity to write the words of what they want (ball, doll, ice-cream, cake, etc.) Engaging children in authentic writing Writing short stories, letters (creating personal or composing an answer) Writing descriptions (about myself, about my cat, about my parents, about my house) Finding mistakes as the way to increase literacy Inserting a missed letter into a word Correcting the mistakes n the te xt with the continued writing of the story Description in writing of what is seen Rewriting of the text Describing personal activities Writing of the dictated words Table 2. List of the possible exercises aimed at developing reading and writing in different age groupsAdvertising Looking for essay on psychology? Let's see if we can help you! Get your first paper with 15% OFF Learn More Therefore, it may be concluded that language skills, reading and writing development differ greatly at various stages of children development. Depending on the age of children, various exercises and activities may be used for reading and writing development. Teachers are to understand that many children have various levels of development. Therefore, the tasks they should give to them should be created specially for them. However, teachers should also try to improve the skills of those who leg behind in order to make sure that all children have managed to reach the average level of de velopment in accordance to the age stage. Children with the higher reading and writing abilities should be offered more complicated tasks as the additional ones after the common tasks are completed. Reference List McDevitt, T. M., Ormrod, J. E. (2004). Child development: Educating and working with children and adolescents (2nd ed.). Upper Saddle River, NJ: Pearson. This essay on Children Development was written and submitted by user Brycen T. to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Timeline From 1810-1820 (Waterloo, War of 1812)

Timeline From 1810-1820 (Waterloo, War of 1812) Decade By Decade: Timelines of the 1800s 1810: May 23, 1810: Margaret Fuller, editor, writer, and feminist icon, was born in Massachusetts.June 23, 1810: John Jacob Astor formed the Pacific Fur Company.July 5, 1810: American showman Phineas T. Barnum was born in Bethel, Connecticut.September 1810: The Tonquin, a ship owned by John Jacob Astor departed New York City bound for the Pacific Northwest, as part of Astors plan to establish a fur-trading settlement at the mouth of the Columbia River. 1811: February 3, 1811: Legendary newspaper editor Horace Greeley was born in Amherst, New Hampshire.May 11, 1811: Chang and Eng Bunker, famous conjoined twins, were born in Siam, which will lead to them becoming known as the Siamese Twins.June 14, 1811: Harriet Beecher Stowe, author of Uncle Toms Cabin, was born in Litchfield, Connecticut.Summer 1811: Work began on the National Road, the first federal highway.November 7, 1811: Troops led by William Henry Harrison defeated Tecumseh at the Battle of Tippecanoe.December 16, 1811: The New Madrid Earthquake struck the Mississippi Valley. 1812: February 7, 1812: British novelist Charles Dickens was born in Portsmouth, England.March 15, 1812: The Luddites, who were opposed to machines being used in manufacturing, attacked a wool factory in England.March 26, 1812: An earthquake leveled Caracas, Venezuela.June 1, 1812: President James Madison asked Congress for a declaration of war against Britain. The causes of the War of 1812 were varied, and included impressment of American sailors.June 18, 1812: The United States Congress declared war on Britain, though opposition to the War of 1812 was strong.June 24, 1812: Napoleon invaded Russia.August 19, 1812: The USS Constitution battled HMS Guerriere and the American ship was victorious.October 1812: Napoleon began his retreat from Moscow.November 5, 1812: James Madison won the U.S. presidential election of 1812, defeating Dewitt Clinton. 1813: The Casselsmans Bridge was built in Maryland as part of the National Road, and was the longest stone arch bridge in America at the time.April 23, 1813: Stephen Douglas, U.S. Senator and rival of Abraham Lincoln, was born in Brandon, Vermont.April 27, 1813: Zebulon Pike, soldier and explorer, was killed at the age of 34 during the War of 1812 in action at York, Ontario, Canada.June 24, 1813: Henry Ward Beecher, American clergyman and reformer, was born in Litchfield, Connecticut.October 5, 1813: Tecumseh, 45-year-old Shawnee leader, was killed by American troops at the Battle of the Thames in Canada. 1814: January 1814: The British government approached Americans, offering to begin negotiations to end the War of 1812.August 24, 1814: British troops landed in Maryland, marched to Washington, D.C., and burned the U.S. Capitol and the Executive Mansion (which would later be called the White House).September 13, 1814: A British fleet bombarded Fort McHenry in Baltimore, Maryland. A British land force simultaneously battled Baltimores defenders on land, at the Battle of Baltimore.September 14, 1814: On the morning after the British bombardment of Fort McHenry, Francis Scott Key saw the American flag still flying and wrote The Star-Spangled Banner. Keys lyrics accurately described the Congreve rockets fired during the night.December 24, 1814: American and British negotiators in Belgium signed the Treaty of Ghent, which formally ended the War of 1812. 1815: January 8, 1815: Diverse American forces commanded by Gen. Andrew Jackson defeated British attackers at the Battle of New Orleans. As news traveled slowly, neither side knew the war had actually ended with the Treaty of Ghent weeks earlier.February 1, 1815: Irish political leader Daniel OConnell reluctantly fought a duel outside Dublin and killed his opponent.April 1, 1815: Otto von Bismarck, German statesman, was born in Prussia.April 5-12, 1815: The volcano at Mt. Tambora in Indonesia erupted in a series of explosions over a span of days. Volcanic ash blown into the atmosphere would affect weather worldwide for a year.June 18, 1815: Napoleon was defeated by the Duke of Wellington at the Battle of Waterloo.July 1815: In the Second Barbary War, an American fleet commanded by Stephen Decatur and William Bainbridge defeated the Barbary Pirates. 1816: 1816 became known as The Year Without a Summer as volcanic ash from the Mt. Tambora volcanic eruption caused lower temperatures throughout the world.November 6, 1816: James Monroe was elected president of the United States, defeating Rufus King. 1817: In 1817 a legendary supernatural creature, The Bell Witch, began terrorizing a family on a Tennessee farm.March 4, 1817: James Monroe took the presidential oath of office outdoors, as the U.S. Capitol was still being rebuilt after its burning by the British.July 4, 1817: Construction began on the Erie Canal.July 12, 1817: Author and naturalist Henry David Thoreau was born in Concord, Massachusetts. 1818: The first packet liners began sailing between New York City and Liverpool.February 1818: Abolitionist author Frederick Douglass was born into slavery on a plantation in Maryland.May 5, 1818: Karl Marx, German philosopher, was born in Prussia.December 13, 1818: Mary Todd Lincoln, American first lady, was born in Lexington, Kentucky. 1819: The Panic of 1819 was the first great financial panic of the 19th century.May 24, 1819: Queen Victoria was born at Kensington Palace, London, England.May 31, 1819: American poet Walt Whitman was born at West Hills, Long Island, New York.August 1, 1819: Author Herman Melville was born in New York City.August 26, 1819: Prince Albert, husband of Queen Victoria, was born in Germany.

AB Volvo within the last three years (2014, 2013, and 2012) Research Paper

AB Volvo within the last three years (2014, 2013, and 2012) - Research Paper Example †¢ In order to evaluate the potential of investing in a business, the first step is to evaluate the profitability of the business by determine how the business has performed based on its recent history. †¢ The analysis will involve digging into financial reports for AB Volvo within the last three years (2014, 2013, and 2012). The financial factors to consider in the analysis will determine the business’s current net worth, its sales and expense trends and identify the company’s strengths and weaknesses. o The company’s budgets and tax returns since 2012 o An analysis of the company’s balance sheet to determine a list of current assets, liabilities and net worth o An analysis of the current accounts receivables o Analyzing the cash flow projections o Analyzing the profit and loss statements †¢ The analysis will also consider an evaluation of ratios that are key to making investment decisions. The ratios will evaluate the performance activity, liquidity, financing, and activity within AB Volvo: †¢ Performance Activity o Book Value Per Common Share o Cash Return On Assets o Vertical Analysis o Dividend Payout Ratio o Earnings Per Share o Gross Profit Margin

History Assignment Example | Topics and Well Written Essays - 250 words - 21

History - Assignment Example Therefore, they transformed the environment into a rich agricultural sector (Blanco & Sanborn, 1993). However, these natives were still behind in innovations and technology. Initially, their proximity with wild animals resulted to illnesses that could not be cured. Many of them died due to lack of medical technology. Also, they did not possess any weapons, which put them to a disadvantage to the Europeans who had weapons. The Europeans were able to invade them and occupy most of the land due to their vulnerability (Blanco & Sanborn, 1993). .The European had experienced religious reforms. When they invaded North America, they intended to convert the Indians to Christianity. England chartered colonies in America for the purpose of colonization and trade (Blanco & Sanborn, 1993). Spain established colonies in North America because they intended to explore gold and silver. The native people resisted colonization by downing their tools. They halted all their economic activities. The natives died as a result of diseases, leading to reduction in labour force. Therefore, the Spanish imported slaves to replace servitude as a source of labour. The Spanish introduced mercantilism sin order to dominate trade. The southern colonies supported this processing by accepting imports from the Northern America. This is because they benefited more than the Northern colonies (Blanco & Sanborn,

Scaricity of Healthcare Resources Essay Example | Topics and Well Written Essays - 2500 words

Scaricity of Healthcare Resources - Essay Example hilosophical biomedical ethical issues have developed in complexity as they are influenced by a number of factors including religion, law, anthropology and sociology. Each of the influencing factors is complex by themselves and this tends to make the biomedical ethical issues even more confusing for the healthcare service providers, especially as they are in the forefront in the use of the massive technological developments that have been in the recent past. The origins of the practical normative ethics of biomedical ethics goes back to the school of thought normally associated with Hippocrates and the famous Hippocratic oath. This oath sums up the school of thought on the ethical principles of curing and healing. The emphasis in the early days of medical history was on healing and not on curing, as the means of curing diseases was limited. Helping people to cope with diseases that had inflicted them had more relevance. The mode of intervention was left to the judgment of the physician. Thus the first principles of biomedical ethics of beneficence and nonmaleficence were laid. Even today there are many who believe that the goals of medicine remain in these complimentary factors of curing and healing. The subsequent history of bio-ethics is limited to interpretations of Galen in the second century and the opposing views expressed by Vesalius thirteen centuries later. However the next significant step in the development of biomedical ethics was seen in 1803, through the expressions of Thomas Percival, in his work Medical Ethics. Percival expanded the prevalent biomedical ethics of beneficence and nonmaleficence to incorporate the idea of the professional responsibility of physicians and their responsibility to society. Thus introducing the third principle in development of biomedical ethics in the form of justice. Further development in the principles of bioethics was seen in the 1960s and 1970s. Concern on the medical treatment procedures without proper

Cinema Sequels And Remakes

Cinema Sequels And Remakes Preamble: The remake is both an industrial and a critical genre. Defined primarily in relation to a body of copyright law, the acknowledged or credited remake develops from being an ethical solution to the early practice of duping to become an economically driven staple of the Hollywood industrial mode of representation. Following the Hollywood recession of 1969 and the small-and-weird-can-be-beautiful-revolution of the early seventies, the remake (along with the sequel) becomes typical of the defensive production and marketing strategies of a post Jaws Hollywood. In the case of the unacknowledged remake, the absence of a production credit shifts attention from a legal-industrial definition to a critical-interpretive one, in which the remake is determined in relation to a general discursive field [that] is mediated by the structure of the [filmic] system and by the authority of the [film and] literary canon (Frow, Intertextuality and Ontology 46). In either instance, the intertextual referentiality between a remake and its `original is largely extratextual (Friedberg 175), located in historically specific technologies and institutional practices such as copyright law and authorship, canon formation and film literacy. In their almost one thousand page long Cinema Sequels and Remakes, 1903-1987, Roben Nowlan and Gwendoline Wright Nowlan devote not quite two full pages to explaining the selection criteria for one thousand and twenty five alphabetically listed primary films and the many more associated remakes and sequels that make up their reference volume. The brevity of Nowlan and Nowlans introduction is attributable to the fact that they make little attempt to define either remake or sequel, but rather take these as received categories, i.e., their principal criterion for selection is that a film has been previously designated as a remake or sequel in any two or more of a number of unidentified but reliable source[s], which list remakes and sequels of certain genres of films (xi-xii). While this type of lax definition makes for a wide selection of material and does not preclude the inferential reconstruction of at least some of the unspecified principles of selection (through an examination of th ose films that have been included), Nowlan and Nowlans intuitive approach underscores the extent to which the remake is conceived more through actual usage and common understanding than through rigorous definition.(1) While Nowlan and Nowlan put aside problems of categorization to list thousands of films, Michael B. Druxmans more modest (in scope) Make It Again, Sam, which sets out to provide a comprehensive dissertation on the remake practice by detailing the film life of [thirty-three] literary properties (9), attempts to ground its selection in some preliminary definitions. Druxman begins by electing to limit the category of remake to those theatrical films that were based on a common literary source (i.e., story, novel, play, poem, screenplay), but were not a sequel to that material (9). This seemingly infallible signpost is however complicated by those films that are obviously remakes [but] do not credit their origins (9). In such cases Druxman adopts a heuristic devicea rule of thumbwhich requires that a new film borrow more than just an element or two from its predecessor to qualify (9). This in turn allows Druxman to distinguish between nonfiction films of a single historical incident or b iography of a historical figure (e.g., the mutiny on the Bounty or the life of Jesse James) which differ because they are based around competing versions of the same incident, and those nonfiction films of a like historical incident which are similar even though they are based upon diverse literary sources (9). As might be expected from an approximate rule which arbitrates according to whether a films borrowings are significant or only amount to an element or two, Druxman ultimately admits that there were many marginal situations [in which he] simply used [his] own discretion in deciding whether or not to embrace [a film as a remake] (9). Although Druxmans recognition of unacknowledged remakes introduces a number of methodological difficulties, he funkier grounds his discussion by viewing Hollywood remaking practice as a function of industry pragmatism, driven by three major factors. Firstly, Druxman argues that the decision to remake an existing film is primarily a voluntary one based on the perceived continuing viability of an original story. However, industry demand for additional material during the studio-dominated era of the thirties and forties and attempts to rationalize the often high costs of source acquisition prompted studios to consider previously filmed stories as sources for B pictures, and even for top of the bill productions (13). As Tino Balio points out, the Hollywood majors had story departments with large offices in New York, Hollywood, and Europe that systematically searched the literary marketplace and stage for suitable novels, plays, short stories, and original ideas (99). Taking as an example story acquisitions at Warner Brothers between 1930 and 1949, Balio notes that the pattern of source acquisition demonstrates two often contradictory goals: (1) the desire to base films on pretested material, that is, low-risk material that was already well known and well received by the public and (2) the desire to acquire properties as inexpensively as possible, especially during declining or uncertain economic circumstances (Robert Gustafson qtd. in Balio 99). In practice this meant that while Warners often invested in expensive pre-sold properties, such as best-selling novels and Hollywood hit plays, it offset the high costs of pretested properties by using original screenplays written in its screenwriting department and by relying heavily on `the cheapest pretested material of allearlier Warner pictures (99). Druxmans second, related point is that the customary studio practice at the time of purchasing the rights to novels, plays, and stories in perpetuity meant that a company was able to produce multiple versions of a particular property without making additional payments to the copyright holder (15). Canonized classics of literature, such as Treasure Island and The Three Musketeers, not only had pre-sold titles, but because they were in the public domain, had the added advantage of requiring no initial payment for their dramatic rights (18-20). While the majority of recycled, previously purchased source material (particularly from those films that had done fair to poorly at the box office) made its way into B-unit production (Balio 100), high profile titles were sometimes remade to take advantage of new technologies and practices. Accordingly, Druxmans third and final point relates to the profit potential of redoing established films in order to exploit new stars or screen techniques, e .g., Michael Curtizs 1938 version of The Adventures of Robin Hood as both a vehicle for Errol Flynn and a sound and Technicolor update of the Douglas Fairbanks silent epic, Robin Hood (Allen Dwan, 1922) (15). Druxmans initial definition and the above factors of industry pragmatism allow him to posit three general categories of Hollywood remake: (i) the disguised remake: a literary property is either updated with minimal change or retitled and then disguised by new settings and original characters, but in either case the new film does not seek to draw attention to its earlier version(s), e.g., Colorado Territory (Raoul Walsh, 1949) as a disguised remake of High Sierra (Raoul Walsh, 1941); (ii) the direct remake: a property may undergo some alterations or even adopt a new title, but the new film and its narrative image do not hide the fact that it is based upon an earlier production, e.g., John Guillermins 1976 remake of King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933); and (iii) the non-remake: a new film goes under the same title as a familiar property but there is an entirely new plot, e.g., Michael Curtizs 1940 version of The Sea Hawk is said to bear little relation to First Nationals 1924 adaptation of the Rafael Sabatini novel (13-15).(2) While Druxmans account of the remake raises a number of salient points, among them the role that credits and promotions play in the identification of remakes, the publication of Make It Again, Sam prior to the post-Jaws renovation of Hollywood and the transformation of film viewing through videotape and other recent technologies of storage and reproduction make the book somewhat backward-looking. In order to consider some aspects of the remake as a media-intertext, particularly in relation to new Hollywood remakes, it is helpful to turn to a more recent typology of the remake, Thomas M. Leitchs Twice-Told Tales.(3) Leitch begins his account by making a number of points about the singularity of the remake both among Hollywood films and even among other types of narratives: [t]he uniqueness of the film remake, a movie based on another movie, or competing with another movie based on the same property is indicated by the word property. Every film adaptation is defined by its legally sanc tioned use of material from an earlier model, whose adaptation rights the producers have customarily purchased (138). Putting aside for the moment the fact that this description immediately excludes those obvious remakes which do not acknowledge their previous source, the point Leitch wishes to make is that although adaptation rights (e.g., film adaptation rights of a novel) are something producers of the original work have a right to sell, it is only remakes that compete directly and without legal or economic compensation with other versions of the same property (138): [R]emakes differ from adaptations to a new medium because of the triangular relationship they establish among themselves, the original film they remake, and the property on which both films are based. The nature of this triangle is most clearly indicated by the fact that the producers of a remake typically pay no adaptation fees to the makers of the original film, but rather purchase adaptation rights from the authors of the property on which that film was based, even though the remake is competing much more directly with the original filmespecially in these days of video, when the original film and the remake are often found side by side on the shelves of rental outletsà ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬than with the story or play or novel on which it is based. (139) Taking as an initial proposition the triangular relationship among a remake, its original film, and the source for both films, Leitch suggests that any given remake can seek to define itself either with primary reference to the film it remakes or to the material on which both films are based; and whether it poses as a new version of an older film or of a story predating either film, it can take as its goal fidelity to the conception of the original story or a revisionary attitude toward that story (142). Accordingly, Leitch outlines the following quadripartite typology of the remake: (i) readaptation: the remake ignores or treats as inconsequential earlier cinematic adaptations in order to readapt as faithfully as possible (or at least more faithfully than earlier film versions) an original literary property, e.g., the film versions of Shakespeares Hamlet (Laurence Olivier, 1948; Tony Richardson, 1969; and Franco Zeffirelli, 1990) and Macbeth (Orson Welles, 1948; Roman Polanski, 1971 ); (ii) update: unlike the readaptation that seeks to subordinate itself to the essence of a literary classic, the update competes directly with its literary source by adopting an overtly revisionary and transformational attitude toward it, e.g., West Side Story (Robert Wise and Jerome Robbins, 1961) and China Gil (Abel Ferrara, 1987) as transformed remakes of filmed versions of Romeo and Juliet (George Cukor, 1936; Franco Zeffirelli, 1968); (iii) homage: like the readaptation, which seeks to direct the audiences attention to its literary source, the homage situates itself as a secondary text in order to pay tribute to a previous film version, e.g., Brian de Palmas Obsession (1975) and Body Double (1986) as homages to Alfred Hitchcocks Vertigo (1958), and Rainer Werner Fassbinders Fear Eats the Soul (1973) as a tribute to the Douglas Sirk version of Magnificent Obsession (1954); (iv) true remake: while the homage renounces any claim to be better than its original, the true remake de al[s] with the contradictory claims of all remakesthat they are just like their originals only betterby . . . combin[ing] a focus on a cinematic original with an accommodating stance which seeks to make the original relevant by updating it, e.g., Bob Rafelsons 1981 remake of The Postman Always Rings Twice (Tay Garnett, 1946), and Lawrence Kasdans Body Heat (1981) as a remake of Double Indemnity (Billy Wilder, 1944) (142-45). Leitch concludes that, unlike readaptations, updates, and homages, which only acknowledge one earlier text (literary in the first two cases and cinematic in the third), true remakes [emphasize] a triangular notion of intertextuality, since their rhetorical strategy depends on ascribing their value to a classic earlier text [i.e., an original property such as James M. Cains novel, The Postman Always Rings Twice], and protecting that value by invoking a second earlier [film] text as betraying it [Garnetts version as a watered-down film noir, probably due to limita tions imposed by the MGM studio and the Production Code of the forties] (147). While Leitchs recognition of the significance of a literary property, and in particular the relationship of a film adaptation and its remake to that property, leads to what at first appears to be a more nuanced typology than that outlined by Druxman, further consideration reveals a number of difficulties, not only among Leitchs four categories but in relation to his preliminary suppositions. Firstly, while the ubiquity of the Hollywood remake might understandably lead Leitch to conclude that the remake is a particularly cinematic form,(4) we might question to what extent it differs from the remaking of songs in the popular music industry. That is, how does the triadic relationship between (i) the Pet Shop Boys long remake (of their earlier, shorter remake) of Always on My Mind, (ii) the 1972 version of the same song by Elvis Presley, and (iii) the original property (music and lyrics written by Thompson James Christopher, and published by Screen Gems/EMI), differ appreciably from the triangular relationship for the film remake as described by Leitch? Or, to take as another example a case that underscores Leitchs overestimation of the economic competition a remake creates for a former adaptation, the Sid Vicious remake of My Way (and even Gary Oldmans remake of the same performance for Alex Coxs Sid and Nancy [1986]) competes culturally, but not economically, with Frank Sinatras earlier adaptation of a property written by Reveaux, Francois, and Anka. These examples, and others from the popular music industry, adequately conform to, and so problematize, Leitchs initial claim that the film remake is unique because of the fact that its producers typically pay no adaptation fees to the makers of the original [version], but rather purchase adaptation rights from the authors [publishers] of the property on which that [version] was based (139). A second limitation is that while Druxman at least acknowledges the difficulty of identifying and categorizing those films that are obviously remakes [but] do not credit their origins (9), Leitch remains curiously silent in this respect. For instance, Leitch considers Body Heat a true remake of Double Indemnity, but he does not comment upon the fact that the films credits do not acknowledge the James M. Cain novel as a source; similarly, Leitch takes Obsession and Body Double to be homages to Vertigo, but he fails to note that neither of the films credit either the Alec Coppel and Samuel Taylor screenplay or the Pierre Boileau and Thomas Narceiac novel, Dentre les morts, upon which the Hitchcock film is based. While I will return to the question of identifying unacknowledged remakes, Leitchs insistence upon the connection between three elementsa remake, an earlier version, and a literary propertypresents a further difficulty in that it marginalizes those instances in which a dyadic r elationship exists between a remake and a previous film that is itself the original property. Although it might be objected that a published original screenplay constitutes a discrete property, the point to be made here is that the remake of an original film property, such as John Badhams The Assassin [Point of No Return] (1994), does not compete directly and without legal or economic compensation with its earlier version, but (generally) pays adaptation fees to the copyright holder of the original film upon which it is based (in this example, Luc Bessons [La Femme] Nikita [1990]).(5) The example of the American remake of Nikita not only demonstrates that a triangular relationship fails to accommodate remakes of those films based upon original stories and screenplays, but highlights the difficulty of Leitchs suggestion that remakes compete with earlier versions and his belief that successful remakes supersede and so typically threaten the economic viability of their originals (139). To stay with the example of the French-Italian production of Nikita, it seems doubtful that, having successfully played an art-cinema circuit and having been released to home video (variously under the categories of cult, festival, and arthouse), the appearance of The Assassin, initially as a first run theatrical release and then as a mainstream video release would have any appreciable impact (either positive or negative) upon the formers economic viability. Admittedly, The Assassin was not promoted as a remake of the Besson film, but even a widely publicized remake such as Martin Scor seses 1991 version of Cape Fear(6) did not occasion the burial, or even diminish the cult following, of J. Lee Thompsons earlier (1961) version. On the contrary, the theatrical release of the Scorsese film (accompanied by press releases and reviews foregrounding its status as remake) prompted first a video release and then a prime-time national television screening of the Thompson version. The reciprocity of the two versions is further exemplified by Sight and Sounds running together of a lead article by Jim Hoberman on Scorsese and Cape Fear and a second, briefer article comparing the two versions ([n]ovelist Jenny Diski watches a video of the first Cape Fear and the Scorsese remakeand compares them) and giving details of the availability of the (then recently) re-released CIC video of the 1961 version (see Hoberman Sacred and Profane; Diski The Shadow Within). While reciprocity may not always be the casein the international marketplace a local remake may supplant an earlier forei gn language and/or culture version(7)it seems that contemporary remakes generally enjoy a more symbiotic relationship than Leitchs account would have us believe. While the above examples suggest that Leitch overestimates the extent to which some remakes compete with original film versions, his recognition of the impact that innovations in television technology, particularly home video, have had upon shaping the relationship between a remake and its earlier versions should not be underestimated. Leitch states that during the studio-dominated era of the thirties and forties it was at least in part the belief that films had a strictly current value that enabled studios such as Warners to recycle The Maltese Falcon three times in ten years (Roy Del Ruth, 1931; William Dieterle, 1936 [as Satan Met a Lady]; and John Huston, 1941) and release many unofficial remakes of its own films (139), although the re-release of successful features, particularly during the late forties and early fifties, gave some films a limited currency outside their initial year of release (see McElwee), the majority of films held in studio libraries were not available for re -viewing until the mid-fifties when the major studios decided to sell or lease their libraries to television. The release of thousands of pre-1948 features into the television market not only gave the general public the opportunity to see many films that had been held in studio archives since their initial year of release, but provided the possibility of seeing different versions of the same property, produced years or even decades apart, within weeks or even days of each other. Moreover, the television broadcasting of films provided the further possibility of viewing remakes outside of the temporal order of their production, i.e., the repeated screening of the same features meant that it was inevitable that the broadcast of a remake would precede the screening of its original. While Leitch does not address the impact of television, his recognition that a remake and its original circulate in the same video marketplace draws attention to the fact that the introduction of an informati on storage technology such as videotape radically extends the kind of film literacy, the ability to recognize and cross-reference multiple versions of the same property, that is inaugurated by the age of television. The ever-expanding availability of texts and technologies and the unprecedented awareness of film history among new Hollywood filmmakers and contemporary audiences are closely related to the general concept of intertextuality, an in principle determination which requires that texts be understood not as self-contained structures but as the repetition and transformation of other [absent] textual structures (Frow, Intertextuality and Ontology 45). Generally speaking, in the case of remakes these intertextual structures are stabilized, or limited, through the naming and (usually) legally sanctioned (i.e., copyrighted) use of a particular literary and/or cinematic source which serves as a retrospectively designated point of origin and semantic fixity. In addition, the intertextual structures (unlike those of genre) are highly particular in their repetition of narrative units, and these repetitions most often (though certainly not always) relate to the order of the message rather than to t hat of the code (45).(8) While these factors yield some degree of consensus, any easy categorization of the remake is frustrated by (i) films which do not credit an original text, but which repeat both general and particular elements of the originals narrative unfolding, e.g., Body Heat as an uncredited remake of Double Indemnity and The Big Chill (Lawrence Kasdan, 1983) as an unacknowledged remake of The Return of the Secaucus Seven (John Sayles, 1980);(9) and (ii) films based on a like sourcea literary work or historical incidentbut which differ significantly in their treatment of narrative units, e.g., The Bounty (Roger Donaldson, 1984) as a non-remake of Mutiny on the Bounty (Frank Lloyd, 1935 and Lewis Milestone, 1962). Furthermore, the intertextual referentiality between either non-remakes or unacknowledged remakes and their originals is to a large extent extratextual (Friedberg 175-76), being conveyed through institutions such as film reviewing and exhibition, for example, th e BFI/National Film Theatres programmed describes four films from Paul Schrader scriptsTaxi Driver (Martin Scorsese, 1976), Rolling Thunder (John Flynn, 1977), Hardcore, and Patty Hearst (Paul Schrader, 1979 and 1988)as updates of The Searchers (John Ford, 1956) (The Searchers: A Family Tree). In the case of Leitchs typology, we have seen that the remake is categorized according to whether the intertextual referent is literary (the readaptation, the update) or cinematic (the homage, the true remake). In the latter case, Leitch states that while homages, such as The Thing (John Carpenter, 1982) and Invaders from Mars (Tobe Hooper, 1986), establish direct intertextual relations to their original films, these quotations or rewards take the form of throwaway jokes whose point is not necessary to the [films] continuity, and which therefore provide an optional bonus of pleasure to those in the know (141). While this may seem consistent with Umberto Ecos account of the intertextual dialogue (i.e., the instance where a quotation is explicit and recognizable to an increasingly sophisticated, cine-literate audience), what Leitch does not sufficiently stress is that his examples of the homage (and of the true remake)all drawn from the new Hollywood cinemasuggest a historically speci fic response to a post-modern (or post-Jaws) circulation and recirculation of images and texts. This does not mean that the classical Hollywood remake never takes an earlier film as its intertextual referent, but rather that, as the continuity system develops through the pre-classical period (1908-17), direct intertextual referentiality is displaced by an industrial imperative for standardization which prioritizes the intertextual relation of genres, cycles, and stars. Accordingly, as the classical narrative strives to create a coherent, self-contained fictional world according to specific mechanisms of intratextual repetition (or alternation), direct intertextual referentiality to either and/or both literary properties (novels, short-stories, plays, etc) and earlier film versions becomes an extratextual referentiality, carried by such apparatuses as advertising and promotional materials (posters, lobby cards, commercial tie-ins, etc), motion picture magazines, review articles, and academic film criticism. What seems to happen with the new Hollywood cinema, particularly in the case of remakes, is that while the intratextual mechanisms of classical continuity are mostly respected, extratextual referentiality is sometimes complemented by what is perceivedwithin specific interpretive communitiesas the explicit and recognizable intertextual quotation of plot motifs and stylistic features, peculiar to earlier film versions. To take a general example, the narrative of Unforgiven (Clint Eastwood, 1992) assumes as its primary intertexts the revisionist westerns of the sixties and seventies, and the Eastwood star persona, but (re)viewers additionally see the film as a kind of sequel (the Will Munny character as the now aged Man-with-no-name, from Eastwoods spaghetti westerns) and as a homage to the films of both Sam Peckinpah and John Ford.(10) More specifically, Martin Scorseses remake of Cape Fear may be said to work perfectly well as a conventional thriller (a psychopath attacks a normalin t his case, dysfunctionalAmerican family), but the new Cape Fear also assumes [in its reworking of the original Bernard Herrmann score and the casting of original lead players in cameo roles] that the viewer has seen the earlier one, perhaps even as recently as Scorsese himself (Hoberman 11). Another example, Jim McBrides Breathless (1983), not only quotes the Godard original (A bout de souffle, 1959) in its smallest detail (a characters name, a players gesture), but more generally embraces Godards enthusiasm for American pop-cultural iconography: the title song, Breathless, by the KillerJerry Lee Lewis; the Roy Lichtenstein-type lifts from Marvel Comics The Silver Surfer, the collectable American automobilethe 1957 Ford Thunderbird, the 1959 Cadillac Eldorado. Finally, while it is possible to find similar examples in the classical cinema,(11) the point to be made here is that the type of intertextual referentiality which characterizes (some) contemporary American film circulates in a historically specific context, i.e., the identification of, and indeed the commercial decision to remake, an earlier film is grounded in particular extratextual, institutional, or discursive practices. As in Noel Carrolls discussion of new Hollywood allusionism, the question of intertextual referentiality needs to be related to the radical extension of film literacy and the enthusiasm for American film history that took hold in the United States during the sixties and early seventies. Partly made possible by the release of Hollywood features to television (which had come to function like a film archive) and the wider accessibility of new technologies (e.g., 16mm film projection), this re-evaluation, or legitimization, of Hollywood cultural product was underwritten by such additional factors as the importation of the French politique des auteurs, the upsurge of repertory theatre short-seasons, the expansion of film courses in American universities, and the emergence of professional associations such as the American Film Institute. Accordingly, and this is evident from the above examplesUnforgiven, Cape Fear, Breathlessthe selection and recognition of films, and bodies of films, for quotation and reworking (the work of auteurs, Ford and Peckinpah; the cult movie, Cape Fear, the nouvelle vague landmark, A bout de souffle) can be located in the institutionally determined practice of film canon formation and its contributing projectsthe discussion and citation of particular films in popular and academic film criticism, the selective release and re-release of films to theatrical and video distribution windows, and (in circular fashion) the decision of other filmmakers to evoke earlier films and recreate cinema history (see Staiger 4). An understanding of the formation and maintenance of a film canon in turn goes some way toward explaining why remakes of institutionalized film noirse.g., D.O.A. (Rocky Morton and Annabel Jankel, 1988), No Way Out (Roger Donaldson, 1987), and Against All Odds (Taylor Hackford, 1984)are discussed with reference to their originals (D.O.A. [Rudolph Mate, 1949], The Big Clock [John Farrow, 1948], and Out of the Past [Jacques Tourneur, 1947], respectively), while films such as Martin Scorseses version of The Age of Innocence (1993) and James Deardens remake of A Kiss Before Dying (1991) defer, not to their little known, or (now) rarely seen, earlier film versions (The Age of Innocence [Wesley Ruggles, 1924 and Philip Moeller, 1934], and A Kiss Before Dying [Gerd Oswald, 1961]) but to the authority of an established literary canon: The Age of Innocence is based on Edith Whartons 1920 Pulitzer Prize winning novel; A Kiss Before Dying is adapted from a best-selling novel by Ira Levin. Indeed, and in accordance with the canonization of the work of Alfred Hitchcock, the more direct intertextual referent for the remake of A Kiss Before Dying is Hitchcocks Vertigoa clip from the film appears diegetically on a characters television screen, and in addition to the figure of the doppelganger there is allusion to Hitchcockian plot s tructure and motif: [l]iberally alluding to Hitchcock by killing off his leading actress in the first reel, Dearden includes subtler references like the washing out of hair-dye and the cop who just wont leave (Strick 50). The suggestion that the very limited intertextual referentiality between the remake and its original is organized according to an extratextual referentiality located in historically specific discursive formationssuch as copyright law and authorship, canon formation and film literacyhas consequences for purely textual descriptions of the remake, particularly those based on a rigid distinction between an original story and its new discursive incarnation (see Leitch 143). Aside from the questionable move of assuming that the unchanging essence of a films story can somehow be abstracted from the mutable disposition of its expression (see Brunette and Wills 53), demarcation along the lines of story and discourse is evidently frustrated by those remakes which repeat not only the narrative invention of an original property but seek, for instance, to recreate the expressive design of an earlier film (e.g., Obsession as a reconstruction of the mood and manner of Hitchcocks Vertigo [see Rosenbaum 217]) or to rework the style of an entire oeuvre or genre (e.

Soil Formation Under Desert Pavements Essay -- Geology Topography Pape

Soil Formation Under Desert Pavements Desert pavements are common landforms in arid regions. They consist of flat or sloping surfaces where stones are closely packed angular or rounded, and generally exhibit low relief (Mabbutt, 1977). Pavements tend to form on both alluvial fan toposequences and on weathering volcanic flow fields in arid regions. Soils are often found under desert pavements and they play an important role in the evolution of pavements (McFadden et. al., 1987). In the past there have been several theories as to the formation pavements and soil development beneath them. Deflation, or the erosion of finer grained particles from a surface, stone concentration by wash erosion and upward displacement of stone due to shrink and swell clay characteristics were at one time believed to be the main factors in the formation of desert pavements (Mabbutt, 1977). However, more recent research has shown that desert pavements are born and maintained at the surface, and that the soil below them is mainly eolian in origin . Slow accretion of eolian dust below the pavement is a process that eventually develops cumulate horizons. Eolian dust in environments where pavements often develop is rich in carbonate salts and clays due to the fact it often originates from nearby playa lake evaporate basins (McFadden et. al., 1987). Soils that form below the pavements over time develop calcic horizons and clay rich structure due to the influx of these eolian fines through the pavement surface. In turn the development of mature or plugged calcic horizons effects the form of the pavement surface because it alters the water drainage infiltration rate and causes pavements to decline. Desert Pavements Desert pavements form in several di... ...cFadden, Leslie D., 1988, Climatic Influences on rates and processes of soil development in Quaternary deposits of Southern California: Geological Society of America Special Paper 216, p. 153-175 Mc Fadden, L. D., Wells, S. G., and Jercinovich, M. J., 1987, Influence of eolian and pedogenic processes on the origin and evolution of desert pavements: Geology, v.15, p. 504-508. Ritter, Process Geomorphology Wells, Stephen G., Dohrenwend, John C., McFadden, Leslie D., Turrin, Brent D., and Mahrer, Kenneth D., 1985, Late Cenezoic evolution on Lava Flow surfaces of the Cima volcanic field, Mojave Desert, California: Geological Society of America Bulletin, v. 96, p. 1518-1529. Wells, Stephen. G., and Mc Fadden, Leslie D., 1995, Cosmogenic 3He surface-exposure dating of stone pavements: Implications for landscape evolution in deserts: Geology, v. 23, p. 613-16.