Study Of The Foregrounding Theory English Language Essay

Study Of The Foregrounding Theory English Language Essay 1. Introduction The term Stylistics has been for a long time associated with literary criticism, and stylistics has been considered as a branch of literary criticism. The authors style was the major theme of this field of study. Later on, the focus moved from the study of the authors style to how meanings and effects are produced by literary texts. Thus, there was a critical need to change the field from a branch of literary criticism into a field on its own. Although stylistics has focused on literary works as its raw material of scrutiny, this does not underestimate the importance of stylistics in non-literary texts. Moreover, it is difficult sometimes to draw a clear line between literary stylistics and linguistic stylistics (Jeffries and McIntyre, 2010). In fact the distinction between the two is not the material in of their study, rather than in the objectives of the study. Literary stylistics in this case is concerned with using linguistic techniques to assist in the interpretation of texts, w hereas linguistic stylistics is about doing stylistic analysis in order to test or refine a linguistic model in effect, to contribute to linguistic theory. (Jeffries and McIntyre, 2010: 2). Also, Stylistics depends so much on theories and models from other fields more than it develops theories of its own. It is a combination of many sub-disciplines of linguistics, and other disciplines, such as literary studies and psychology, drawing upon these (sub-) disciplines but not seeking to duplicate or replace them. Based on such disciplines, Stylistics has started as a distinguished field of study which has its own theories and principles. Among these theories, foregrounding theory, which is the subject matter of this paper, has received a special interest from stylisticians. The term refers to specific linguistic devices: deviation and parallelism devices. These devices are usually used in literary texts in a functional and condensed way. They support the possible meaning of the text, i n addition providing the person who reads with the possibility of aesthetic knowledge. According to the theory of foregrounding, literature by employing abnormal forms of language breaks up the readers routine behaviour: commonplace views and perspectives are replaced with new and unexpected insights and sensations. In this method literature keeps or makes individuals conscious of their automatized actions and preconceptions. This paper discusses the foregrounding theory in detail. The paper is organized as follows: first of all, there is a detailed discussion of the origin and historical background of the theory. The Greek, Russian, and European effects on the theory will be discussed. The discussion will move to focus on the principles and assumptions behind the theory. Foregrounding principles of strikingness, effectiveness, time-consumption and universality will be discussed in detail. Once these principles are discussed, devices of deviation and parallelism, which are the main pillars of foregrounding theory, will be discussed and their relation to foregrounding effects will be explained. Once foregrounding devices are discussed, attention will be paid to obvious advantages of the theory in general. Although this theory is a powerful one, it is not surprising at all to find some problems in the theory. These problems will be discussed and possible answers offered to them in literature will be considered as will. Finally, conclusion will be drawn and recomm endation will be offered according to the discussion of the theory in general. 2. Foregrounding Theory With the rapid development of language analysis in the twentieth century, stylistics has come to the view as a powerful discipline which has its own theories such as, Foregrounding Theory, Text World Theory and Schema Theory. The general aim of this discipline is to look at the formal features of a text and find out their significance for the interpretation of that text. Stylistics started with much emphasis on the analysis of literary texts, and then the focus shifted to both literary and non-literary texts (Jeffries and McIntyre, 2010). Irrespective of the type of the text, it remains the raw material of stylisticians. Among the various stylistic theories, foregrounding theory is the most common and powerful one in the literature. The term is very general to the extent that it resists definition. However, many stylisticians have tried to define it. For example, van Peer and Hakemulder (2006) say that the term refers to specific linguistic devices, i.e., deviation and parallelism, that are used in literary texts in a functional and condensed way. Under their definition, such devices can help to add a specific meaning to the text and provide the reader with aesthetic experience. Van Peer and Hakemulder (2006) also tried to show that foregrounding generally means new information contrasted to old information in the text that forms a background against which the new meaning to be understood by the reader. Others restricted its definition to the literary side of the theory. Shen (2007: 169) argues that this theory assumes that poetic language deviates from norms characterized the ordinary use of languag eà ¢Ã¢â€š ¬Ã‚ ¦and that this deviation interferes with cognitive principles and processes to make communication possible. In the same way, Martindale (2007) points out that there are two types of foregrounding. The first type is parallelism which involves repetition while the second type of foregrounding is deviation which is related to the use of specific devices in unusual ways. Similarly, van Peer and Hakemudler (2006) show that deviation is a poetic license to the writer who is exceptionally allowed to deviate from normal rules and expectations surprise the reader and give him a beautiful literary experience. The best examples of deviation would be metaphors, ungrammatical rules, paradox, and so on. Examples of parallelism, on the other hand, would be various forms of figures of speech such as, rhyme, assonance, alliteration, and so on. Such claims about foregrounding make it the opposite of automatization. While automatization schematizes an event, foregrounding breaks this sc hematization and creates a special kind of meaning (Miall and Kuiken, 1994). The roots of this theory go back to the Greek Antiquity. Specifically, to the great philosopher Aristotle who emphasized the use of devices and their importance for foregrounding (van Peer, 2007; Martindale, 2007). Aristotle (ca. 335 BCE, cited in van Peer and Hakemulder, 2006) argues that literary work should be distinguished from other works through the use of strange words, metaphors and unfamiliar terms. Thus, foregrounding started basically as a theory of literature in the Greek philosophy. Later on, Russian Formalists and Czech Structuralists emphasized the importance of foregrounding in literature. According to Martindale (2007), foregrounding in that stage was so much related to novelty. The Russian and Czech theorists were in struggle for maintenance of change in literature. For instance, the Russian Formalist, Shklovsky, points out that the purpose of art is to present the unfamiliar objects in a sophisticated unfamiliar way so that the perception of such objects will be re newed and refreshed in the eyes of the reader (Miall and Kuiken, 1994). Unless this change is continuelously preserved, literature will die. Therefore, foregrounding was the only hope to keep literature alive. Similarly, foregrounding in English literature and stylistics has been used with different meanings. Van Peer and Hakemulder (2006) show that foregrounding in English can refer to a prominent interest that a reader might assign to something in a text during the process of reading. Such prominence is resultant from a special use of some devices located in the text itself. Foregrounding may also refer to analytical tools used to evaluate texts and show their literary, historical and cultural significance. Therefore, the emphasis has always been on foregrounding in literature rather than foregrounding in other genres. So far, discussion was about the theoretical account for foregrounding, yet we have not given any example. To understand what is meant by foregrounding, consider the following example that was planned by Miall and Kuiken (1994). In their discussion of foregrounding in literature, they presented a segment of a story called the Dark Walk: It is a laurel walk, very old, almost gone wild, a lofty midnight tunnel of smooth, sinewy branches. (p392). Through the alliteration of [l] and [s] sounds in the sentence and the metaphoric use of midnight and sinewy, Miall and Kuiken claim that foregrounding passes through three stages. First, defamiliarization which is present in the use of unfamiliar linguistic features which strikes and captures the eye of the reader. Second, such unfamiliar linguistic features forces the reader to slow down and allow time for the feelings arouse by alliteration and metaphor to appear. Third, such feelings create a rich beautiful image of the dark walk in the min d of the reader. To summarize this section, we can say foregrounding is a powerful theory that has started in the Greek philosophy, developed by the Russian and Czech theorists, and flourished in the current century. This theory is based on breaking up rules and norms by implementing devices of deviation and parallelism, yielding an aesthetic experience in the mind of the reader. 3. Principles of the Theory Although it is difficult to delimit the principles and assumptions that underlie the foregrounding theory, this section discusses some general notes which can be considered as basic to the theory in general. Foregrounding and strikingness It is always reported that foregrounding causes defamiliarization especially in literary texts (Miall and Kuiken, 1994; van Peer, 2007; van Peer and Hakemuilder, 2006). Defamiliarization, in turn, strikes the reader because he finds the unexpected. Thus, the way new ideas introduced captures the mind of the reader and triggers his attention. Foregrounding is affective Besides inducing strikingness, defamiliarization helps to evoke the feelings of the reader. Miall and Kuiken (1994: 393) argue that, although available evidence is indirect, it does suggest a relationship between the defamiliarizing effects of foregrounding and the emergence of feeling. Once a reader encounters an unfamiliar text, special area in the mind which is responsible for affect is intensified. Foregrounding and time Since foregrounding texts are striking and evocative, they should take longer time for processing and comprehension. For example, when a reader finds verbs ellipsis or grammatical inversions, he needs much more time to figure out the meaning of the sentence. Also, the use of figurative devices such as metaphors and similes triggers the reader imagination and intensifies his feeling. At this stage, the reader will resort to other similar texts or experiences he has encountered in his life which, in turn, prolong the process of reading. Miall and Kuiken (1994: 395) point out that, Since foregrounding often occurs in clusters of closely related phonetic, grammatical, and semantic features, the sheer density of the processes by which refamiliarization occurs suggests that it takes time to unfold. Foregrounding is universal If foregrounding is striking, affective and time-consuming, are such foregrounding effects universal or related to specific type of individuals? In other words, do foregrounding effects occur in highly trained and sophisticated readers? In fact, many stylisticians have discussed and offered an answer to such question. Van Peer (1986) conducted a study on a group of people for this purpose and he found out that foregrounding effects are present among different readers irrespective of literary background. He found that readers responses are affected by deviation, and deviation makes readers process the text more slowly which, in turns, leads into aesthetic appreciation. Similar observations were reported by Miall and Kuiken (1994) who conducted a study on four groups of readers. Miall and Kuiken were interested in testing how foregrounding is indicator of reading times and readers judgments of strikingness and affect. In conclusion, they found out that the aforementioned effects are pr esent in all groups independent of readers backgrounds or interests. Thus, readers with general linguistics skills and backgrounds will find foregrounding texts striking, affective and challenging. However, none can deny such effects will be higher with people of higher literary background. Also, many questions remain under-researched in this theory. Fore example, when readers concentrate on the way the text is written rather than its content, is that a matter of convention in general or a special property of the text? To put it differently, do readers read literary texts slowly because they already think that literature needs more time to be processed? Or is it a property of foregrounding in general irrespective of the text type or genre? In summary, foregrounding is striking, affective, time-consuming and universal. It surprises the reader by violating the rules. Such violation triggers his feelings and requires much more time to understand and process the text which in turn forces the reader to focus on the way the text is written more than the content. Finally, such effects are claimed to be universal irrespective of the background or literary experience of the reader. 4. Foregrounding Devices Linguistic devices are the main pillars of foregrounding theory. They are the tool which is wonderfully manipulated by writers to produce a piece of art. These devices help the writer to express his ideas in a special way, adding some music to his words or giving an image that stimulates the imagination of the reader. Generally, the foregrounding theory is based on two types of devices: devices of deviation and devices of parallelism (van Peer and Hakemulder, 2006; Shen, 2007). The former refers, as the name indicates, to breaking up rules or expectations. What you expect is not what you read or listen to. Following these devices, the writer attracts his readers attention because when they hear something unexpected, they will look for clues to know what is going on. Devices of deviation include: neologism, metaphor, ungrammatical sentences, archaisms, paradox and oxymoron. Devices of parallelism, on the other hand, are also called figures of speech. They generally involve repetitive and contrasted structures. Thus, some parts or syllables of the word verbal configuration is repeated or contrasted, leading to foregrounding effects on the perception of the reader. The rest of this section sheds light on the main devices used in foregrounding theory. 4.1 Devices of deviation Metaphor: it is defined as, The figure of speech in which a name or descriptive term is transferred to some object different from, but analogous to, that to which it is properly applicable; an instance of this, a metaphorical expression (Oxford English Dictionary). As this definition indicates, metaphors involve a mapping between two conceptual domains which are somehow related to our perceptual system. Thus, a metaphor involves a mapping from a source domain into a target domain. Shen (2007) argues that as far as foregrounding involved, mapping should be characterized by deviation via a relation between two remote concepts, i.e., Education is a ladder. Simile: it is a comparison of one thing with another, esp. as an ornament in poetry or rhetoric (Oxford English Dictionary). Similar to metaphors, similes also involve two nominal expressions. One of them is a source and the other one is a target. The two expressions are usually linked via linkage expressions such as like or as. In foregrounding theory, similes should involve deviation as well, i.e., Education is like a ladder (Shen, 2007: 171). Thus, the linkage is between two remote concepts, usually from more to less accessible object. Such simile is called canonical simile. However, if mapping is from less to more accessible object, this simile is called non-canonical simile, i.e., A ladder is like education (Shen, 2007: 171). Shen argues that foregrounding often depends on non-canonical similes. Oxymoron: A rhetorical figure by which contradictory or incongruous terms are conjoined so as to give point to the statement or expression; an expression, in its superficial or literal meaning self-contradictory or absurd, but involving a point (Oxford English Dictionary). Such literary device is frequently used in literature. It is one of the basic pillars of foregrounding theory since deviation is the main feature of this device. Shen (2007: 173-174) makes a distinction between two types of oxymoron: direct and indirect. The former represents a direct antonymic relation between a head noun and a modifier which are extremely opposite poles, i.e., hot coldness. The latter represents a relation between two expressions which are not direct opposite poles, i.e., watery dryness. In these examples, hot is the direct opposite of cold whereas watery is not the direct opposite of dryness. As far as foregrounding concerned, Shen (2007) argues that the indirect oxymoron is much more used than direct oxymoron. Paradox: it is defined as, A statement or tenet contrary to received opinion or belief; often with the implication that it is marvellous or incredible; sometimes with unfavourable connotation, as being discordant with what is held to be established truth, and hence absurd or fantastic; sometimes with favourable connotation, as a correction of vulgar error. (Oxford English dictionary). Similar to oxymoron, this device is central to foregrounding theory because contradiction is the basic feature of paradox. A paradoxical statement makes sense with more thought. Christ used paradox in his teaching: They have ears but hear not. Or in normal conversation, we may use a paradox 4.2 Devices of parallelism Assonance: it is defined as, the correspondence or rhyming of one word with another in the final (sometimes also the initial) consonant, but not in the vowel. (Oxford English Dictionary). Assonance can be described as a vowel rhyme as in the words  date  and  fade.   Alliteration: it is The commencing of two or more words in close connexion, with the same letter, or rather the same sound. (Oxford English Dictionary). Alliteration is commonly used for emphatic effects. It happens in everyday language in phrases such as tittle-tattle, bag and baggage, bed and board, primrose path, and through thick and thin and in sayings like look before you leap. Therefore, foregrounding theory uses such device to attract the concentration of the reader and emphasis certain points in the text. Antistrophe: it is The repetition of words in inverse order. (Oxford English Dictionary). For example:  In 1938, Hitler occupied Austria without warning. In 1939, Hitler invaded Czechoslovakia without warning. Later in 1939, Hitler invaded Poland without warning Rhyme: it is defined as, Agreement in the terminal sounds of two or more words or metrical lines, such that (in English prosody) the last stressed vowel and any sounds following it are the same, while the sound or sounds preceding are different. (Oxford English Dictionary). In poetry, the most common sort of rhyme is  end rhyme that occurs at the end of two or more lines.  Internal rhyme  happens in the middle of a line In conclusion, devices of deviation and parallelism are very central to the foregrounding theory. They are the main tools which should be manipulated by the writers to attract the attention of the reader and make him feel appreciate the experience of the text. 5. Advantages of Foregrounding Theory If foregrounding theory is very powerful in the literature of stylistics, what are the advantages of the application of such theory? Can foregrounding be practically useful? Or is it just a descriptive theory? This section discusses some advantages of the foregrounding theory. First of all, foregrounding in general and foregrounding theory in particular are very basic requirements to understand language and literature. Foregrounding as a style is based on a distinction between something and its background. In other words, it is all about making something prominent by making it different. For example, we can make an object in a collection of objects, such as toys, foreground by differentiating it with color, shape, etc. In the same way, we can make a string of words distinguished from others by implying foregrounding devices, such as devices of deviation and parallelism. Thus, foregrounding is a very useful tool in language to affect the readers understanding and appreciation of language. In general, this is the most obvious advantage of foregrounding theory in language and literature. Foregrounding effects are not only restricted to language. This powerful theory can be practically used as a method of language teaching as well. McInyer (2003) shows a detailed description of how foregrounding can used as a pedagogical technique in large-group teaching. Such teaching methodology makes use of internal and external deviation as a means of maintaining the effects of foregrounding throughout the whole lecture course. An example of external deviation is to have two lecturers instead of one in the class so that students will be surprised because such change is unexpected. In this case, knowledge of foregrounding theory is very important for higher education lecturers dealing with large-groups, as it could serve to highlight how the presentation of lecture material can be enhanced, so creating a more effectual learning experience for the student Foregrounding can also be important in translation. If we accept that fact that discourse analysis has its positive effects on translation, we should expect to have similar effects (van Peer and Hakemulder, 2006). Dorry (2008) argues that foregrounding theory with foregrounding since foregrounding theory is so much related to discourse analysis can be applied to discourse at levels of Syntax, lexicon and Phonology. At the level of syntax, foregrounding is defined as the process that involves placing a constituent of a sentence into the focus position so that it becomes more prominent than other parts of the sentence. Naturally, any change in the usual order of words in a sentence will be reflected on meaning interpretation in mind of the reader. In this regard, change can come through deviation from norms or breaking up the rules. Dorry (2008) points out that since translation is a process of text recreation in which translators do their best to communicate discoursal meaning across languages, the way additional or different meaning is created and understood, should therefore also be focused as well from a syntactic-pragmatic angle. This phenomenon which is the locus of foregrounding theory should be have a very careful attention in translation since understanding it can assist to process and perceive meaningful choices made by writers and speakers in the course of communication. Under this claim, translators should be fully acquainted with foregrounding theory and its devices in the source and the target language because translators should always be faithful to both languages. To conclude this section, we have seen that foregrounding is a theory that can be applied many disciplines simultaneously. It is indispensable when we study language as an artistic artifact and how it is perceived by the reader or recipient. Also, foregrounding can be applied as a teaching methodology which is based on unexpected techniques to strike the student. Finally, translators should have enough knowledge of foregrounding effects in the source and target language to stay faithful to the text they are translating. 6. Problems of Foregrounding Theory Foregrounding theory has been the most powerful theory in stylistics. It charmed many stylisticians who devoted their efforts to support this theory. Although this theory has such important position in the stylistics, it is still imperfect. Many critics have mentioned some problems that should be taken into account to render a developed version of the theory. Shen (2007) argues that since deviation in foregrounding is based on the interface of the literary text with the cognitive and communicative principles, and these two types of principles are constrained, deviation should be controlled as well. It looks strange that deviation in foregrounding is not constrained while its assumptions and principles are constrained. Therefore, we need to question the claim of unexpectedness of deviation. In other words, are all types of deviation expected? Shen (2007) discussed some constraints that can be inferred from the devices used in foregrounding theory. A detailed discussion of simile and o xymoron showed that some constraints can be imposed on deviation. However, such conclusion should be carefully considered because foregrounding escapes the routine of everyday language and shake the expectations of the reader by presentation of the unexpected. Thus, how can we constrain the unexpected? And how can we strike a compromise between novelty and constraints? Such questions should be considered when we discuss constraints on deviation. Other limitations of the theory are discussed by van Peer and Hakemulder (2006). The first limitation of the theory is related to the existence of enough evidence that supports the main claim of foregrounding theory; the grounding theory claims that the use of foregrounding devices increases the readers value and appreciation of the text. Unfortunately, this claim has not received enough evidence from research conducted in the foregrounding theory. Another important problem of the theory is the huge vagueness of its terminology. Such a problem is clear when we consider the very often used terms in the theory like estrangement, deautomatization, defamiliarization and foregrounding. Are these terms synonymies or are they different terms? Therefore, the terminology and principles of this theory and its relation to the psychological processes should be fully clarified. More importantly, this theory intersects with the principles and assumptions of other theories and constructs such as Surrealism and Absurdism. Therefore, the boundaries and assumptions should be differentiated from the assumption of other theories (van Peer and Hakemulder, 2006). A problem that has recently been considered in the literature of foregrounding theory is its scope. Some scholars are very fanatic and refuse to include oral or descriptive literature in the domain of foregrounding theory. Hence, they apply the theory to the written texts only, and they neglect oral and video/audio works. Van Peer and Hakemulder (2006) argue that this problem can be solved by integrating the foregrounding theory to the structure and interpretation of the work as whole. To put it differently, a more systematic and coherent version of the foregrounding theory should be developed to cover all genres of literary works. Another problem related to this theory is the distinction between literary and non-literary texts. The majority of literary devices discussed above are reported in literature. Also, the majority of studies reported in stylistics were conducted on literary works. On the other side of the theory, some theorists ((Jeffries and McIntyre, 2010) argue that limiting the scope of foregrounding theory to literary works is a hasty decision because the same devices can be applied to literary and non-literary works such as jokes, advertising and politics. In fact, Mukaiovsky (cited in Miall and Kuiken, 1994) addressed this problem and explained the difference between the two types of foregrounding. Foregrounding may occur in non-literary or everyday language. However such type of foregrounding is not systematic in design. Moreover, the main purpose of such language is communication and foregrounding is so much used. In literary texts, on the other hand, foregrounding is very common, systematic a nd structured. Here, the purpose of foregrounding is to deviate from everyday language and takes the reader to the unexpected to make him enjoy the aesthetic experience of the literary text. A more impressing solution to the problem is presented by van Peer and Hakemulder (2006) who distinguished between two cases of foregrounding: functional and non-functional. Only the former can be seen as literary while later is not a literary use of foregrounding. For example, when a writer uses metaphors or similes in a scientific report, the purpose is not to deviate from the expected and impress the reader. Here, foregrounding is non-functional. In literary use of language, on the other hand, foregrounding is functional and the general aim is to deviate from the expected and present the unexpected To conclude this section, foregrounding theory has its own problems. The scope of the theory should be clearly identified in terms of the text type (literary vs. non-literary) and form (written vs. spoken). Also, its boundaries should be discussed and assigned with regard to other theories and perspectives in the literature. Similarly, abstract terminology should be clarified and fully explained. Finally, deviation, novelty and constraints should have compromised in the course of the theory discussion. 7. Conclusion Foregrounding theory is required for the analysis of literary works and history. This theory yields the best conclusions in textual analysis that it is indispensable analytic methodology to describe the specific features and characteristics of any text and explain the poetic effects on the reader. It can be used in both literary and non-literary works, yet the function is different in each situation. By doing extensive research and exploring its rules and effects in cross-cultural texts, the study of literature and literary works will flourish. Foregrounding device, devices of deviation and parallelism, will lose their important value if they are not developed. Thus, their defamiliarization needs to be under continuous development and replacement. A critical problem of constraints threatens the basic feature of foregrounding which is novelty. Novelty is reached to by violation of rules, and violation is seen here as breaking up everyday routine. Therefore, how can we expect the unexp ected? How can we control and constrain deviation? Such question and enquires should be the main concern of researchers in this field. All in all, foregrounding is the best theory for innovation in literature because it gives unexpected forms of novelty and creativity.

Homeostasis Essay

What is homeostasis? Homeostasis is the mechanism in our body that regulates and maintains a stable and constant environment. This enables our body to respond to changes in the environment around us as. The homeostatic mechanisms in our body, observe and monitor conditions and will then make a judgment whether to change the way the body functions is order to adapt to the outside surroundings better. The main organs involved in homeostasis are; the brain, liver, skin and kidney’s. The skin is involved as its acts as a protective layer and also regulates body temperature. The liver breaks down harmful substances and the kidneys regulate water levels and waste products. In the brain the hypothalamus controls everything and changing them to fit into the outside surroundings. Negative feedback is also linked in as it is the process of homeostasis. It is negative because it is in a negative situation and will not kick it unless there’s something wrong. Body temperature When we exercise the body has to work harder, the body temperature would increase this is due to organs having to work harder to get oxygen to muscles. The metabolic rate that produces more energy has to increase in order for more energy to be released. The heart has to pump more blood around the body in order to deliver oxygen to the working muscles so they can carry on working at that capacity. What mechanisms are there to cool the body down? Sweating-glands are stimulated to release sweat Liquid turn into gas Vasodilation-your body carries most of the heat energy around your body There are capillaries underneath your skin that can be filled with blood if you get too hot This brings the blood closer to the surface of the skin so more heat can be lost, this is why we look red when we’re hot. What mechanisms are there to warm the body up? Vasoconstriction-this is the opposite of vasodilation The capillaries underneath your skin get constricted (shut off) so less heat is lost Piloerection- this is when the hairs on your skin stand up The hairs trap a layer of air next to the skin which is then warmed by the body heat. Heart rate The heart rate is controlled by the autonomic nervous system. This system however, is split into two, the sympathetic nervous system and the parasympathetic system. The sympathetic system is in charge of speeding up the heart rate when it’s needed and the parasympathetic system is there to slow the heart rate down. There are many reasons why heart rate could increase; the main and obvious reasons are fear, stress and exercise. Exercise is one of the main reasons why heart rate would increase as when we exercise we need more oxygen to travel to our working muscles. Oxygen is only carried in the blood and the main organ for the blood pumping around the body is the heart. This is when the sympathetic nervous system comes in; the receptors tell the brain that we are doing exercise and then the brains sends a message to the heart to pump faster, in order for more oxygen to be transported in the blood to the working muscles. When we are not doing exercise we have a ‘pace maker ’ of the heart. This ‘pace maker’ called the Sino atrial node keeps a regular heart beat. We have tested our Sino atrial node by first of all doing exercise to see our risen heart rate, mine was 13. After 5 minutes of rest our Sino atrial node should have kicked in and our regular heart beat will be taking place, mine was now 11. The negative feedback system Change in the body’s external environment, the brain receives a message – exercise Change in body’s internal system Receptors detect change and send messages to the brain The brain organises internal and external body changes to bring the environment back to normal Breathing rate Breathing rate is determined by the amount of breaths taken during a certain  period of time. This can increase during exercise or any physical activity or trauma. The way in which the body recognises this is by the chemo-receptors. They send a message to the brain, which then sends a message to the heart to pump more blood by beating faster, this is because they have detected a change in the amount of carbon dioxide that is circulating the body. When the chemo-receptors detect a high level of carbon dioxide, they send a message to the brain to increase or decrease breathing rate in order to get rid of carbon dioxide or to replenish the amount of oxygen in the body. What happens next is very clever in the fact that the body recognises that during exercise we need more oxygen. Therefore messages in the form of nerve impulses are sent to the diaphragm causing it to contract. When the diaphragm contracts it lowers itself in order for the ribs to expand and move upwards so there is inc reased space for the lungs to inflate. The muscle that allows the ribs to move up and out is called the inter costal muscle. This process of breathing rate is called inspiration. When we exhale the reverse happens to what has just been explained. The diaphragm relaxes and returns to its original position. The inter costal muscle that allows the ribs to move up and out also relaxes and returns the ribs to their stationary position. This process is known as expiration. Blood glucose Blood glucose is simply the control of sugar levels in the body, and determines when the body needs more glucose (sugar) or when it needs less. The part of the body that controls the glucose is the pancreas. The pancreas releases insulin which is made to lower blood sugar levels when it gets too high but can also create glucagon that brings the blood sugar levels up when they are too low. Blood sugar levels mainly are affected and altered by the food we eat. Before a meal our blood sugar levels will be running low but after we’re eaten our blood sugar levels will be a lot higher, and in many cases will need the help of insulin to bring them down to the normal level, between 4 and 8ml, if we have consumed too much. The process of how we get the sugar is from the food we eat, mainly by the carbohydrates we consume. Carbohydrates are taken into the body by the food, and are then digested and changed into glucose that the body can use for energy. During exercise blood sugar levels will fall below our normal, so our body receptors say ‘level of glucose in the body is too low’ and therefore will tell the pancreas to produce glycogen to bring our sugar levels back up.

Puns in the Importance of Being Ernest

Wilde uses puns throughout this play, but the major pun is found within the title. In The Importance of Being Earnest, the pun, widely considered to be the lowest form of verbal wit, is rarely just a play on words. The title, -The Importance of Being Earnest,- insinuates the importance of being honest and truthful, while playing on the male name, Ernest. The pun in the title is a case in point. The earnest/Ernest joke strikes at the very heart of Victorian notions of respectability and duty. Gwendolen wants to marry a man called Ernest, and she doesn’t care whether the man actually possesses the qualities that comprise earnestness. She is, after all, quick to forgive Jack’s deception. In embodying a man who is initially neither â€Å"earnest† nor â€Å"Ernest,† and who, through forces beyond his control, subsequently becomes both â€Å"earnest† and â€Å"Ernest,† Jack is a walking, breathing paradox and a complex symbol of Victorian hypocrisy. -Earnest – means serious or non-frivolous. Many of the characters in the play spend their time trying to convince each other, and themselves, that they are high-minded people with strong morals and are admired in society. But Oscar Wilde presents them all in such a way that their interests and ethical ideas will seem ridiculous and trivial to most of the audience. -Ernest – is a man's name. Much of the action of the play turns on whether Jack Worthington's first name is Jack, or Ernest. Normally a man's first name is of no great importance in his life, but in the extremely silly world of this play – it is the most serious element of the plot. (Many people who know the play well never realise that we don't get a satisfactory answer to this crucial question). So the pun is that the title of the play appears to mean: The Importance of being a Serious Person; but when we watch the play we realise that the real title is: The Importance of having Ernest for a First name. ex: Algernon- You have always told me it was Ernest. I have introduced you to every one as Ernest. You answer to the name of Ernest. You look as if your name was Ernest. You are the most earnest-looking person I ever saw in my life. We can find puns on the names of the other characters in the play like in: -‘Miss Prism' – The name is a pun on ‘misprision', which has two definitions. The older is very dark, involving the concealment of official neglect, crime or possibly treason. The more modern meaning closely resembles the character's multiple misunderstandings. – Chasuble – The word chasuble is a vestment worn during services. This is, of course, appropriate given the nature of Chasuble’s profession. Chasuble’s name is also a pun because when said aloud can sound like chaseable. Regarding Miss Prism, he is in fact chase-able, which he had previously claimed he was not. Act I, scene 1, Algernon â€Å"Anyone can play (piano) accurately but I play with wonderful expression† – This is a good thumbnail of Wilde’s philosophy of art. Wilde was heavily influenced by Walter Pater and the other aesthetes of the Victorian age. They believed art should concern itself only with its aesthetic qualities that art should exist for art's sake alone. Therefore, art should not be a straightforward representation of reality–it should not be â€Å"accurate,† as Algernon would say–but rather it should be an extension of its creator's artistic styles. Hence, it should have â€Å"wonderful expression. Act I, scene 1, Algernon – â€Å"If the lower orders don't set us a good example, what on earth is the use of them? † – We have a humorous depiction of class tensions here, where Lane, the butler, is given his fair share of droll sayings, and even Algernon seems to recognize that the lower clas has more power than they seem to. Act I, scene 1 (Algernon to Jack) Algernon: â€Å"You don’t seem to realize that in married life; three is company and two is none. † And also in Act II, scene 1 (Lady Bracknell when she finds out about the proposal of Jack) L. Bracknell: â€Å"†¦An engagement should come on a young girl as a surprise, pleasant or unpleasant, as the case may be. † Oscar is again poking fun here at the institution of marriage, a practice surrounded by hypocrisy and absurdity. Aristocracy does not see marriage as an organ of love but rather as a tool for achieving a sustaining social stature. Act I, scene 1, Puns are also used during the conversation between Algernon and Jack in town. To accuse Algernon a liar just like dentists who lies about cavities, Jack has said, -â€Å"My dear Algy, you talk exactly as if you were a dentist. It is very vulgar to talk like a dentist when one isn’t a dentist. It produces a false impression†. This is very funny because we can see that Jack is also lying about his brother, but he is judging Algernon as if he is a very honest person. Later, when Jack reveals all his truth about the name Ernest, Algernon responds by saying: Algernon: â€Å"What you really are is a Bunburyist. You are one of the most advanced Bunburyist I know. †¦ â€Å"Besides now that I know you to be a confirmed Bunburyist, I naturally want to talk to you about Bunburying. I want to tell you the rules. This is very funny, because Algernon is trying to be honest to Jack about advising him of an action that in fact is itself dishonest and false. The pun is when Algernon thinks that Jack deserves to be advised and learn the rules, since he turned out to be a real Bunburyist, even the most advanced one. This is very ridiculous! As if Jack was discovered to be a man with high principles or qualities. Act I, scene 1 Algernon: â€Å"You must be serious about it. I hate people who are not serious about meals. It is do shallow of them. † This is also very ridiculous. What we expect is Algernon asking Jack to be serious with Gwendolen, about their first 10-minute meeting at Algernon’s. Actually, what surprises and makes us laugh is that Algernon immediately asks Jack to be serious about the food. They care about trivial things. But every instance food is mentioned – from the Algernon’ opening discussion of wine with his servant, Lane, to the girls’ insult over tea and the guys’ climatic fight over muffins-is fraught with conflict. The fight over something as basic as food-something that every human being has a carnal need for (like Algernon’s wolfing down of the cucumber sandwiches to Lady Bracknell distress, Jack’s settling for bread and butter, Algernon’s consumption of Jack’s wine and muffins)- we suspect that the food fights are all puns for mocking their repressed sexual life expression and frustration in the face of unusually domineering women. Algernon. [Picking up empty plate in horror. ] Good heavens! Lane! Why are there no cucumber sandwiches? I ordered them specially. Lane. [Gravely. ] There were no cucumbers in the market this morning, sir. I went down twice. Algernon. No cucumbers! †¦Algernon. I am greatly distressed, Aunt Augusta, about there being no cucumbers, not even for ready money. Act I, scene 1 (Lady Bracknell to Algernon) Lady Bracknell: â€Å"Well, I must say Algernon that I think it is high time that Mr. Bunbury made up his mind whether he was going to live or to die. This shilly-shallying with the questions is absurd. Nor do I in any way approve of the modern sympathy with invalids. I consider it morbid†¦I should be much obliged if you would ask Mr. Bunbury from me to be kind enough not to have a relapse on Saturday for I rely on you to arrange my music frame†¦Ã¢â‚¬  It is difficult for Victorian people to understand an interest in something that is so far removed from their daily pleasure, nor to sympathy. Also at the end when they both kill off their imaginary alter egos or friends without much to-do, shows Victorian society’s real values. The Victorian era did not value honesty, responsibility, or compassion for the under-privileged (neither Lady Bracknell nor Algernon exhibit much pity for â€Å"Bunbury† when he â€Å"dies†), but only style, money and aristocracy. It is appropriate that the pun in the sentence when L. B is talking about â€Å"Bunury† death as an appointment to be simply fixed or arranged, and the nonexistent character of â€Å"Bunbury† itself show how shallow are the Victorians’ real concerns. Act I, scene 2 Lady Bracknell starts her conversation by showing to be a very concerned and affectionate mother who wants his expectations meet her requires. The first question she asks is about smoking. Smoking is a harmful, money-consuming habit that needs to be killed, while we find a pun when L. Bracknell turns to be in favor of this habit of Jack. Besides, she considers it as an important occupation or a man. Lady Bracknell: †¦Do you smoke? Jack: Well,yes,I must admit I smoke. Lady Bracknell: I am glad to hear it. A man should always have an occupation of some kind. We face up with many ironic situations during L. Bracknell’s discuss with Jack in act 1, scene 2, making fun to the false, empty ideals of Victorian society, mocking the so-called virtue qualities of the upper class that pretends to be high-educated. The puns are when L. B gives an appreciation of Jack’s being ignorant. She is pleased with Jack’s ignorance, and the most absurd is that she pays high tributes to ignorance by comparing it to a delicate exotic fruit. †¦ Lady Bracknell. A very good age to be married at. I have always been of opinion that a man who desires to get married should know either everything or nothing. Which do you know? Jack. [After some hesitation. ] I know nothing, Lady Bracknell. Lady Bracknell. I am pleased to hear it. I do not approve of anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of modern education is radically unsound. Fortunately in England, at any rate, education produces no effect whatsoever. If it did, it would prove a serious danger to the upper classes, and probably lead to acts of violence in Grosvenor Square.

Culture Shock And Cultural Adaptation - 1402 Words

Culture shock is generally describes the uneasiness, stress as well as anxiety an individual feels when they encounter an unfamiliar cultural background, as a result of loosing familiar cues along with meanings associated with behavior and communication. Culture shock is thus an experience that happens to a person in every sphere of life when they face different lifestyles and world perceptions whether with regards to education, health or jobs among others. While residents or natives may take for granted their familiar world, strangers find the situation new and as a result experience certain crisis. This situation requires the individual to adapt or adjust. This paper discusses culture shock and cultural adaption alongside its impact on†¦show more content†¦The final stage involves the point at which the person becomes familiar with the other culture and is as well referred to as effective functioning stage or acculturation. This is aim or the proper state for a stranger i n another culture since the values and beliefs of other culture are acknowledged as acceptable and valid. Culture shock impact on the health of international students and other immigrants Health problems facing students can be a great hindrance to the acquisition of skills and knowledge. Particularly, doctors need to be aware of the psychosocial problems encountered by the students in order to give appropriate heath care. Physicians ought to understand that students from abroad face challenges coping with diet, climate and language of the host state . International students also face cultural peculiarities as well as racial discrimination that can result in grave psychosocial anguish. Contributing factors consist of financial difficulties, loneliness, ethnocentrism, mistrust, misunderstanding and academic inadequacy. The confusion and disorientation that can last for long periods as a result of challenges adapting to the host country’s culture, expose students to greater mental health risks ( ). This is further supported by the fact that immigrants, who are not necessarily intern ational students, are more likely to suffer from mental problems thanShow MoreRelatedCultural Shock Essay1234 Words   |  5 PagesCultural shock is the reaction to cultural differences after moving to a foreign country. It can be triggered by differences in food, social customs, and language. The four phases of cultural shock are the honeymoon, rejection, regression, and adjustment phases (Levine). The honeymoon phase is characterized by an excitement for new surroundings. During the rejection phase, frustration replaces the excitement; inconvenient cultural differences become more noticeable, and adjustment is difficult. 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