Promoting effective communication Essay Example for Free

Promoting effective communication Essay Describe five factors you consider when promoting effective communication: (remember to describe is more than just identifying, this requires a sentence for each one) There are a number of factors to consider in making sure that I can promote effective communication. Statistics show that we only listen to 7% of what is verbally said, 38% the way they are said and 55% non-verbal i.e. our body language, eye contact, gestures. So it is not so much of what we say that is important but how it is said. Verbal communication: 1. Tone and Pitch I need to make sure that the way in what I say things i.e. the tone and pitch of my voice suits the conversation. I might need to raise my voice in a group of many children trying to get their attention when they playing games. Where as in a small group of children were we are doing some structured learning I would talk a bit quitter, or even reading a story I would use voices for the characters in a book, making stories more interesting and so hope to keep the children’s attention. 2. Jargon I would try and use appropriate language, for instance when I am talking to a child I need to keep things simpler so that they can understand the instructions or topic of discussion. I would also kneel down or sit at the child’s level, to make eye contact, and to be sure they understand me. But when I am talking to an adult, I should adjust and speak at the appropriate tone and pitch in not to simple terms as if they are a child otherwise it may come across patronising. Non-verbal communication: 3. Body Language, expressions and gestures My body language, facial expressions and hand gestures, needs to suit the situation or topic. For example I might give a handshake, smile and a wave to a child leaving the session. These are all friendly gestures, and I would hope to get an appropriate response like a wave and smile back. There would not necessarily been any verbal communication but we both understand that it is a friendly goodbye. However I am aware that some cultures certain gestures could be offensive. A r standing with folded arms can indicate you are closing yourself of not open to listen or want to take part in the conversations. This can portray a negative message and make others feel uncomfortable. 4. Eye Contact I also make a lot of eye contact as this engages with the person I am speaking to and keeps them and me focused on what is being said. If there is little eye contact or other distractions then you can notice that there is not 100% focus. 5. Listening I would always listen at the person talking to me as this shows that I am engaged in the conversations/discussion and can act upon anything that is asked of me. If I just nod in acknowledgement and not really listen I could miss important information. If for example a child ask to go to the toilet and I just nodded without really listening, they might wet themselves and feel embarrassed and in future not trust to ask or tell me something.

Postmodernism and Poststructuralism in Literature

Postmodernism and Poststructuralism in Literature In what ways do postmodernists and poststructuralists complicate our understanding of reality and its representation in literature and culture? Postmodernism is a shift of emphasis from content to form or style; a transformation from reality into images[1] which is what will be explored in the following essay and also the ways in which postmodernists and poststructuralists complicate reality. Focusing on how it is represented in culture. The theorists that will be focused on in regards to exploring this question are Derrida and Baudrillard with emphasis on the gulf war. Jacques Derrida is one of the major figures in the intellectual life of our time[2] Through his intervention texts are perceived in a different way, he discusses the conflicting relationship between an authors expressed intentions [à ¢Ã¢â€š ¬Ã‚ ¦] and what the text actually describes.[3] Paying attention to ideas that are inconsistent with its overt statements.[4] Therefore, his theory of deconstruction brings to light [the] suppressed textual conflicts concerning what is ideal, primary or original[5] he focuses on the hierarchies between speech and writing; and nature and culture.[6] An important term when discussing Derrida is differance. Differance arises from his appropriation of Saussures concept of the sign[7] It is used in relation to the oppositions between presence and absence because differance is neither present nor absent but instead it is a kind of absence that generates the effect of presence.[8] The term is neither identity or difference but a kind of differentiation that produces the effect of identity and of difference between those identities.[9] Derrida invents this term to show the alternative understanding that refers to the passage of the infinite, endless differentiation[10] Differance means both to differ and to defer[11] Therefore, it is the unresolved deferral of the identity one might have ascribed to a particular term for example an entirely fixed meaning for the word dog never definitively arrives.[12] Derridas famous statement there is no outside of the text[13] does not mean that there is anything in the world but words on a page or books because Derrida redefined the term text. text means the indefinitely deferring movement of differentiation.[14] Rather than Derrida asking what is there, he interrogates the tangles in which we become entwined when we ask what there is.[15] Human beings tend to project something original which is represented or hypothesized by them, this is referred to as origins which is already enmeshed in language [16] The way we talk about origins, and what is secondary to them, produces the effect that there seems to be an origin.[17] Derrida always depicts origins textually and it is suggested that there may or may not be a beyond to the plays of language, the replies to his famous statement there is nothing outside of the text[18] are mostly in agreement that there is surely something outside of the text such as blood, rain, trees, and bodies, they believe that Derrida denies reality in favour of words[19] this response to his statement misunderstands what Derrida means when he refers to text. For him, the text means differance, spacing, relationality, differentiation, deferral, and delay.[20] By saying that there is nothing out of the text is stating that there is always relationality and differentiation but whatever is imagined as reality, it is argued that differentiation is critical.[21] The critics that object Derridas theories, they suggest the feeling of anger and emotion because emotion is not a text, some critics do defend Derrida but still fail to grasp what he means, for example, they state that it is impossible to describe anger without metaphors [and] linguistic meanings- we have always entered the world of language, [22] and that language constructs the reality in which we live in. Other critics argue that emotion is already differential[23] therefore, they believe that Derrida emphasises that we are always in the world of language, whether people refer to the rain or sun we never stepped out of language to touch the thing itself.[24] However, this explanation is a misunderstanding, according to Derrida a suggestion of rain in itself that I am, however, unable to experience except in the world of language and meaning.[25] This is a deconstructive way of talking because it projects an original world that people believe we cannot access, trapped in some prison of language[26] This raises the issue of a world that we cannot access, Catherine Belsey definition of the real, One can only think of language as a network, a net over the entirety of things, over the totality of the real[27] the real can be a place of traumatic events that should never be confronted, even in dreams[28] the real surrounds us it is a condition of human beings but it is something that is lost to us. constituted by culturally constructed images of reality.[29] A theorist that explores the loss of the real and the replacement of it is Baudrillard. His theory suggests thats simulation and simulacra replaces the real with a copy, no more mirror of being and appearances of the real[30] The real disappears because it is made up of miniaturized units, from matrices, memory banks, and command models.[31] Therefore, it can be reproduced multiple times, it is nothing more than operational. Thus, it is no longer enveloped by an imaginary [so] it is no longer real at all, it is hyperreal[32] The age of simulation begins with a liquidation of all referentials, by artificial resurrection in [a] system of signs.[33] Baudrillard suggests that this becomes a question of substituting signs of the real for the real itself[34] this process is to deter every real process by its operational double Baudrillard describes it as a perfect descriptive machine which provides all the signs of the real[35] therefore, the real is not needed to be reproduced ever again. He goes on to say that to simulate something is to feign to have what one hasnt [36]however, he suggests that to do this is not to simply feign because feigning always leaves reality intact [à ¢Ã¢â€š ¬Ã‚ ¦] the difference us always clear, it is only masked;[37] but simulation on the other hand threatens the difference between what is true and what is false between the real and the imaginary because the simulator produces true symptoms[38] so simulation is a play of illusions and phantasms[39] Moreover, Baudrillards the gulf war did not take place suggests that the war that took place during January and February 1991 was a TV gulf war.[40] It is a perfect example of Baudrillards theory. a hyperreal scenario in which events lose their identity and signifiers fade into one[41] suggesting that the medias representation as purveyor of reality[42]what viewers saw on the TV was for the most part a clean war with lots of pictures of weaponry, including the amazing footage from the nose-cameras of smart bombs.[43] Baudrillard insists that technological simulacra neither displace nor der the reality of war[44] instead becoming an integral part of the operation. Technology allowed the boundaries between simulation and reality to become blurred[45] Baudrillard argues that under these conditions the virtual has overtaken the actual[46] and it functions to deter the real event and leaves only the simulacrum of war[47] however, as he points out this does not mean it is unreal in the sen se that it does not have real effects[48] therefore, the real vanishes into the virtual. The event of war had become obscene and insupportable[49] like every real event. Therefore, we are confronted with a virtual apocalypse, a hegemony[50] which is ultimately more dangerous than real apocalypse[51] in turn our virtual had definitely taken over the actual and we must be content with this extreme[52] because we are no longer in a logic of the passage from virtual to actual but in a hyperrealist logic of deterrence of the real by the virtual[53] Derrida misunderstands Baudrillard by stating that he finds it interesting that simulacra of images, television, the manipulation of information, reportage[à ¢Ã¢â€š ¬Ã‚ ¦] nullified the event[54] he agrees that something like this or something analogues happened[55] however, he quickly asserts his disagreement by suggesting that this should not make us forget-and the event unforgettable- that there were deaths[à ¢Ã¢â€š ¬Ã‚ ¦] that no logic of simulacrum can make us forget.[56] Baudrillard does not deny that there were any deaths in the war, Baudrillard is suggesting that the media controlled the way in which people viewed the war, how they were exposed to it and desensitised to it through its representation. Another example of simulation would be Existenz[57]. The film played with the idea that a digitally created simulation could invisibly and seamlessly replace the solid, messy analogy world of our everyday life[58] The film the Matrix[59] also gives an idea of a simulation where social control was nearly complete[60] therefore, by opposing the imagery with the real as two different narrative registers in the same film [à ¢Ã¢â€š ¬Ã‚ ¦] Hollywood narrative, even in the most outlandish form, asserts all the more stridently its status as reality[61] Overall, Theorists such as Derrida and Baudrillard complicate our understanding by suggesting that what we know to be reality is in fact not what we think. Baudrillard believes that our reality is replaced by a simulation that we have to come to accept, this simulation is controlled by outlets such as the media Derrida suggests that language does not construct our reality like critics have previously stated but instead suggests that we project an origin of an original world which we cannot gain access to. Films mentioned above also show how we can live in a world of simulation instead of the real which we try to gain back but never achieve. Bibliography Baudrillard, Jean, Simulacra and Simulations, Julie, Rivkin, Michael, Ryan, Literary Theory: An Anthology, 2nd Edition (Oxford: Blackwell Publishing Ltd, 2004) Baudrillard, Jean, The Gulf War Did Not Take Place, 1st Edition (Australia: Power Publications, 1991) Belsey, Catherine, Culture and The Real, 1st Edition (London: Routledge, 2005) Deutscher, Penelope, how to Read Derrida, 1st Edition (UK: Granta Books, 2005) Evans, Mikhail, The Singular Politics of Derrida and Baudrillard, 1st Edition (Hampshire: Palgrave Macmillan, 2014) Iwata, Hiroo, Dr. Strange Device Or; How I Learned To Stop Worrying And Love Media Art, The Journal Of The Institute Of Image Information And Television Engineers, 66 (2012), 219-222 Sarup, Madan, An Introductory Guide to Post-Structuralism and Postmodernism, 2nd Edition (Hertfordshire: Harvester Wheatsheaf, 1993) [1] Sarup, Madan, An Introductory Guide to Post-Structuralism and Postmodernism, 2nd Edition (Hertfordshire: Harvester Wheatsheaf, 1993) [2] Deutscher, Penelope, how to Read Derrida, 1st Edition (UK: Granta Books, 2005) p.xi [3] Deutscher, Penelope, how to Read Derrida, p. 28 [4] Deutscher, Penelope, how to Read Derrida, p. 28 [5] Deutscher, Penelope, how to Read Derrida, p. 28 [6] Deutscher, Penelope, how to Read Derrida, p. 29 [7] Deutscher, Penelope, how to Read Derrida, p. 29 [8] Deutscher, Penelope, how to Read Derrida, p. 29 [9] Deutscher, Penelope, how to Read Derrida, p. 29 [10] Deutscher, Penelope, how to Read Derrida, p. 31 [11] Deutscher, Penelope, how to Read Derrida, p. 31 [12] Deutscher, Penelope, how to Read Derrida, p. 31 [13] Deutscher, Penelope, how to Read Derrida, p. 33 [14] Deutscher, Penelope, how to Read Derrida, p. 33 [15] Deutscher, Penelope, how to Read Derrida, p. 33 [16] Deutscher, Penelope, how to Read Derrida, p. 34 [17]Deutscher, Penelope, how to Read Derrida, p. 34 [18] Deutscher, Penelope, how to Read Derrida, p. 34 [19] Deutscher, Penelope, how to Read Derrida, p. 34 [20] Deutscher, Penelope, how to Read Derrida, p. 34 [21] Deutscher, Penelope, how to Read Derrida, p. 34 [22] Deutscher, Penelope, how to Read Derrida, p. 35 [23] Deutscher, Penelope, how to Read Derrida, p. 35 [24] Deutscher, Penelope, how to Read Derrida, p. 35 [25] Deutscher, Penelope, how to Read Derrida, p. 35 [26] Deutscher, Penelope, how to Read Derrida, p. 35 [27] Belsey, Catherine, Culture and The Real, 1st Edition (London: Routledge, 2005) p, 49 [28] Belsey, Catherine, Culture and The Real, p. 49 [29] Belsey, Catherine, Culture and The Real, p. 52-54 [30] Baudrillard, Jean, Simulacra and Simulations, Julie, Rivkin, Michael, Ryan, Literary Theory: An Anthology, 2nd Edition (Oxford: Blackwell Publishing Ltd, 2004), pp. 365-337 (p. 366). [31] Baudrillard, Jean, Simulacra and Simulations. pp.365-337 (p. 366). [32] Baudrillard, Jean, Simulacra and Simulations. pp. 365-337 (p. 366). [33] Baudrillard, Jean, Simulacra and Simulations. pp. 365-337 (p. 366). [34] Baudrillard, Jean, Simulacra and Simulations. pp. 365-337 (p. 366). [35] Baudrillard, Jean, Simulacra and Simulations. pp. 365-337 (p. 366). [36] Baudrillard, Jean, Simulacra and Simulations. pp. 365-337 (p. 366). [37] Baudrillard, Jean, Simulacra and Simulations. pp. 365-337 (p. 366). [38] Baudrillard, Jean, Simulacra and Simulations. pp. 365-337 (p. 367). [39] Baudrillard, Jean, Simulacra and Simulations. pp. 365-337 (p. 369). [40] Baudrillard, Jean, The Gulf War Did Not Take Place, 1st Edition (Australia: Power Publications, 1991) p.2 [41] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 2 [42] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 2 [43] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 3 [44] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 4 [45] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 4 [46] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 8 [47] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 8 [48] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 9 [49] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 9 [50] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 27 [51] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 27 [52] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 27 [53] Baudrillard, Jean, The Gulf War Did Not Take Place, p. 27 [54] Evans, Mikhail, The Singular Politics of Derrida and Baudrillard, 1st Edition (Hampshire: Palgrave Macmillan, 2014), pp. 54-55 [55] Evans, Mihail, The Singular Politics of Derrida and Baudrillard, pp. 54-55 [56] Evans, Mihail, The Singular Politics of Derrida and Baudrillard, pp. 54-55 [57] David Cronenberg (dir.), Existenz (Alliance Atlantis Communications, 1999). Momentum Pictures, 1999. [58] Iwata, Hiroo, Dr. Strange Device Or; How I Learned To Stop Worrying And Love Media Art, The Journal Of The Institute Of Image Information And Television Engineers, 66 (2012), 219-222 [59] Wachowski Brothers (dir.), The Matrix (Warner Bros, 1999). Warner Home Video, 2007. [60] Iwata, Hiroo, Dr. Strange Device Or; How I Learned To Stop Worrying And Love Media Art. [61] Iwata, Hiroo, Dr. Strange Device Or; How I Learned To Stop Worrying And Love Media Art

Essay --

Good afternoon my fellow Okhrana agents. Ladies and gentlemen, my name is Pyotr Ivanovich Rachkovsky. We are here today to discuss our current situation concerning the Bolsheviks a main irritant that stresses the hell out of all of us, and other heathens like them. As you know these past years have been quite problematic for us, for we have been dealing with the ever growing revolution and the increasing amount of traitors that take part to create our demise. I chose this job to serve my country and I swore to protect the good people that reside there, and I believe that violence is the only true answer in stopping these hell bound creatures from biting at our heels any longer. As you may all recall that fateful day on March 13, 1881 our magnificent tsar Alexander the II was assassinated on his trip down to Mikhailovsky Manà ¨ge for the military roll call that he frequently attends every year. Reports back from the chief of police that was accompanying him on his trip indicated that two members of Narodnaya Volya had done the deed. Nikolai Rysakov and Ignacy Hryniewiecki were the culpr...

I am using secondary research because it saves time. I will not have :: Business Management Studies

I am using secondary research because it saves time. I will not have to collect the data first hand, which will allow me time to evaluate the information found. I will research using the Internet, reports on Cadbury and magazine articles. Secondary research Secondary research is information that has previously been gathered from other sources. It is usually carried out by a third party company. The data is then analysed and made available for other companies. When using secondary data, care must be taken in ensuring the information is correct. The data analysis and presentation may be affected by the way the data has been collected. Secondary research methods include the Internet, textbooks, magazines, newspapers and reports. I am using secondary research because it saves time. I will not have to collect the data first hand, which will allow me time to evaluate the information found. I will research using the Internet, reports on Cadbury and magazine articles. I found the following information from Cadbury confectionary market review (2003) In 2003, Cadbury increased its share of the market to more than 29% in contrast to Nestle and Mars who have seen their share decline to 21% and 20%. The UK confectionary market continued to show growth in 1999, driving sales of 5.5 billion. Chocolate sales account for around 70% of the confectionary market, at 3.5 billion, while the remaining 30% is made up of sweets, worth more than 1.75 billion. These graphs show me the age and sex of the consumers of confectionary products. This tells me about the area of the market my product is aimed at. It tells me that more children eat the products than buy it. It also shows that 35.7% of 0-16 year olds eat confectionary products, which tells me there is a want for chocolate from my target audience. ----------------------------------------------------------------------- The UK market for confectionary Chocolate Sugar Total by sector by value at current confectionary confectionary prices 1997 3630 1530 5160 1998 3690 1720 5410

Gideons Trumpet Essay -- Clarence Earl Gideon Gideon v. Wainwright

Gideon’s Trumpet   Ã‚  Ã‚  Ã‚  Ã‚  Gideon’s Trumpet is the true story of a man named Clarence Earl Gideon, a semiliterate drifter who is arrested for burglary and petty theft. The book takes it’s readers back through one man’s moving account that became a constitutional landmark. Gideon’s Trumpet was written to recall the history behind the Gideon v. Wainwright court case and how it made such an enormous impact on United States law.   Ã‚  Ã‚  Ã‚  Ã‚  On the night of June 3, 1961, Clearance Gideon broke into a pool room and smashed a cigarette machine and a juke box, taking some money from both and cigarettes. Later that morning a witness reported seeing Gideon break into the pool hall. The police found him a few hours later with a pint of wine and some spare change, he was arrested and charged with breaking and entering.   Ã‚  Ã‚  Ã‚  Ã‚  At his trial Gideon could not afford a lawyer, so he asked the judge to appoint him one, Gideon argued that the Court should appoint him one because the Sixth Amendment says that everyone is entitled to a lawyer. The judge turned down his request, saying that the state did not have to pay a poor person's legal defense unless he was charged with a capital crime or that "special circumstances" existed. Gideon was left to represent himself in court.   Ã‚  Ã‚  Ã‚  Ã‚  Gideon did a horrible job of defending himself in court. He was found guilty of breaking and entering and petty larceny, which was a felony. Gideon was sentenced to five years in Florida State prison mostly due to his prior...

Poem Analysis: Boy with His Hair Cut Short

How do you see the world around you? As a beautiful paradise, or a grim failure? In â€Å"Boy with His Hair Cut Short†, we are given a glimpse into the life of a boy looking unsuccessfully for a Job during the â€Å"Great Depression†. While the boy remains doubtful that hell find a Job, his sister provides him with an optimistic viewpoint in hopes of giving him a glimmer of hope. In â€Å"Furniture Art†, we are introduced too girl who Is Interviewing her neighbor, Mr.. DuPont, for a project about deferent worldviews. Mr..DuPont shows her that the world truly Is a beauteous place, we simply need to open our eyes to see It that way. Though the sister and Mr.. DuPont both have a similar worldview, Mr.. DuPont's worldview Is more realistic. In â€Å"Boy with His Hair Cut Short†, the boy comes home after yet another unsuccessful day of Job-seeking. Even though he's crestfallen, his sister offers to assist him by cutting his hair shorter. While she cuts his hair , she continues to encourage him by telling him that â€Å"they can't keep turning you down; the finest gentleman's not so trim as you'† (18-19).But then we learn that this optimistic and hopeful demeanor is simply a facade, and that she feels just as hopeless as she does, when we read â€Å"meeting/ her earnest, hopeless look† (22-23). Upon reading this, we discover that she tries to look at a doubtful situation with a happy-go-lucky, unrealistic attitude. In â€Å"Furniture Art†, the narrator is working on a Socials project, in which she must interview a neighbor about their view of the world, and contrast it with her own.While interviewing him, she learns that English 10 Training Papers 2006/2007 Page 22 our supposedly good planet may not be so great, unless we look at it in a different way. Mr.. DuPont goes on to explain that Just because we have the money to buy stuff doesn't mean that we'll be happy, and that there is more to life Han materialistic purchas es. The narrator learns throughout Mr.. DuPont's interview that â€Å"the world is beautiful if you can see it that way, but no less or more than it already was†. 53) In the end, even though she got a â€Å"C+† on her project, the narrator finds that her new view of the world is invaluable. The worldview expressed in this story is more realistic because it addresses the major problem of our society, greed, and shows us to appreciate the world's natural beauty instead. Poem Analysis: Boy with His Hair Cut Short By mariachi â€Å"Boy with His Hair Cut Short†, we are given a glimpse into the life off boy looking fitful that he'll find a Job, his sister provides him with an optimistic viewpoint in who is interviewing her neighbor, Mr..DuPont, for a project about different worldviews. Mr.. DuPont shows her that the world truly is a beauteous place, we simply need to open our eyes to see it that way. Though the sister and Mr.. DuPont both have a similar worldview, Mr. . DuPont's worldview is more realistic. Gentleman's not so trim as you! † (18-19). But then we learn that this optimistic and hopeful demeanor is simply a facade, and that she feels Just as hopeless as she does, when we read â€Å"meeting/ her earnest, hopeless look† (22-23). Upon reading this,

Critical analysis of Bob Dylan’s song “Hurricane” Essay

Bob Dylan’s iconic songwriting, unique and distinctive singing voice, as well as his controversial and thought-provoking lyrics has undoubtedly placed Dylan among the elites of modern, American musical history. This is not to say there are those who dislike and generally do not care for his songwriting, but almost everyone has come in contact with his expansive body of work. Born Robert Allen Zimmerman in 1941 in Duluth, Minnesota, he moved to New York City in 1961 and legally changed his name to Bob Dylan in 1962. In the onset of his career Dylan focused on politically charged themes and acoustic/folk type guitar playing. Protest songs written in the 1960’s established a reputation as a free-thinking songwriter engrossed in the trials and tribulations of the times. After a break from this style, his 1976 album Desire contained the eight and a half minute mega-track â€Å"Hurricane,† which saw a return to the societal-minded songwriting that had helped him make h is name. â€Å"Hurricane,† is a narrative that describes Dylan’s own account of the events in New Jersey bar in June of 1966, which lead to the arrest and imprisonment of Rubin â€Å"Hurricane† Carter, an American middle-weight boxer. Although this is one of his most popular songs, Dylan no longer incorporates it in his live sets. Also, despite its popularity, â€Å"Hurricane,† is truly a masterpiece and a wonderful lens with which to examine this great artist’s literary style and influence. Through the exploration of several critics’ analysis coupled with a detailed examination of the actual song lyrics, it is clear that the song â€Å"Hurricane† by Bob Dylan intertwines modern social elements of race and equity, the literary aspects of genre, language and metaphor, and his own unique and individualistic songwriting that has established him on a plateau of excellence rivaled by no other modern artist. The racial aspects of the song ring out louder than any other theme. Upon listening to the song, Dylan’s emotionally charged singing and sharp lyrics clearly display that fact that Rubin Carter’s skin color had a major influence in his arrest and conviction. This, of course, is just Bob Dylan’s interpretation however. Evan Schlansky, a critic from American Songwriter.com, explores the issue of race and social equity in his analysis. ‘†Hurricane† functions like a real live detective story. It’s a song that peppers the listener with rich details and impolite truths, many  of which are enough to make the hairs at the back of your neck stand up’ (Schlansky, 1). Paterson, New Jersey in the 1960’s was a hotbed of racism and racial issues, and the lyrics explain the direness of the situation. Dylan sings, â€Å"In Paterson that’s just the way things go/If you’re black you might as well not show up on the street, ‘less you wanna draw the heat† (Metrolyrics.com, 1). Dylan is obviously critiquing the law enforcement and judiciary system, as well as striking a chord with racial and political activists everywhere. As mentioned before, Bob Dylan’s songwriting as always been poignant and controversial and although this song was released ten years after the incident, its themes are just as true. He lays blame on society’s elite with the lines, â€Å"And though they could not produce the gun, the D.A. said he was the one who did the deed, and the all-white jury agreed† (Metrolyrics.com, 1). These lines have been regarded as some of Dylan’s most controversial and along with his use of the â€Å"N-word,† he created an extremely moving and thought-provoking example of how racism is still present in society. The first element of Dylan’s genre in â€Å"Hurricane,† relate to his writing the song as a narrative. This means he is singing the song as a story being told of the actual accounts as if Dylan himself was in the bar that night. Gerard Steen, in his essay â€Å"Metaphor in Bob Dylan’s ‘Hurricane'† writes, â€Å"†¦such story format options are also part and parcel of well-conventionalized cognitive genre schemes, such as narrative songs† (Steen, 190). Another important genre aspect of â€Å"Hurricane,† is his utilization of a protest song. â€Å"†¦the accusation of false conviction is clear enough to make the song a serious protest song from the beginning† (Steen, 189). Protest songs were elemental in establishing Dylan’s reputation as a singer/songwriter. â€Å"Hurricane,† marked a return to this style of songwriting. Dylan also uses language to convey his message. Usage of extreme language and powerful metaphors enhance the drama and suspense that builds throughout the song. The metaphors used by Dylan are key to his message. However these metaphors are not always clearly displayed throughout the verses, and the reader (or listener) usually has to make up his/her mind (Steen, 196). These important elements of literary style add to the significance and complexity of this monumental work. Aside from his singing voice, Dylan’s unique songwriting as placed him in a class of his own even among his peers. â€Å"Hurricane,† is a delightful piece to examine based on his return to the in-the-moment style songwriting that had made him famous in the 1960’s. Previous staples of Dylan’s first albums like â€Å"The Lonesome Death of Hattie Carroll,† and â€Å"Who Killed Davey Moore?,† had plots seemingly taken right from the papers and words beautifully woven into songs in a way completely peculiar to his own style. In fact many critics argue that the song may have fit more unto one of his earlier albums such as Masters of War or The Freewheelin’ Bob Dylan (Schlansky, 1). The fact that this song was not released until 1976 also leads to the element of surprise that Dylan (ever the individual) would ever back-track to his previous writing styles. â€Å"Harking back to the days when he used to rip his song ideas from the headlines of newspapers, Dylan masterfully sums up and dramatizes Carter’s story, and also manages to embarrass the system by coming off smarter than every lawyer, cop, and jury on the case. To live outside the law, you must be honest† (Schlansky, 1). Through the exploration of several critics’ analysis coupled with a detailed examination of the actual song lyrics, it is clear that the song â€Å"Hurricane† by Bob Dylan intertwines modern social elements of race and equity, the literary aspects of genre, language and metaphor, and his own unique and individualistic songwriting that has established him on a plateau of excellence rivaled by no other modern artist. Although there are those who do not enjoy Dylan’s music, one would be hard-pressed to find someone who had never heard of him. He is undoubtedly one of the most famous and influential American musicians of all-time. â€Å"Hurricane,† stands as one of Dylan’s true masterpieces and incorporates the best aspects of his literary style and songwriting capabilities. The song was so influential many believe it even helped to get Rubin Carter released from jail and acquitted of all charges. â€Å"†¦but only ‘Hurricane’ actually helped get someone out of jail, even if it did take 12 years (Schlansky, 1). In conclusion, â€Å"Hurricane,† is a song that will stand the test of time, and shines as a beacon of accomplishment in an immense and critically acclaimed body of work. Works Cited Levy, J., Dylan, B., â€Å"Hurricane.† 15 May 2009. < http://www.metrolyrics.com/hurricane- lyrics-bob-dylan.html>. Schlansky, Evan. â€Å"The 30 Greatest Bob Dylan Songs: #21 ‘Hurricane’.† 2009. American Songwriter.com. 15 May 2009. . Steen, Gerard. â€Å"Metaphor in Bob Dylan’s ‘Hurricane’: genre, style and language.† 15May 2009. < http://books.google.com/books?id=O1R79- TsVKoC&pg=PA183&lpg=PA183&dq=literary+criticism+%22hurricane%22&s ource=bl&ots=Ioa4GCmjjQ&sig=MYMBoFGCnh0yV3ihRZ9gRLmnRXQ&hl=e n&ei=jqgNSopHYzCMdmhpbYG&sa=X&oi=book_result&ct=result&resnum=4 #PPA183,M1>.