Representative and Direct Democracy Essay Example | Topics and Well Written Essays - 1000 words

Representative and Direct Democracy - Essay Example These systems of governance have many things in common, but despite that, they also have varying differences. The work at hand includes the relevant points linked to the actual differences between representative democracy and direct democracy. In an organization, people are supposed to be encouraged to interact and take their role as integral components of everything that is taking place. In a democratic government, people in as much as possible will have to work out everything for their interest. Policy initiatives will have to be established by the people themselves. There is a form of democracy that allows every member of a group or a nation to take part of the actual decision-making process (Lewis, 2013, p.13). This is a relevant feature of a direct democracy. In this democracy, people, especially those who have right to suffrage are required to take part in the parliament and be part of the making of the law, for instance. This activity might be politically sound if only employed in a small organization, where there is only a considerable number of participating individuals. However, in the case of a country having thousands and millions of people in a population, it might take a longer period of time prior to achieving the actual decision, because everybody, especially those who have established their rights and privileges must be able to take part of the actual making of the law. In other words, it is hard to maintain direct democracy, especially if there is involvement of higher population (Breton, 1997, p.60). Direct democracy was evident in the ancient Athens where especially the free male Athenian citizens at the age of more than 20 had the right to be part of the Assembly (Hansen, 2005, p.45). It is clear that the good thing about direct democracy is its ability to give people the power to decide, especially in voting and choosing their leaders.

ASSISTIVE TECHNOLOGY Research Paper Example | Topics and Well Written Essays - 2250 words

ASSISTIVE TECHNOLOGY - Research Paper Example The proposed research will examine the use of assistive technology in elementary schools, seeking to establish the merits and demerits of such use. Through the research, policymakers, individuals, and the community as a whole will be empowered to make informed decisions on whether to use assistive technology. The expected findings are that the advantages of using assistive technology are more than the disadvantages, and the paper recommends the review of education policies and curriculum to enable more children with disabilities to use assistive devices in learning institutions. Introduction Assistive technology is any product, equipment, or technology that is adapted or specially designed to improve the function of an individual with disability. The use of such technology in the education sector has been on the increase in the recent past, particularly due to the regular advancements in technology experienced in the 21st century. Learners with disabilities are enabled to access curriculum material using the help of assistive technology in reading, hearing, and walking, and as such, their participation in learning is greatly enhanced. However, several barriers to the use of assistive technology in classroom settings have been identified over time, as well as challenges hampering the effectiveness of the technology in learning. These barriers include inadequate funding, lack of knowledge and skills to promote the use of assistive technology, and negative attitudes among learners with disabilities and caregivers towards the use of assistive equipment. Although challenges a nd limitations to widespread use of assistive technology among learners with disabilities abound, assistive technology has many benefits, both to individual users and to the community as a whole. It is therefore necessary to sensitize people on the advantages surrounding the use of assistive technology, and to make them aware of the disadvantages associated with such use, both in the short term and in the long term. Increasing community awareness on the advantages and disadvantages of assistive technology would enable policymakers, individuals, and the larger community to make informed decisions related to assistive technology. Statement of the problem Over time, there has been increasing use of assistive technology to enhance learning among people with disabilities. Studies related to this use have largely focused on the barriers, challenges, and limitations of the practice in the community, with very few examining the advantages and disadvantages of assistive technology. As such, there is need for research to be undertaken with the aim of establishing the merits and demerits of using assistive technology. This paper seeks to propose a study of the advantages and disadvantages of assistive technology, aimed at providing information to individuals, policymakers, and interested individuals in the community on the use of the technology. The study will enable people to make decisions on the use of assistive technology with accurate and reliable information on the advantages and disadvantages of such usage, and will provide both short term and long-term effects of assistive technology. In addition, the study will consider the impacts of assistive technology on the individual user, the caregivers, and the community in which this technology is used, thus providing exhaustive information on the advantages and disadvantages of the technology to all affected parties in the community. Literature review Stumbo, Martin, and Hedrick (2009) observe that assistive technol

Quantum Chemistry: Molecular Geometry of Water Molecule

Quantum Chemistry: Molecular Geometry of Water Molecule Question 1: Optimize the molecular geometry of a water molecule (H2O) at HF/STO-3G level of theory in Gaussian-09 through the GaussView Visualization software package on the desktops provided. Give optimized bond length lengths and angles using this combination of methods and basis set. Ans. Bond Length = 0.98927 Ã… and the Bond Angle H-O-H is 100.035 degrees Recalculate the geometry using an alternative method of your own choice. Ans. Using Semi-empirical (PM6) we get a bond length of 0.94911 Ã… and a Bond Angle H-O-H is 107.488 degrees. Give molecular orbital diagram with drawings of the molecular orbitals. You may have to rerun the calculation with pop=full included.  ­Ans. Molecular orbitals for isolated H-O-H molecule were calculated using Hartree-Fock wave function and STO-3G basis set. [1][2] HOMO (Highest Occupied Molecular Orbital) and LUMO (Lowest Occupied Molecular Orbital) HOMO LUMO HOMO: Mainly pz2 is character with no contribution from Hydrogen 1s orbital but contributes to lone pair effects. LUMO: O-H antibonding with greatest electron density around Oxygen atom. Lowest Energy Orbital 1a1 contributed by 1s orbital of Oxygen Atom (approximately spherical). 2nd Lowest Energy Orbital 2a1 (close to non-bonding) contributed mostly by 2s orbital of Oxygen Atom (approximately spherical). Also contributes to O-H bonds. Energy Orbital 1b2 (non-bonding) contributed by 1s orbital of Hydrogen Atom and 2s plus 2px orbitals of Oxygen Atom leading to O-H bonds. Energy Orbital 3a1 (non-bonding) contributed by 1s orbital of Hydrogen Atom and 2s plus 2pz orbitals of Oxygen Atom leading to O-H bonds. Highest occupied molecular orbital 1b1 (non-bonding) with pz2 character. No contribution from Hydrogen atoms. How will the geometry change when and electron from the highest occupied molecular orbital is removed? Calculate the energy of H2O+, i.e. water with a charge of 1 and multiplicity 2. Ans. Using Hartree-Fock Wave Function with STO-3G basis set for a Water molecule with +1 charge and multiplicity 2, we get Bond length = 0.96 Ã… Bond Angle H-O-H = 109.5 degrees Energy of H2O+ = -75.2017003581 A.U. (atomic units) How will the geometry change when an electron is removed from the second highest occupied molecular orbital of H2O? Ans. If an electron is removed from the second highest occupied molecular orbital and electron from the highest occupied molecular orbital will move down to stabilize the oxygen atom and giving it a negative charge leading to a single lone pair. The original water molecule has 2 lone pairs and repulsion leads to a bond angle approximately 104.5 degrees, on removing an electron the repulsion force decreases leading to a larger bond angle but the geometry will remain the same. Calculate the infrared spectrum of water Ans. For Hartree-Fock Wave Function and STO-3G basis set. How will the spectrum change when the hydrogen atoms are replaced by deuterium atoms? Ans. If the hydrogen atoms were replaced by deuterium the mass of the atoms bonding to the oxygen atom increases as deuterium is a heavier isotope that results in a drop in the frequency of vibration of the molecules with similar peaks. How will the spectrum change when the water molecule is in liquid phase rather than in the gas-phase? Ans. For Hartree-Fock Wave Function and STO-3G basis set. Question 2: Do a geometry optimization and frequency for cyclohexane in the chair and boat configurations in the gas phase. Template structures should be available in GaussView. Chose a density functional method and basis set. As this is a relatively large system, I would choose a modest basis set without polarization and diffuse basis functions. Which of the two structures is more stable? Ans. The chair conformer is more stable as compared to boat as the hydrogens in the chair conformation are well separated as compared to the boat conformer leading to less force of repulsion hence less energy and more stability. [3] Calculate the vibrational spectra of both structures. Give a comparison. Ans. Chair Conformation IR Spectra -> Boat Conformation IR Spectra -> More peaks in the IR spectra of the boat conformation due to more interactions. Higher energy due to more interactions as compared to chair conformation. The boat conformation is not stable and is only used for experimental purposes and cannot exist independently. How would you be able to identify percentages of chair and boat configuration from a mixture of the two? Ans. We can easily calculate the percentages of chair to boat by calculating the value of ΆG between chair and boat and equating it to (- RT ln (Q)). The value of Q will give us the ratio of boat to chair conformer in a mixture of two. Chair Conformer Energy Boat Conformer Energy There will be a negligible difference between the energy for Chair Conformer at 10 cycles rather than 9 cycles. Hence, = 28.077 kJ/mol [5] Equating, where R= 0.008314 kJ/molK and T=273.15+27=200.15 K we get, Q=1.29866 * 10^-5 which is the ratio of boat to chair conformer present in the solution. Draw the dipole moment of the chair and boat configuration. Which of those structures will dissolve better in water and why? Ans. Chair conformer of cyclohexane has negligible dipole moment due to symmetry and equal charge distribution. On the other hand Boat conformation of cyclohexane has dipole moment due to the shape of the conformer making it polar due to charge distribution and steric effects. BOAT CONFORMER (Note: Grey spheres are C atoms and Blue spheres are H atoms) Hence the boat conformer is able to dissolve in water but stabilizes soon and turns into the chair conformer making it non-polar and separating it from water. How many different configurations of Fluoro-cyclohexane exist? Draw structures but do not minimize in Gaussian. Ans. Dipole moments of Fluoro-Cyclohexane have increased by a factor of 611.6 as compared to cyclohexane. This explains how the presence of a single fluoride atom instead of a hydrogen impacts the structure and charge distribution of the cyclic hydrocarbon. In turn adding a Fluoride atom also increases the energy of the cyclic hydrocarbon creating less stable structures in boat, twist and half chair increasing and decreasing the amount of other conformers in a solution compared to chair. [4] CHAIR CONFORMER BOAT CONFORMER (NOTE: Grey spheres are C atoms, White Spheres are H atoms and Blue Sphere is F atom) At room temperature only Chair Fluoro-Cyclohexane can exist but may transition between conformations that will be present for negligible time. REFERENCES: http://www.idc-online.com/technical_references/pdfs/chemical_engineering/Molecular_orbitals_for_water.pdf http://butane.chem.uiuc.edu/pshapley/GenChem2/A6/book.pdf https://en.wikipedia.org/wiki/Cyclohexane_conformation http://www2.chemistry.msu.edu/faculty/reusch/VirtTxtJml/sterism2.htm http://www.virginia.edu/ep/Interactions/Constants_Units__Conversions.htm SOFTWARES: Gaussian(R) 09 Art in the Victorian Era | Analysis of Styles Art in the Victorian Era | Analysis of Styles The Victorian era was an age of peace and prosperity in Great Britain. The Victorian style is developed mainly in Great Britain during the reign of Queen Victoria, who became queen at the age of 18 years old. This movement takes place during the peak of the Industrial Revolution, in this moment, the science, as well as every other aspect of the society, were suffering big changes, with technological advances and a loss on the moral and religious values. This brought a search of rising the social dignity and tried to integrate all the arts in this harmonious and beautiful environment. The Victorian Era begins in 1837 and ends by the beginning of the 20th Century. The Victorian art is eclectic, it gathers the best of other styles, coming back to the Medieval. It uses richly ornamented objects and it has a taste for the naturalist inspired motifs, with great excess and saturation on the forms. A great interest for the daily spaces emerges, specially the dining room, for being a meeting point. The medieval themes are frequently used, full of knights and damsels, and comes back to the representation of religious scenes. Regarding to the painting, the Victorian era is a cult to the classical beauty, to counter the ugly modern world, result of an industrial revolution, where several topics are used, from the religious to the historical, and where the representation of women is recurrent. During the Victorian era, several artists tried to imitate the big former artists, previous the Industrial Revolution. The pre-Raphaelite movement is one of the most important of this period, formed by Dante Gabriel Rosetti, William Holman Hunt and John Everett Millais, mainly. The pre-Raphaelite tried to fight the teaching on the academies, and all the bad that the Industrial Revolution brought, wanting to recover a more spontaneous art, searching for inspiration on the natural, looking up to the big Reinassance artists. The Lady of Shalott, painted in 1888 by John William Waterhouse is a representative painting of this time. This oil on canvas is held nowadays at the Tate in London. This painting tells the story of Elena, the lady of Shalott, who was confined in a tower where she wove day and night. One day, a whisper announced that a terrible curse will await her if she ever looked at Camelot. In this painting we see Elena in a boat on her way to Camelot. The artist shows us a def enceless young lady, wearing a white tunic. She seems exhausted, a woman who has assumed her faith and her death, with a lost gaze and her arms lay in a surrender position. In the boat, Elena is carrying some of her fabrics, in these fabrics we can observe the adventures of the Knights of the Round Table, as well as the love she feels for Lancelot. The English landscape on the background is reduced to simple strokes. The rich colours and details are used to highlight the central figure. Waterhouse gives importance to the atmosphere, giving less importance to the design. It is a composition of isolation and despair. Waterhouse creates a balance in the composition by opposing the pale figure of the woman on one side of the painting with the horizon on the other. He uses warm and autumnal colours, maybe as a symbolism of Elenas imminent death. Waterhouse captures a sense of sorrow, giving Elena a bewildered look, a woman with no control in her life, a possible nod to the political powe r of women at the time. Victorian society was especially harsh on its female subjects, particularly regarding issues of sexuality and chastity. For instance, Augustus Eggs oil, Misfortune, caused a big shock when it was shown for the first time in 1858 at the Royal Academy. This painting is part of a triptych, which tells us the story of an infidelity and the consequences it had for a woman at the time. The subject of this painting was not only controversial but contemporary and topical. The scene happens in the living room, the husband is holding a letter, evidence of his wifes affair. He is looking to his wife, who is laying on the floor, she is wearing two bracelets in both arms that seem like handcuffs, maybe a symbolism of what the marriage supposed to her. There is religious symbolism as well, there is an apple cut in two, placed in two different spheres of the painting, one half on the floor next to the mother, and the other half by the knife on the table next to the father. On the left side of the p ainting, we see the two children playing with cards, they built a tower which is falling apart, symbolism of the marriage of their parents, only the big sister seems to acknowledge what is happening. We can also see a novel of Balzac at the base of the girls, as well as four small significant paintings on the wall, Adam and Eve expelled from the paradise hanging over the wifes portrait, and one of a shipwreck hanging over the husbands portrait. We can observe a pair of scissors on the table, maybe as a symbolism for the break up. The brushwork is precise, paying attention to the details. Dark colours are predominant in this painting, and the light comes from the left side of the painting, tenuously enlightening the room. Augustus Egg represents the deception of the fallen women, which became almost a trademark of the Victorian period, ex.: The Awakening Conscience by William Holman Hunt, in which we find similitudes such as the mirror in both scenes. The mirror in Eggs painting show s us an open door, through which the mother will soon leave. The mirror gives a sensation of depth by showing us the rest of the room. The Victorian era can be summed up in a series of changes caused by the Industrial Revolution. For many people this period represented a step back of all what had been achieved by the time, that will take artists to romanticize previous times, when everything seemed to be simpler, it was a fight against the progress and the unknown, marked by artistic tendencies which searched for a balance between the what it is beautiful and the new, resulting in a greater richness on the design. These two paintings are a representation of the artistic movement during the Victorian era. They both use recurring topics of the period. Bibliography. Rosenblum, R. Modern Painting and the Northern Romantic Tradition: Friederich to Rothko, Icon (Harpe), 1977. Rothenstein, J. Moder English Painters, Arrow Books, 1962. Treble, R. London: Victorian Paintings. The Burlington Magazine 122, no. 925 (1980): 274-77.

school hazing :: essays research papers

People are obsessed with the interrelation between different demeanors. Weather it be art and literature, matching shoes and shirts, or between men and women. We live in a society full of irreverent and dysfunctional relationships. In-fact, we were lucky enough to live during the time of The Break-up Heard 'Round the World, other wise known as when Jennifer Aniston and Brad Pitt broke up. The reason why the masses of literate minds are sucked into this timeless display of courtship is because they themselves have experienced similar relationships and knowing that they are not alone in the miserably bleak world of despair in the vain quest for love and acceptance. The many degrees of alliances, how strong they are, why they are being maintained, and what possible stresses can be applied to them by antagonists are all real world situations. People like to critique other people, and Hamlet is full of many archetype characters. Hamlet is based off of consanguinity, and the ext ream effe ct it has on people. People have aspirations and people want love. The relationships displayed in Hamlet revolve around personal lives clashing around ambitions. Ambitions driven by greed or revenge. "The serpent that did sting thy father's life/Now wears his crown." (Ghost 1,5) Hamlet talks to his fathers ghost and finds out that his uncle, his fathers own brother killed his father. From here on he is driven to get revenge for his fathers death. The rest of the play he puts on an antic disposition so he can get the information he wants and not have to explain why he is acting they way he is. If everyone thinks that Hamlet is crazy then they will not be suspicious. Hamlet is determined at all costs to kill Claudius from then on. "Does it not, think the, stand me now upon-/He that hath killed my king, and whored my mother,/...is't not perfect conscience/ To quit him with this arm?" (Hamlet 5,2) Hamlet is on the brink of killing Claudius and will soon have the chance. "Here, thou incestuous, murderous, damned Dane,/ Drink off this option. Is thy union here?/ Follow my mother." (Hamlet 5,2) This was said after his duel with Leartes, after he knew he was going to die. He makes Claudius drink from the poisoned cup his mother drank from. One of the last things he does is ensure that his vengeance is complete.

Analysis Of Noun Phrase In English And Vietnamese Education Essay

Noun phrases every bit good as other phrases play an of import function in get the hanging any linguistic communication. Without noun phrase, there would hold no agents, no patients, and no receivers. Additionally, no affair how broad our vocabulary may be, a individual word is frequently deficient in showing our thought.. A incompatible analysis between English and Vietnamese is necessary and interesting for learning and analyzing. Almost every linguistic communication has noun phrases, nevertheless, despite holding the same basic construction, they have some differences..This survey aims to research internal and external construction of English and Vietnamese noun phrases so make a comparing between two sorts of NP every bit good as suggest some teaching deductions. I hope through this assignment, both I and the readers will larn something helpful which can use to English instruction and acquisition.Noun phrase in EnglishDefinitions:Le ( 2002 ) defined noun phrase ( NP ) as a group of words get downing with a noun and working appositional. This NP frequently goes right earlier or right after the noun it expresses. Ex-husband: A victim of war, he hated the sight of soldiers. ( A victim of war = he ) Harmonizing to L.H.Nguyen ( 2004 ) , a NP is a group of words with a noun or pronoun as the chief portion ( the caput ) . In his book â€Å" Analyzing English † , Jackson added some more deal about the caput which is â€Å" the minimum demand for the happening of a noun phrase † . Despite the NP is in simple signifier such as â€Å" pupils † or in complex signifier such as â€Å" the narrative about the miss who used to populate at that place † , it must hold a noun or pronoun showing the chief thought.Structure:Basically, a noun phrase consists of 3 chief parts: Pre – Alteration, Head, Post – Alteration. But in some complex NPs, we can see that the Pre – Alteration may incorporate other elements. Based on the theory of NP in the book â€Å" Analyzing English † by Howard Jackson, we have a elaborate expression of NP as followers:Pre – AlterationHeadPost – AlterationPre – clincher ( A ) Identifiers ( B ) Numeral/Quantifier ( C ) Adjectives ( D ) Noun qualifier ( Tocopherol ) N/pro ( F ) Relative clauses, infinite clause, prepositional phrase, adjectives, adverbs. ( G ) Table 1: The construction of a NP in English Now, we will travel into inside informations of the construction of a NP.Pre – AlterationThis portion fundamentally has 5 elements as shown in the above tabular array. The first component is pre-determiners. They are a little group of words which may happen before the identifier in a NP. They besides have quantifier mention ( all, both, half, aˆÂ ¦ ) ; fraction numbers ( one-third, aˆÂ ¦ ) . Following component is identifiers. This component includes articles ( a, an, the ) ; demonstrative ( this, that, these, those ) ; genitives ( my, your, his, aˆÂ ¦ ) . But there is one thing we should pay attending. In any NP, merely merely one identifier may happen, it means that articles, demonstrative and genitives are reciprocally sole. We ca n't state â€Å" that my house † but if we use â€Å" of-phrase † with the genitive pronoun, we can show that NP in another manner â€Å" that book of mine † . In some NPs such as â€Å" five cats † , â€Å" several books † , the pre – alteration here is numerical ( five ) or quantifier ( several ) . Besides, sometimes, we can see the combination of these two elements in some NPs. The frequent sequences are ordinal numerical ( particularly â€Å" first † and â€Å" last † ) + indefinite quantifier ( eg â€Å" the first few hours † ) , ordinal + cardinal ( eg â€Å" the 2nd five yearss † ) , indefinite quantifier + central numerical, particularly circular figure ( eg â€Å" several thousand people † ) ( Nguyen, 2004, p. 44 ) . To magnify the caput noun in some manner, the following component, adjectives, come after the identifier and numerals/quantifiers. However, in instance that several adjectives co-occur in a NP, there is a regulation for their order.nameSizeformagecoloring materialbeginningsubstancepresent participialcapturing Small unit of ammunition old brown Gallic oaken composing tabular array Table 2: The adjectival order The last component is noun qualifiers which come between the adjectives and the caput noun. As we can see, nouns may work non merely as caputs of NP but besides qualifiers in NP. For illustration, in NP â€Å" a kids book † , â€Å" kids † modifies â€Å" book † and â€Å" a kids book † means a book for kids. Beside 5 basic elements mentioned supra, there is one farther sort of pre-modification that is NP in possessive instance. This sort is marked by an ‘s added to the its concluding word ( eg my friend ‘s bike ) .Head:The most usual sort of caput of NP is noun, but in some NPs such as â€Å" She is my best friend † , the caput may be a pronoun of some sort, normally a personal pronoun ( he, she, youaˆÂ ¦ ) . Similarly, Jacobs ( 1995 ) stated that many NPs in English are individual signifiers dwelling possibly merely of a noun or a pronoun. When the caput is a pronoun, it does n't necessitate any alteration, particularly the pre-modification.Kinds of pronoun operation as the caputExamplesPersonal pronoun He, she, you, they, we, aˆÂ ¦ . Indefinite pronoun Person, something, cipher, aˆÂ ¦ †¦ Possessive pronoun His, her, your, their, aˆÂ ¦ Demonstrative pronoun This, that, aˆÂ ¦ Table 3: Kinds of pronoun operation as the caput of NPPost-modificationThis portion is most often followed by phrases or clauses. Three sorts of phrasal/clausal post-modification we frequently see is: comparative clauses, infinite clauses, and prepositional phrases, sometimes we besides see an adjective or an adverb operation as a post-modifier in NP ( Jackson, p.15 ) . A comparative clause consists of a comparative pronoun ( who, whom, which, that, whose, aˆÂ ¦ ) as a caput, which mentions back to the caput noun of NP. If the comparative pronoun ‘s map is object in the comparative clause, we can exclude that comparative pronoun. Infinite clause is clause normally without topics introduced by a infinite signifier of the verb. That sort of clause include 3 sorts: space clause, present participial clause, past participial. In a NP, prepositional phrase occurs most often working as post-modifier.Some illustrations:All the schools in townA B F G ( prepositional phrase )The last few yearssB C C FDong Bang Shin Ki, my favorite music set.F G ( appositional NP )My noisy 4-year-old white Thai catB name age coloring material FThis arch revenue enhancement aggregator ‘s grabbing manusNP Genitive D FThe Korea history which has merely been published.B D F G ( comparative clause )Something of import to makeF ( indefinite pro ) G ( adjectives ) G ( infinite clause )The miss behind youB F G ( adverb )Two Equus caballuss eating grass.A F G ( infinite clause: present participial )A subject vocal composed by Lee So ManB E F G ( infinite clause: past participial )One-third of the populationA B FNoun phrase in VietnameseDefinitions:Mai, Vu and Hoang ( 2006 ) defined NP ( danh nga »? ) is a phrase in which the noun map as the chief portion. Besides, NP in the theory of Doan, Nguyen, Pham ( 2001 ) is a â€Å" free combination of a noun karyon and one or more than one subsidiary elements â€Å" which can be front elements standing before the nucleus noun or can be end elements standing after the nucleus noun.Structure:As a phrase, NP in Vietnamese besides has three chief parts: Pre-Modification ( Front Element ) , Head ( Nucleus ) , Post-Modification ( End Element ) . More elaborate, harmonizing to Mai et Al. ‘s theory ( pp. 276-280 ) , the construction of NP in Vietnamese can be described as followers: Tat ca nha »?ng Cai con meo A‘en ay ( -3 ) ( -2 ) ( -1 ) Head noun ( 0 ) ( 1 ) ( 2 ) Table 4: The construction of a NP in VietnameseFront elementsAs we can see from the tabular array, the elements in the place ( -3 ) , ( -2 ) and ( -1 ) are called front elements, while the elements standing after the karyon ( 1 ) and ( 2 ) are called end elements. Those elements are placed in a stable manner as shown in the above tabular array. In footings of the front elements, we have three sorts. In the place ( -1 ) , quantifiers such as â€Å" tat ca † , â€Å" tat thay † , â€Å" hat thay † , â€Å" hat ca † , â€Å" ca † , aˆÂ ¦.are used. Those words can happen before: definite numbers: ma »Ã¢â€ž ¢t, hai, Ba, ba »Ã¢â‚¬Ëœn, aˆÂ ¦ Ex-husband: tat ca ba »Ã¢â‚¬Ëœn m? °i sinh vien ( 1 ) corporate nouns: A‘an, lA © , bo , ba »Ã¢â€ž ¢ , nam, aˆÂ ¦ . Ex-husband: ca lA © con trai general nouns: qua? §n, ao, binh, linh, xe ca »Ã¢â€ž ¢ , may moc, aˆÂ ¦ Ex-husband: hat thay may moc Let ‘s pay attending to the quantifiers such as â€Å" tat ca † , â€Å" tat thay † , â€Å" hat thay † , â€Å" hat ca † , â€Å" ca † , aˆÂ ¦.From the illustrations above, we can see that such those quantifiers occur before the caput noun. Now, taking the first illustration, is it right if we say it in such a manner â€Å" ba »Ã¢â‚¬Ëœn m? °i sinh vien tat ca † ? Actually, in footings of grammar, it is right but the significance is different. The NP â€Å" tat ca ba »Ã¢â‚¬Ëœn m? °i sinh vien † means that no pupils are left, but in â€Å" ba »Ã¢â‚¬Ëœn m? °i sinh vien tat ca † , there are some pupils left. So, we can reason that â€Å" tat ca † can stand before and after the caput noun depending on the talker ‘s attending. Diep Quang Ban ( 2000 ) stated that place ( -2 ) is the topographic point taken by word category as followers:Definite numeral/ central figure ( ta »Ã‚ « cha »Ã¢â‚¬ ° sa »Ã¢â‚¬Ëœ l? °a »?ng xac A‘a »Ã¢â‚¬ ¹nh/sa »Ã¢â‚¬Ëœ ta »Ã‚ « )Ma »Ã¢â€ž ¢t, hai, Ba, ba »Ã¢â‚¬Ëœn, m? °a »?i, trA?m aˆÂ ¦.. M? °a »?i con meoEstimate quantifier ( ta »Ã‚ « cha »Ã¢â‚¬ ° sa »Ã¢â‚¬Ëœ pha »?ng A‘a »Ã¢â‚¬ ¹nh )Vai, vai Ba, dA?m, m? °i, aˆÂ ¦ vai Ba khach hangAllocating words ( ta »Ã‚ « ham y phan pha »Ã¢â‚¬Ëœi )Ma »-i, ma »Ã¢â€ž ¢t, ta »Ã‚ «ng, aˆÂ ¦ Ma »-i cong danArticles ( quan ta »Ã‚ « )Nha »?ng, cac, ma »Ã¢â€ž ¢t, .. Nha »?ng bac sA ©Word â€Å" may †May con ga nay Table 5: the place ( -2 ) in a NP in Vietnamese However, we should pay attending that such elements as â€Å" vai, vai Ba, dA?m, aˆÂ ¦ † can non co-exist with the quantifiers such as â€Å" tat ca † , â€Å" tat thay † , â€Å" hat thay † , â€Å" hat ca † , â€Å" ca † in the place ( -3 ) . In footings of the place ( -1 ) , Diep Quang Ban ( 2000 ) stated that it is taken by the deictic word â€Å" cai † ( ta »Ã‚ « cha »Ã¢â‚¬ ° xuat ) in order to stress things mentioned in the caput noun. However, sometimes, â€Å" cai † is replaced by another deictic word such as â€Å" con † in NP â€Å" con ng? °a »?i ay † . In Vietnamese NP, â€Å" cai † occurs before the caput noun and can step in between a numerical ( if there is one ) and the classifier or a step phrase. It may be preceded by other pre-noun qualifiers such as quantifiers, numbers, and articles. It must ever coincide with a classifier as in â€Å" ba cai cua »Ã¢â€ž ¢n len kia â€Å" or â€Å" ba cai thung n? °a »Ã¢â‚¬ ºc nay † . Besides, â€Å" cai † is sometimes mistaken with the homonymic classifier â€Å" cai † , but it ‘s different from classifier cai every bit good as other classifiers in term of distribution and map. When â€Å" ca i † precedes a count noun, the usage of a classifier is obligatory, as shown in ( a ) . However, â€Å" cai † can non be used before the homonymic classifier as shown in ( B ) Ba cai cua »Ã¢â€ž ¢n len ( correct ) Ba cai cai chen ( incorrect ) Normally, with the presence of the deictic word, the noun is demonstrative like â€Å" nay † , â€Å" kia † , â€Å" ay † , aˆÂ ¦ . ( eg: cai tha? ±ng nhoc nay ) . But, in spoken linguistic communication, we frequently see that the demonstratives are omitted, like â€Å" cai tha? ±ng nhoc † .The karyon ( head noun ) :Harmonizing to Dinh Dien ( n.d ) , the karyon ( place ( 0 ) ) may be a noun ( boy, teacher, cat, houseaˆÂ ¦ ) or a combination between a classifier ( danh ta »Ã‚ « cha »Ã¢â‚¬ ° loai ) and the caput noun such as â€Å" con ng? °a »?i † , â€Å" quya »?n sach † , â€Å" may say † . Otherwise, the caput noun may be a classifier followed by a descriptive free word bunch ( ta »Ã¢â‚¬ ¢ ha »?p ta »Ã‚ « ta »Ã‚ ± do mieu ta ) such as â€Å" hai ng? °a »?i A‘ang nga »Ã¢â‚¬Å"i noi chuya »Ã¢â‚¬ ¡n A‘a? ±ng kia † , â€Å" nha »?ng via »Ã¢â‚¬ ¡c ban hom ba »?a † A dditionally, words which are non nouns can besides be the caput due to the talking wont of Vietnamese. For illustration, we can shorten the NP â€Å" hai ca »Ã¢â‚¬Ëœc ca phe A‘en † into the NP â€Å" hai A‘en † . Some Vietnamese classifiers are normally used: caiA : used for most inanimate objects ( cai ban, cai gha , .. ) con: normally for animate beings and kids ( con be ) , but can be used to depict some inanimate objects ( con dao, con A‘? °a »?ng ) bai: used for composings like vocals, drawings, verse forms, essays, etc ( bai th , bai hat, .. ) cay: used for stick-like objects ( cay ph? °a »?ng, cay sung, aˆÂ ¦ ) toa: edifices of authorization: tribunals, halls, â€Å" tusk towers † ( toa nha , .. ) qua/trai: used for ball-shaped objects ( qua chua »Ã¢â‚¬Ëœi, trai A‘at, .. ) quya »?n/cua »Ã¢â‚¬Ëœn: used for book-like objects ( cua »Ã¢â‚¬Ëœn sach, quya »?n tap chi , .. ) ta »? : sheets and other thin objects made of paper ( ta »? giay, ta »? bao, .. ) la : smaller sheets of paper ( la th , la bai, aˆÂ ¦ ) via »Ã¢â‚¬ ¡c: an event or an on-going procedure ( via »Ã¢â‚¬ ¡c kinh doanh, via »Ã¢â‚¬ ¡c ha »?c, aˆÂ ¦ )End elements:Doan et Al. classified the terminal elements in footings of portion of address, construction, manner of connexion, order of some elements. c.1 ) In footings of portion of address: noun la »Ã¢â‚¬ ºp ngoai nga »? verb la »Ã¢â‚¬ ºp giao tiap adjectival la »Ã¢â‚¬ ºp A‘ong central numerical la »Ã¢â‚¬ ºp 4 noun of topographic point la »Ã¢â‚¬ ºp tren la? §u noun of clip la »Ã¢â‚¬ ºp bua »Ã¢â‚¬ ¢i ta »Ã¢â‚¬Ëœi pronoun la »Ã¢â‚¬ ºp ca »Ã‚ §a toi Table 6: The terminal elements in Vietnamese NP in footings of portion of address c.2 ) In footings of construction: A chief – accessary phrase: sach vA?n ha »?c Ma »? A co-ordinated phrase: sach nghe va noi A S-V phrase: sach ma toi va »Ã‚ «a mua c.3 ) In footings of manner of connexion: Direct ways ( eg: tinh tha? §n thep, mat ba »Ã¢â‚¬Å" cauaˆÂ ¦ ) Indirect ways ( eg: ba »Ã¢â€ž ¢ phim ma anh thich, bai viat ma toi va »Ã‚ «a hoan thanh ) c.4 ) In footings of the undermentioned order: The nucleus i? A i? B ( a, B, degree Celsius, vitamin D ) i? CABacillusCgoes with the karyon to organize a phrase ( a compound noun ) describes the features of the object that the karyon mentioned Ex-husband: phong khach ra »Ã¢â€ž ¢ng, ban lam via »Ã¢â‚¬ ¡c American ginseng tra »?ng, aˆÂ ¦ . demonstrative pronouns such as â€Å" nay, ay, A‘o † aˆÂ ¦ a B C vitamin D a noun, a verb or an adjectival â€Å" va »? + noun † or â€Å" ba? ±ng + noun † â€Å" ca »Ã‚ §a + noun † or â€Å" a »Y + noun † Clauses Table 6: The terminal elements in Vietnamese NP in footings of some elements ‘ order. Something about demonstratives may do you misconstruing if we arrange them in different order. For illustration, compare two NPs â€Å" via »Ã¢â‚¬ ¡c ay ca »Ã‚ §a anh † and â€Å" via »Ã¢â‚¬ ¡c ca »Ã‚ §a anh ay † , we can see the difference in significance here due to our talking modulation. In the first NP, if we speak with a level modulation, we can understand it as â€Å" his work † , whereas, if we speak with a raising modulation at â€Å" ay † in the 2nd NP, it can be understood that â€Å" it ‘s your work, non others ‘ work † .Some illustrations:Tat ca nha »?ng cai vay A‘en ba? ±ng denims a »Y store Cass ma ca? ­u( -1 ) ( -2 ) ( -3 ) ( 0 ) ( 1 ) ( ai? bi? ci? vitamin D )th? °a »?ng thay A‘o( 2 )B ) A °a »?ng A‘ua sa »Ã¢â‚¬Ëœ 2 a »Y tr? °a »Ã¢â‚¬ ºc ma? ·t ( Diep, 2000, p. 60 )( 0 ) ( 1 ) ( central numberi? degree Celsius )degree Celsius ) Nha »?ng tha? ±ng nhoc ngha »Ã¢â‚¬ ¹ ch nga »?m ay( -2 ) ( 0 ) ( 1 ) ( adjectival ) ( 2 )vitamin D ) San nha qi ma »Ã¢â‚¬ ºi lau( 0 ) ( 1 ) ( S-V phrase )vitamin E ) Cai cua »Ã¢â‚¬Ëœn tap chi a »Y tren ka »Ã¢â‚¬ ¡ A‘o( -1 ) ( 0 ) ( 1 ) ( degree Celsius ) ( 2 )A comparing of English NP and Vietnamese NPFrom what we discuss above about the NP in English and Vietnamese, we can see that both of them have a basic construction: pre-modification, caput, post-modification. . However, there are still some differences between them. We will discourse some singular similarities and differences in the places of pre-modification and post-modification in English and Vietnamese NP.First, in both English and Vietnamese NP, quantifier, numbers, fractions stand before the caput noun.( a ) All those old chairsQuantifier caput noun( B ) Several thousand peoplenumerical caput noun( degree Celsius ) One-third of my pupilsfraction caput noun( a ) Tat ca nha »?ng cai gha cA © A‘oquantifier caput noun adjectival( B ) V ai ngan ng? °a »?inumerical caput noun( degree Celsius ) Ma »Ã¢â€ž ¢t pha? §n Ba sa »Ã¢â‚¬Ëœ ha »?c sinh ca »Ã‚ §a toifraction caput nounSecond, demonstrative, ordinal Numberss, genitives come before the caput noun in English but after the caput noun in Vietnamese.That big brick housedemonstrative caput nounThe 2nd circuit to Koreaordinal figure caput nounMy favorite spicy nutrientgenitive caput noun( a ) Ngoi nha ba? ±ng gach to la »Ã¢â‚¬ ºn A‘ocaput noun demonstrative( B ) Chuyan du la »Ã¢â‚¬ ¹ch tha »Ã‚ © hai A‘an Han Qua »Ã¢â‚¬Ëœccaput noun ordinal figure( degree Celsius ) Tha »Ã‚ ©c A?n key yeu thich ca »Ã‚ §a toicaput noun genitiveThird, in footings of adjectives, we put them in forepart of the caput noun in English NP but in Vietnamese, we put them after the caput noun.Ex-husband: cai ban mau nau lam ba? ±ng ga »- xoaicaput noun. adjectivesA brown oaken tabular array.adjectives head noun.However, in some instances, adjectives come a fter the caput noun in English NP such as â€Å" something unusual † , â€Å" person brave † , aˆÂ ¦ Additionally, the order of adjectives qualifiers in English is instead fixed ( name, size, form, age, coloring material, beginning, substance, present participial ) whereas that in Vietnamese NP may be exchanged, based on the talker ‘s attending. For illustration, in English, we merely have merely one order â€Å" a reasonably bluish skirt † but when we say in Vietnamese, there are 2 ways â€Å" ma »Ã¢â€ž ¢t chiac vay mau xanh district attorney tra »?i xinh xan † and â€Å" ma »Ã¢â€ž ¢t chiac vay xinh xan mau xanh district attorney tra »?i † . Furthermore, in English NP, the happening of nouns and clinchers is obligatory but optional in Vietnamese NP. So, if we translate the phrase â€Å" cua »Ã¢â‚¬Ëœn sach tren ban † into Vietnamese, it will be â€Å" book on tabular array † . Is it right? As you see, the true phrase should be â€Å" the book on the tabular array † . In Vietnamese, classifiers are by and large obligatory in numerated NP whereas in English, we do n't usually utilize classifiers before nouns, except some particular words â€Å" a brace of places † , â€Å" a loaf of staff of life † aˆÂ ¦ . Ex-husband: In English, we say â€Å" two books † but in Vietnamese, we say â€Å" hai cua »Ã¢â‚¬Ëœn sach † . The following difference I want to advert is the place of noun qualifiers. In English NP, they come before a caput noun but in Vietnamese, they come after the caput noun. Nevertheless, in some instances in Vietnamese, noun qualifiers precedes the caput noun ( eg ma »Ã¢â€ž ¢t thi nhan, ma »Ã¢â€ž ¢t ca »? tha »Ã‚ § , .. ) A concert dance category A bundle circuit A summer run ( a ) Ma »Ã¢â€ž ¢t la »Ã¢â‚¬ ºp Ba le ( B ) Chuyan du la »Ã¢â‚¬ ¹ch tra »?n goi ( degree Celsius ) chian da »Ã¢â‚¬ ¹ch mua he Last but non least, sometimes there are some equivocal constructions that cause us baffled. In Vietnamese, what comes into people ‘s head foremost is spoken foremost is the common regulation, which is besides a natural order of people ‘s thought ( Dinh, n.d, p. 11 ) . Let ‘s take a NP as an illustration. How many ways you can state the English NP â€Å" a new Korean leather coat † ? We have â€Å" ma »Ã¢â€ž ¢t cai ao khoac ma »Ã¢â‚¬ ºi ba? ±ng long thu ca »Ã‚ §a Han Qua »Ã¢â‚¬Ëœc † or â€Å" ma »Ã¢â€ž ¢t cai ao khoac Han Qua »Ã¢â‚¬Ëœc ba? ±ng long thu ma »Ã¢â‚¬ ºi † and â€Å" ma »Ã¢â€ž ¢t cai ao khoac ba? ±ng long thu Han Qua »Ã¢â‚¬Ëœc ma »Ã¢â‚¬ ºi † . It seems that in the English NP, the place of pre-modifiers and post-premodifiers are non so free and flexible as that in Vietnamese NPDeduction in English instruction and acquisitionLearners of English may hold some troubles such as how to interpret from English into Vietnamese and frailty versa due to the differences in the place of pre-modifiers and post-modifiers we have merely mentioned above ( for illustration: ma »Ã¢â€ž ¢t quya »?n sach hay – a book good or a book interesting. They may besides be in problem with the order of the adjectives in a instead long noun phrase with many adjectives. Which adjective come foremost? Which one will come next? Where should we set those adjectives. Vietnamese pupils may happen it hard to retrieve all the places due to the wont of puting the adjectives after the caput noun and utilizing them flexibly. Knowing clearly about English NP and Vietnamese NP, particularly the differences every bit good as the common errors that Vietnamese scholars frequently meet will assist the instructors guide their pupils right. In other words, scholars can cognize their errors from the beginning so that they can happen it easy to larn English subsequently, particularly grammar. Based on the cognition of English NP and Vietnamese NP, the instructors besides design the undertakings for pupils to consolidate and pattern cognition of phrases and sentences in both two linguistic communications.DecisionIn decision, although NP in English and Vietnamese has the same basic construction ( pre-modification, caput, post-modification ) , they are non the same in the word order of pre-modification and post-modification. These differences are caused by the unsimilarity in thought and talking wont of English and Vietnamese. As a pupil every bit good as a teacher-to-be, this research helps me a batch. When making t his assignment, I have a opportunity to consolidate my cognition of both English and Vietnamese and cognize something new and helpful. With what I learn from this research, I will use to my survey and learning calling.

We Real Cool by Gwendolyn Brooks Essay

The Poem We real cool. We Left school. We Lurk late. We Strike straight. We Sing sin. We Thin gin. We Jazz June. We Die soon. Summary: This poem was written in 1959, which was in the midst of the Civil Rights Movement. In the case of Brown v. Board of Education, in 1954, the Supreme Court ruled that it was unconstitutional to segregate schools; however, desegregation was slow and many African Americans became frustrated. Segregation caused more than just separation, it caused many youths to question their roles in society. Many youths gave up on the idea of having a future, because they were told that they had no future; so why try. The boys in the poem seem to be struggling with identity. This poem is only eight lines long, so you probably don’t need a summary. What isn’t included in the text of the poem, however, is a bit of background framing the lines we read. The poem lists off the thoughts of some young guys playing pool at a pool house called â€Å"The Golden Shovel,† that seems pretty straightforward. But it’s actually more complicated than that. In fact, the lines we read are what an outside observer thinks these boys might be feeling. So this observer, our speaker, thinks the boys might have dropped out of school, be drinking gin, staying out late at night, enjoying jazz, and will have short lives. How do we know all of this background information? From Gwendolyn Brooks, of course. You can listen to Brooks talk about â€Å"We Real Cool† (and listen to her read the poem, too) We Real Cool Theme of Identity The word â€Å"We† is repeated eight times in this eight-line poem as a signal that the boys have a group identity. The boys want to be defined by their rebellious actions, which place them at odds with polite society. We Real Cool Theme of Pride The young pool players seem to take pride in their aimless behavior, and critics have debated whether they may also take pride in the prophecy they will â€Å"die soon.† They live in a culture where even the most talented people find that economic and social opportunities are scarce. Dying early could seem like a badge of honor. On the other hand, the last line could be read as evidence of the speaker’s disapproval as she tries to pop the boys’ inflated sense of pride like a balloon. We Real Cool Theme of Mortality We never learn why the speaker thinks the young pool players will â€Å"die soon,† though it might have something to do with their enjoyment of sin, rum, and (perhaps) gambling. The speaker could also be thinking that the boys are living to the fullest, as though they might die tomorrow. Additionally, this moment could point to the boys’ fears, and the struggles and violence that they might encounter in their young lives. We Real Cool Theme of Language and Communication This poem is so full of music that we can easily imagine pool players reciting it while wearing sunglasses and snapping their fingers under soft, blue lighting. It’s jazz†¦in a poem. The seductive rhythm and the use of alliteration and internal rhyme might cause us to feel more sympathetic toward the pool players. The poem also leads us to ask whether their portrayal is meant to be satirical, or whether the pool players might be trying to trick us into celebrating their lifestyle. We Real Cool Analysis We Real Cool: Rhyme, Form & Meter We’ll show you the poem’s blueprints, and we’ll listen for the music behind the words. Couplets with Internal Rhyme Apart from its subtitle (â€Å"THE POOL PLAYERS/SEVEN AT THE GOLDEN SHOVEL†), â€Å"We  Real Cool† has four stanzas, each of which is a two-line couplet. Every word in the poem has only one syllable. While many traditional couplets in poetry have a rhyme at the end of the line, this poem takes rhyming to a new level: the couplets rhyme in the middle. Thus, â€Å"cool/school† in the first stanza, and â€Å"late/straight† in the second. But the pause after each rhyme word effectively makes itsound like the end of the line. It’s almost as if each line ends on a rhyme word, and â€Å"We† is tacked on as a grace note. (In musical terminology, a grace note is a short note that gets squeezed in before a beat.) The poem has a regular meter, with three beats and a pause, but these three beats can be pronounced in different ways. You could say, â€Å"We real cool,† or â€Å"We real cool,† or â€Å"We real cool,† or, even, â€Å"We real cool.† In the recording we listened to (hear it on Poets.org), Brooks lay the most emphasis on the second two beats: â€Å"We strike straight.† Speaker Point of View Who is the speaker, can she or he read minds, and, more importantly, can we trust her or him? Perhaps we’d better let Brooks speak for herself here: â€Å"I wrote [‘We Real Cool’] because I was passing by a pool hall in my community one afternoon during school time, and I saw, therein, a little bunch of boys – I say here in this poem, seven – and they were shooting pool. But instead of asking myself, ‘Why aren’t they in school?’ I asked myself, ‘I wonder how they feel about themselves?’ And just perhaps they might have considered themselves contemptuous of the establishment . . .† (source). The speaker is trying to imagine what the boys think of their own lives. She is concerned with the community, but unlike some critics, we don’t think her tone is harsh or judgmental. Rather, we think she’s curious and wants to get inside the heads of these kids. Maybe she even thinks the boys have good reason to be contemptuous of the powers that be. But what about those boys? What are their lives really like, apart from the momentary glimpse that we get through the door of â€Å"The Golden Shovel†? After  all, they are speakers, too, or at least they are spoken for. We Real Cool Setting Where It All Goes Down A Pool Hall in the South Side of Chicago, the late 1950s Brooks once said that she was thinking of a certain pool hall in her hometown of Chicago when she wrote this poem (source). As we read and hear â€Å"We Real Cool,† our imaginations are set on fire. We close our eyes and, suddenly, we are in a neighborhood of bungalows and old, brick buildings. At the corner of the street stands â€Å"The Golden Shovel.† It’s hot outside and cool inside the pool hall. In the dimly lit building, we see several billiard tables. There’s a bar in the back serving cheap gin, and an old-style radio plays scratchy jazz in the corner. Seven young guys are gathered around a couple of the tables. Two of them have made a bet on one of the games, and the money is down on the table, ready to be claimed by the winner. They’re competitive with one another, but they also spend most of their time together, hanging out as a group. A person walks by, and they stare at her vacantly until she passes. What’s Up With the Title? The title of this poem is the same as the first line. It lets us know that the speaker will be imitating the voice of a group of young men in Chicago. The title’s musical qualities make it particularly expressive. The vowel sounds go from high to low, like walking down three steps. â€Å"We† – high. â€Å"Real† – middle. â€Å"Cool† – low. You might also put a heavy emphasis on the word â€Å"real†: â€Å"We reeaaal cool.† After reading this poem, you might find yourself repeating the title over and over again, fiddling with different ways to say it. The poem also has a subtitle, which you can read about in our â€Å"Line-By-Line† walk though. Sound Check Read this poem aloud. What do you hear? Before reading this section, you’ve got to listen to Brooks reading the poem herself, which you can do at Poets.org. Is it different from how you imagined it? We could sit and listen to her say, â€Å"Seven at the Golden Shovel† all day long. Her voice produces deep  vibrations like a low saxophone. It may be obvious to say, but there’s no avoiding it: â€Å"We Real Cool† reads like the lyrics of a jazz tune. Brooks has even provided musical instructions to how it should be read, with the low, quiet, uncertain â€Å"We.† When you listen to the recording, the most obvious musical element is syncopation, or the uneven distribution of the rhythm. That’s why it’s so hard to talk about meter with this poem. A meter implies a regular rhythm, and, on the page, â€Å"We Real Cool† seems pretty regular, with three beats followed by a pause. But the arrangement of the words lends itself to wild swings of improvisation. Listen to how Brooks pronounces â€Å"strike straight,† by laying into the first word and backing off the second slightly. She literally â€Å"strikes† at the first word like a fist coming down on a piano. If you were reading the poem, you might be inclined to give both words the same amount of emphasis, but Brooks lengthens the first beat just a tad: that’s syncopation. Also, when she says, â€Å"Thin gin,† it sounds like a bunch of people shouting and clanking their glasses so hard they’re about the fall off their bar stools: â€Å"Thiinnnnn Ginnnn!† To some readers, â€Å"We real cool,† may sound like an ironic whisper saying, â€Å"No, you’re not. Stay in school!† But if you read it aloud like Brooks does, the irresistible pull of the rhythm can also lead us to sympathize with and relate to the boys. Gwendolyn Brooks’s Calling Card What is the poet’s signature style? Portraits of the Urban Poor Brooks’s poetry draws heavily on her native Chicago. It focuses attention on poor, simple city dwellers. In another one of her poems, â€Å"The Bean Eaters,† for example, describes a couple living in a rented room, and they can only afford to eat beans for dinner. â€Å"We Real Cool† describes urban youths, and for the most part, her tone is neither angry nor judgmental. She describes the way things are using straightforward, matter-of-fact language, and  allows the reader to draw his or her own conclusions. Tough-O-Meter We’ve got your back. With the Tough-O-Meter, you’ll know whether to bring extra layers or Swiss army knives as you summit the literary mountain. (10 = Toughest) (2) Sea Level â€Å"We Real Cool† is written in everyday language, and it achieves its effect primarily through its glittering, jazzy tone. There are ambiguities and questions, like exactly what â€Å"Jazz June† means, but to hear the poem is to understand it. We Real Cool Trivia Brain Snacks: Tasty Tidbits of Knowledge Brooks was born in Kansas but raised in Chicago. Her father was a janitor; her mother, a schoolteacher. (Source) Brooks said of the popularity of â€Å"We Real Cool†: â€Å"Most young people know me only by that poem. I don’t mean that I dislike it, but I would prefer it if the textbook compilers and the anthologists would assume I had written a few other poems.† (Source) In 1968, Brooks succeeded Carl Sandburg, who coined the phrase â€Å"City of Big Shoulders† to describe Chicago, as poet laureate of Illinois. (Source) Brooks won the Pulitzer Prize in 1950 for her experimental long poemAnnie Allen. She was the first African-American woman to win the award. (Source) Brooks was awarded more than 70 honorary doctorate degrees. (The walls of her office must have been completely covered.) We Real Cool Steaminess Rating Exactly how steamy is this poem? PG-13 We wonder what these boys are doing until â€Å"late† at night, and we’re curious about exactly which â€Å"sins† (5) they are celebrating. But Brooks isn’t going to give us any more than clues and innuendo. You might be able to push this up to an â€Å"R† rating if you bought the interpretation that â€Å"jazz† (7) is a slang word for sex. Brooks has said this wasn’t what she meant, but that she doesn’t mind if people want to take it that way We Real Cool Allusions & Cultural References When poets refer to other great works, people, and events, it’s usually not accidental. Put on your super-sleuth hat and figure out why. Pop Culture Jazz (line 7) We Real Cool Symbolism, Imagery & Wordplay Here’s more to a poem than meets the eye. Youth Symbol Analysis Despite the implication that these young guys are up to no good and should have better things to do, the poem might remind you of your own mischievous youth and of bored summers you spent hanging out in video game arcades even when it was a beautiful day outside. Nonetheless, there is something ominous about these boys who â€Å"lurk† and â€Å"strike.† Subtitle: The word â€Å"golden† is symbolic of summer, youth, and daytime. This is an ironic name for the pool hall, because the aimless lives of the pool players seem anything but golden. Line 7: Brooks has said that the month of June is â€Å"fragrant† and â€Å"non-controversial.† It represents polite society and authority figures. The boys rebel against June by â€Å"jazzing† it up. Music Symbol Analysis Chicago is the world capitol of the blues, and the city also played a major role in the rise of jazz as an art form. This poem has jazz themes and rhythms in its very bones. Its frequent use of alliteration has a percussive effect, like crashing symbols or the twang of a double bass. The pool players seem to know something about the deep jazz culture. Line 5: This poem has a lot of alliteration, and â€Å"sing sin† is one example. Line 7: â€Å"Jazz June.† You guessed it: alliteration. Pool Players Symbol Analysis Brooks has said she was intrigued by the mix of rebelliousness and insecurity she perceived in the boys she saw playing pool. They want to be noticed, but they also want to seem like they don’t give a darn either way. The repeated use of the word â€Å"We† reinforces their group identity, which could be interpreted as solidarity in the face of great social obstacles. Subtitle: â€Å"POOL PLAYERS† is the first example of alliteration in the poem. Lines 1-7: The word â€Å"We† is repeated at the end of these lines to create enjambment, or  a part of a sentence that carries over the line break. http://www.shmoop.com/we-real-cool/symbolism-imagery.html http://voices.yahoo.com/analysis-gwendolyn-brooks-poem-we-real-cool-5059520.html Gwendolyn Brooks’ poem â€Å"We Real Cool† sums up the reality that many youths faced if they chose to leave school. This poem was written in 1959, which was in the midst of the Civil Rights Movement. In the case of Brown v. Board of Education, in 1954, the Supreme Court ruled that it was unconstitutional to segregate schools; however, desegregation was slow and many African Americans became frustrated. Segregation caused more than just separation, it caused many youths to question their roles in society; if you are told enough times that you don’t belong, that you are different (in a bad way), or that you are less than others, then you will eventually start to believe it. Many youths gave up on the idea of having a future, because they were told that they had no future; so why try. The boys in the poem seem to be struggling with identity. The poem opens with the scene of seven boys at a pool hall named the Golden Shovel. Seven is a number that is typically associated with being lucky. The seven pool players can also be seen to represent a small gang, and they need luck on their side, in order to survive their various financial and risky endeavors. The name of the pool hall, the Golden Shovel, signifies the short life expectancy of those who choose a life of crime over education. The golden part of the title implies that these pool players are young; they should be in school instead of in a pool hall. The shovel is an image that is commonly associated with graves. Therefore, the significance of the name of the pool hall is that the pool players who hang out there are digging their own graves by conducting illegal business. The pool players have an air of mystery around them that makes them seem cool. They seem exciting, because they aren’t doing what they are supposed to be doing; they aren’t playing it s afe. In the second stanza, the narrator, who appears to be one of the pool players, says that they are cool because they left school. They are sabotaging themselves by not going to school and living up to their potential. These boys are in fact not cool. The monosyllabic diction of the poem promotes the idea that these boys are uneducated. Brooks has said that â€Å"the WEs in â€Å"We Real Cool† are tiny, wispy, weakly argumentative â€Å"Kilroy-is-here† announcements