Why or Why Not College Should Be Free

Some countries have free education from kindergarten to university, while students in other countries have to pay at every step of the way. This essay will look at some of the reasons for this difference at university level. Free third level education has several advantages. First of all, everyone can attend, so the gap between rich and poor students decreases as poorer students have more opportunity. The economy also benefits from the increased pool of highly educated labor. An educated workforce attracts employers and foreign investment.Socially, a more educated population should have more choices regarding nutrition, jobs and lifestyle. An additional point is that university fees only contribute a small proportion of the university budget. However, some people are opposed to free education. First of all, through their taxes, poor families subsidize rich students who can easily afford to pay fees. A second point is that spending government money on free education is often not possi ble or desirable when a country needs hospitals, roads, and primary or secondary schools.A third point is that a university education is a choice, not a requirement. People who finish college with advanced qualifications are going to earn large salaries and can easily afford to pay back loans. Furthermore, when people get something for free, they often do not value it. If college is free, many students will go there just because they cannot think of anything else to do. Education is widely regarded as a key factor in the economic and social development of a country, but there are different attitudes about whether students should pay or not.Some regard education as a basic right, which should therefore be provided free, while others think the individual student should have to shoulder some of the costs of his or her education. This essay will examine some of the arguments for and against free education at third level. There are several reasons why university education in particular s hould be paid for by the students who receive it. to allow as many people as possible to develop to their full potential and to develop the country, we need to make third level education available to all.Restricting access to the elite will have detrimental effects on the society and the economy. However, there are sound economic and social reasons for making third level education free to all. In the first place, a modern country needs highly skilled graduates of all kinds, rather than just high school leavers. For many families, the high cost of tuition would discourage participation in third level education. An important point is that the contribution of fees to the budget of any good university or college is relatively small, since almost all colleges rely on large amounts of government or philanthropic funding.The money from fees may represent only a small part of the college budget. A third point is that third level education is not purely vocational. Students at college are no t just being given technical skills desired by employers, but are questioning, analyzing, synthesizing and creating new knowledge, and this will be a tremendous resource to the society as a whole. With the extremely rapid development of the society, increasing young people choose to accept the higher education, in order to enhance their competitiveness.Yet, it is indisputable that the tuition is really high, and some family cannot afford it, because of which, personally, I insist that it should be a duty of the government to pay the course fees. In my essay, I will talk about this topic on twofold. First of all, it benefits individuals a lot to pay the tuition by the governments. We all know, studying is not an easy job to every person, and the one who want to have some achievements in the academic areas must pay a great of efforts.There is no reason to require the students, who are trying their best to get a good result in their study, to earn the large sum of money for their furth er education. In order to encourage this kind of students to continue to work hard to gain more professional skills to make sure they can lead high quantity lives after their graduated, it is a vital and effective option for the governments to pay for their tuition. More importantly, it is not only for personal benefit, but also for governments.Owning to the ever-accelerated updating of science and technology, modern societies need much more high-tech talents. That is a quite useful method to drive more young person to pursuit the higher education, and the same time to give them the belief that they should put their shoulder to the wheel to return the society. To sum up, paying the cursers is a symbol of society progress. It gives people dwelling in the society a kind of belonging, and makes individuals become more unity.Therefore, I reaffirm that the tuition should be paid by governments. Free third level education is not always a good thing. Governments need to think carefully abo ut their policies and ensure that they are using their resources to help all the people in the country equitably. To allow as many people as possible to develop to their full potential and to develop the country, we need to make third level education available to all. Restricting access to the elite will have detrimental effects on the society and the economy.

Professional Knowledge and Abilities Essay

The AAPT also known as the American of Pharmacy Technicians was founded in 1979. The AAPT is an international non-profit organization that is dedicated to improve the delivery of pharmaceutical services, which includes exchange, development, and dissemination of information. All educational requirements are essential for all pharmacy technicians, due to the exparsions of pharmacy technology. It is important that the value of education continues so the AAPT recognized the importance so they established a continuing education service. â€Å"AAPT CES is the official provider of CE credits for pharmacy technicians. (American Association of Pharmacy Technicians 2009) The contribution that the American Association of Pharmacy Technicians is the continuing education to increase my professional knowledge and abilities. It is required by my state that I have ten CE credits to keep my state certification and I have to have twenty to keep my international certification for me to be able to practice as a pharmacy technician. Continuing these courses it helps me to keep up on the new medications, latest technology, pharmacy laws and policies, and leadership abilities. It is proven that the information that is retained from the continuing education is very important in the operation of pharmacy. Another reason that it is important to continue education because of the constant changes in medication and pharmacy laws. It is believed that the information retained from the CE program can be considered a safety mechanism for everyone such as patients and health care providers is vital for the proper dispense of the medications without doing any harm to the patients, but also giving the best possible way to get and take the medication. In conclusion, for one to obtain professional knowledge and abilities one must go forth in the necessary education courses to be able to obtain what one is looking for. The AAPT is the right place to obtain that knowledge and abilities. Without that additional education then the one person would not be able to obtain the knowledge and abilities that they are seeking for their professional job.

Autobiography Assignment Example | Topics and Well Written Essays - 2750 words

Autobiography - Assignment Example This has given me a realization that it is better to have a whole account of my life so that I may reflect back on my achievements and failures. I am also privileged to write down my autobiography so that through it other people can get the bigger picture of life and life’s purpose. Life is significantly affected by the people around one and the environment. The character of people around you will have a great influence on the kind of person you become. This is, however, not a final development in life. With strong will and confidence, the influence of the environment and people around can be overcome and a new character built. This is the approach I took in life. That despite the negative implications that happened in my life, I always strived to become the person I wanted to become and overcome all barriers. Education has also transformed my whole life and made me and gave me a better understanding on why various things happen in people’s life. I have, over the past, grown from a young scared lady to someone with a better understanding of life, confidence, great personality and strong leadership skills. I was born in 1989 in Awassa, a town in Ethiopia. My father, Mr. Zaidi, was a renowned farmer and had a degree in Agricultural industry. My mother, Aynalem Markati, on the other side was a business woman. Both of them are from Ethiopia. Fighting for attention as a 5th born in the family was not that easy for me. However, right from childhood, I came to realize that I needed to earn attention and make the other family members notice me by the positive things that I used to do. This meant that I had to do extraordinary things that made me stand out among other siblings. For instance, I got so attached to my mother such that when I started Kindergarten, I used to insist on going to school with her. This behavior obliged my mum to accompany me to school for the first few weeks as

You are required to conduct a research assignment showing the Essay

You are required to conduct a research assignment showing the strategic role of technology in the designated company Instagram - Essay Example In the end, the study outlines a conclusive summary and few recommendations for further development of the company’s business strategy by taking into consideration of the crucial role of ICT and information system in its future business operations. In the modern era, social media websites and applications have been one of the most easiest and convenient modes of networking. Facebook, twitter and Viber have been one of the most successful and well known of all those applications. An addition to those successful applications is Instagram. Instagram has proved to be an easy and very useful application for sharing photos and engaging with each other. Instagram is a social media application and its features include online photo and video sharing service which enables users to take different pictures and videos and in applying various digital to those applications and in sharing them various social networking services (McNely, 2012). One of the distinctive features of Instagram can be stated that its photos are confined to a square shape and can be used in various devices. The application was initially crafted by Kevin Systrom and Mike Krieger and was launched in 2010. Since its inception, Instagram has gained huge popularity and ha s become one of the most widely acclaimed applications in the world specifically for its video and photo sharing features. The tool which has been presented by Instagram can be utilized as a successful customer service resource which can help to directly address customers and resolve their problems and it can go through Instagram or even through an offline channel. A massive advantage which Instagram has offered its customers is that the conversation on each photo is discrete. Strategic management has certainly benefitted Instagram to a huge extent. The management of Instagram has tried its level best to implement the concept of diversification to its business portfolio and innovative business management along with shrewd

INTERNATIONAL & CROSS-CULTURAL MARKETING Essay Example | Topics and Well Written Essays - 2750 words

INTERNATIONAL & CROSS-CULTURAL MARKETING - Essay Example Cross cultural marketing says that marketers should understand that there is very little scope for ethnocentrism in international business. The marketers should also understand that no culture is better than the other. Today ‘cross-culturalization’ is inevitable just like globalization. Therefore the key to the success of the companies in case of international marketing lies in the degree to which the companies can differentiate and understand the cultures of the host nations. The present study has been done in order to analyze the cross cultural and international strategy of Al- Jumeirah. Al- Jumeirah is a UAE based luxury hotel chain. Here the targeted host country has been chosen as China. China has been chosen as it happens to be one of the fastest growing economies in the world since the entry to WTO. Over the course of the study the issues such as factors influencing the entry of Al- Jumeirah in to China; business environment of China; segments to be targeted; demographics ;cultural issues of China has been discussed from an international and cross cultural perspective has been discussed (Kotabe and Helsen, 2008, p. 301). Before entering to China Jumeirah was present was present in economies that are mostly matured and statured in nature including U.K., Germany etc. Such economies usually provide very few opportunities for growth. Add to that the economic downturn provided additional threat to the hotel chain. Therefore in order to combat the fluctuating economic conditions the hotel chain decided to enter an emerging economy like China. In order to attract the foreign companies to invest in the country so that the country can achieve industrialization and economic growth the China entered WTO in the year 2001 after several years of negotiation. As a result the government was bound to follow the WTO trade regulations which meant that

Lecture Summaries #2 Coursework Example | Topics and Well Written Essays - 750 words

Lecture Summaries #2 - Coursework Example Some tribes disputed the Euro-Americans settlement. The United States government later made agreements with Indian leaders for their communities to reside in reserves. However, many Americans did not stay true to this agreement. The Federal Indian Policy saved land for Indians to settle on. The policy also entailed the signing of new agreements that controlled how Indians lived and exploited this reserve land. Conflicts between plains Indians and Euro-American colonists included neglect of signed agreements, lack of enforcement of the Federal Indian Policy by American agents, and refusal of some Indians to relocate to reserves. Violence between Plains Indians and Euro-American colonists broke out in the early 1860s with the army frequently attacking nonviolent Indians. In the process, two massacres ensued in 1864 and 1890. In 1887, the Dawes Severalty Act was passed to perceive of Indians as individuals and make them conform to the United States law. The Dawes Severalty Act was problematic in the sense that a lot of the land put up for sale was unsuitable for farming. In addition, allocating land was an extremely delayed process. As a result, the government came up with new settlements, boundaries, and provinces that saw a radical rise in population in the west. Linked themes in the expansion of west and its railways include the Homestead Act and removal of Indian tribes. Terms of this expansion included the calibration and merging of landowners. These processes included surveys and issuing of land grants as gifts. However, a majority of these processes were fraudulent because they were carried out with the Indians and Americans had the upper hand. Railways were crucial for expanding the west and introducing new governments, farming, and cattle rearing. Railways added to the deterioration of the traditional Indian livelihood. Railways also backed the expansion of municipalities and

Is International Relations Simply International History If Not Why Essay

Is International Relations Simply International History If Not Why - Essay Example International relations involve the relationship that exists between sovereign states and nations. International relations usually encompasses the responsibilities that member states, countries, foreign international companies, government institutions and non-governmental institutions partake in ensuring that a cordial relationship exists among them (Ole1989). Some critiques have viewed this relationship as outdated and one that has no positive impact on member states. On the other hand, supporters of International relations believe that this relationship has proved beneficial to nations that have adopted it and is still embraced by many nations that believe in the importance of international relationship. International relations has enabled the solving of issues such as those related with globalisation, international security especially concerning terrorism, preservation and conservation of the environment particularly global warming, political issues, economical issues and human ri ghts violation especially in nations where genocides have occurred. International relations are an important concept in the modern society internationally particularly because this is the era that is dominated by digital technology and advanced technology in form of communication and transport. This has therefore necessitated the need for good cordial relationship among nations especially because of the need for peaceful collaboration between countries (Guzzini 2001). I therefore argue that contrary to views that International relations is simply international history, the relationship is still being embraced by many countries and is here to stay because of the benefits the relationship accords members. The global world has experienced numerous changes in the recent past especially after the end of the Second World War. Many nations have acknowledged the need for good international relations for not only security reasons but also other reasons such as economic prosperity, promotion of human rights and for environmental conservation. The international relations have especially been embraced by international non-governmental organisations and other private bodies such as World Bank, International Monetary Fund, United Nations and International Labour Organisations. These international interactions are becomingly progressively more distinguished by non-government actors such as the World Bank, and International Monetary Fund, a lesser need for military power and in the decline in the power of the state. Historically the concept of international relations was first embraced globally after the establishment of the United Nations body especially to address issues related to human rights violation. This was particularly in relationship with Second World War where human rights were greatly violated by nations that took part in the war. Since then the world has experienced the establishment of various global organisations to address political, social, humanitarian and economic issues. In accordance with human rights violation, even though there has been incidences in which human rights violation have been experienced the world in general has made major steps in ensuring human rights are protected by member nations. This is particularly demonstrated by the strides that the international court of law has made in ensuring that those involved in the violation of human rights are punished for their crimes. For instance, former Liberian President Charles Taylor was accused of committing crimes against humanity. Another example is

International Marketing Case Study Coursework Example | Topics and Well Written Essays - 1250 words

International Marketing Case Study - Coursework Example The marketing strategy while strengthening the global brand should have a customized appeal for the customers of the markets of the developed economies. Customers of developed markets are usually more quality conscious rather than price conscious unlike their counterparts in developing economies. Chinese brands need to invest more on Research & Development if they want to market themselves successfully in developed economies. Capabilities in research and development can be acquired by building research & development centers in the developed markets. Li Ning has built such Research & Development Centers in Hong Kong and United States. There are also differences in consumer tastes and preferences. Incorporating these differences in the products is critical for the success of internalization of any Chinese brand. Another dynamic capability that is extremely important is to have the right distribution network so that the target segment in the developed economies can be easily accessed to. Besides the product issues there are also issues related to customer service. Every product has a service component attached to it. In comparison to China the level of customer service is quite high in the developed economies of the West. Therefore, when foraying into markets of the developed world, Chinese companies need to make their customer service more customer oriented and friendly. Last but not the least the differences in culture and business are significant between China and the more developed West (Philip Kotler, 2008). The Chinese companies need to incorporate such cultural aspects of the West like transparency, individuality and a strong sense of commitment towards the customers as stakeholders, if they want to make a mark in the developed economies. For building a sports brand like Li Ning or Nike, there can be no better brand ambassador that a national sports icon. Li Ning has done so by using the name of its founder Li Ning, a former Olympic gold medalist in

Automation Assembly Parts Essay Example | Topics and Well Written Essays - 8000 words

Automation Assembly Parts - Essay Example QFD has evolved from being a tool for product and process design to being used for strategic planning systematically linking customer requirements with organisational functions and processes. A study has been proposed to review QFD practices and develop a mechanism for implementing QFD. The objective of the study is to review available literature on QFD, and develop a methodology for QFD implementation within an organisation. Published literature in journals, conferences, and case studies would be considered for the study. The development of a product includes several processes, and QFD enables an analysis of every process for satisfying customer requirements within the functional constraints of the organisation. The scope of this study is QFD in a manufacturing organisation. The report will include an understanding of best QFD practices and an illustration for implementing QFD. It is expected that the results of the study will reinforce the use of QFD as a quality management techniq ue, and help identify the ideal ways of implementing QFD in a manufacturing organisation. The assurance of quality in a manufacturing organisation does not only help satisfy customer requirements, but also cut costs and improve efficiency. A study has been proposed to study statistical tools that have been deployed in the manufacturing industry to assure quality. Statistical tools include testing of hypotheses, analysis of regression, control charts, process capability, and six sigma. The study will include review of published literature in journals, conferences, books and case studies to identify best practices involving the use of statistical tools in a manufacturing organisation. Statistical distributions have been used to characterize populations based on a sample. Hypothesis testing has been deployed to help distinguish between areas of concern. Experiments are designed to

Normative ethics Essay Example for Free

Normative ethics Essay Metaethics talks about the nature of ethics and moral reasoning. Discussions about whether ethics is relative and whether we always act from self-interest are examples of meta-ethical discussions. In fact, drawing the conceptual distinction between Metaethics, Normative Ethics, and Applied Ethics is itself a metaethical analysis. Normative ethics is interested in determining the content of our moral behavior. Normative ethical theories seek to provide action-guides; procedures for answering the Practical Question (What ought I to do? ). The moral theories of Kant and Bentham are examples of normative theories that seek to provide guidelines for determining a specific course of moral action. Think of the Categorical Imperative in the case of the former and the Principle of Utility in the case of the latter. Applied Ethics attempts to deal with specific realms of human action and to craft criteria for discussing issues that might arise within those realms. The contemporary field of Applied Ethics arouse in the late 1960s and early 1970s. Today, it is a thriving part of the field of ethics. Numerous books and web-sites are devoted to topics such as Business Ethics, Computer Ethics, and Engineering Ethics. Ethical Relativism Distinctions within Relativism There is a distinction between morals and mores. The latter can be defined as harmless customs (e. g. , tea at 4); the former as treatment of others (e. g. , the practice of Apartheid). In discussing Relativism, we are concerned only with moral practices. The Problem of Relativism: What one society considers Right, another Society considers Wrong. Therefore, RIGHT AND WRONG are RELATIVE to a PARTICULAR SOCIETY. Here we need to be aware of two things: (1) Confusing harmless conventions (The British drive on the left side of the road) with harmful practices (Clitorectomy is customary among the Somali). (2) Even if moralities may differ from society to society, it need not follow that Morality Itself is relative for there is a further distinction between CULTURAL (descriptive) RELATIVISM and NORMATIVE (Ethical) RELATIVISM. Cultural (descriptive) Relativism: The descriptive relativist simply notes certain sociological FACTS: (a) Factual Claims: x is considered right in Society y at time t and x is considered wrong in Society z at time t. (b) Empirical Conclusion: Moralities are relative [Note that the claims of Cultural Relativism are either true or false. ] Normative (ethical) Relativism The normative relativist goes BEYOND any sociological facts. (a) Normative Claim: What is considered right in Society x at time t IS right for that Society. (b) Theoretical (metaethical) Claim: Morality Itself is Relative. Note that ethical relativism does not logically follow from any truths uncovered by descriptive relativism. Note also that the ethical relativist has a hard time explaining how radical moral change can occur within a certain society (as with slavery or womens suffrage in the United States). Ethical Egoism Psychological and Ethical Egoism. As a metaethical theory of motivation, psychological egoism asserts the descriptive claim that all of our actions can be reduced to self-interest: Whenever people do something, it is only because they think something desirable for themselves will result from it. The claim is descriptive and thus open to counterexamples, and it is broad, stating a reductionistic thesis regarding all of our actions. (Contrast psychological egoism with the psychological state of sympathy, where the weal and woe of the other becomes the motive for our action.) Ethical egoism is a normative theory that states that our actions ought to be done from the perspective of self-interest. One of the problems with this position is that it might not be in ones self-interest to have eveyone act from the perspective of self-interest. This state of nature would not be desirable (in Hobbes terms, life would be beastly, brutal, and short) and so it might ultimately be in ones self-interest to enter into a contract with others that would place restraints upon self-interested actions. Utilitarian Theories Utilitarianism Utilitarianism is a normative ethical theory that places the locus of right and wrong solely on the outcomes (consequences) of choosing one action/policy over other actions/policies. As such, it moves beyond the scope of ones own interests and takes into account the interests of others. Bentham’s Utility Principle: (1) Recognizes the fundamental role of pain and pleasure in human life, (2) approves or disapproves of an action on the basis of the amount of pain or pleasure brought about i.e, consequences, (3) equates good with pleasure and evil with pain, and (4) asserts that pleasure and pain are capable of quantification (and hence measure). In measuring pleasure and pain, Bentham introduces the following criteria: INTENSITY, DURATION, CERTAINTY (or UNCERTAINTY), and its NEARNESS (or FARNESS). He also includes its fecundity (will more of the same follow? ) and its purity (its pleasure wont be followed by pain vice versa). In considering actions that affect numbers of people, we must also account for its EXTENT. John Stuart Mill adjusted the more hedonistic tendencies in Benthams philosophy by emphasizing (1) It is not the quantity of pleasure, but the quality of happiness that is central to utilitarianism, (2) the calculus is unreasonable qualities cannot be quantified (there is a distinction between higher and lower pleasures), and (3) utilitarianism refers to the Greatest Happiness Principle it seeks to promote the capability of achieving happiness (higher pleasures) for the most amount of people (this is its extent). Act and Rule Utilitarianism. We can apply the principle of utility to either PARTICULAR ACTIONS or GENERAL RULES. The former is called act-utilitarianism and the latter is called rule-utilitarianism. Act-utilitarianism The principle of utility is applied directly to each alternative act in a situation of choice. The right act is then defined as the one which brings about the best results (or the least amount of bad results). * Criticisms of this view point to the difficulty of attaining a full knowledge and certainly of the consequences of our actions. * It is possible to justify immoral acts using AU: Suppose you could end a regional war by torturing children whose fathers are enemy soliders, thus revealing the hide outs of the fathers. Rule-utilitarianism The principle of utility is used to determine the validity of rules of conduct (moral principles). A rule like promise-keeping is established by looking at the consequences of a world in which people broke promises at will and a world in which promises were binding. Right and wrong are then defined as following or breaking those rules. * Some criticisms of this position point out that if the Rules take into account more and more exceptions, RU collapses into AU. * More genearl criticisms of this view argue that it is possible to generate unjust rules according to the principle of utility. For example, slavery in Greece might be right if it led to an overall achievement of cultivated happiness at the expense of some mistreated individuals. Deontological Theories Acting from Duty Deontological normative ethical theories place the locus of right and wrong in autonomous adherence to moral laws or duties. Monistic deontology Kants Categorical Imperative (Act only on that maxim whereby thou canst at the same time will that it should become a universal law) provides the source of right action. Its first formulation states Act as if the maxim of your action were to secure through your will a universal law of nature; its second formulation states Always act so as to treat humanity, whether in your own person or that of another, as an end in itself, never as a means only. Actions that conform to these imperatives (i. e., right actions) and are, furthermore, done from a sense of duty, are the epitome of morally praiseworthy actions. Critics of Kants approach claim that his Categorical Imperative does not contain within it a way to resolve conflicts of duties. Lying is wrong can be interpreted as Never lie and thus Universal Principles can harden into Absolute Principles. Pluralistic deontology For the 20th Century philosopher W. D. Ross, there are a number of duties that reflection reveals and these form a group of prima facie obligations. The phrase prima facie (all things being equal) refers to the fact that these duties do not bind us absolutely, but rather that they generally hold absent any further considerations. Two key duties are nonmaleficence (dont harm others) and beneficence (help others). Other prima facie duties include dont lie, dont kill, keep promises, etc. When conflicts occur between duties, our actual duty becomes that which intuitive judgment discerns as the right thing to do (e. g. , lying to save the life of an innocent person). Critics are cautious about referring to intuition as the criterion for determining our actual course of action. Stephen Toulmin suggested that we weigh up, as well as we can, the risks involved in ignoring either, and choose the lesser of two evils. Thus, while the principles may be deontic in nature, a resolution of conflicts of principles could appeal to probable consequences. Virtue Ethics Historical Perspective There is a long tradition in ethics that places great importance on the kind of person one is. We not only want those around us to tell the truth (for example, according to the Categorical Imperative), but also to be honest. Both Aristotle (arete) and Aquinas (virtu) emphasized this aspect of ethics by highlighting the role of what we would today call character in their discussions of ethics (and the classic virtues of courage, justice, and moderation). David Hume also gave virtue and personal merit a key role in his ethical theory. The recent revival of interest in virtue ethics can be traced back to Philippa Foot. She writes that a person’s virtue may be judged by his innermost desires as well as by his intentions; and this fits with our idea that a virtue such as generosity lies as much in someone’s attitudes as in his actions . The Moral Concept of Virtue We should distinguish the virtues found in a particular society or culture (e. g. , chastity) from those virtues that can be supported by moral reasoning (e. g. , honesty). A virtue is a trait of character that is socially valued, and a moral virtue is a trait that is morally valued†¦Moral reasons must support a claim†¦of moral virtue . By emphasizing the priority of character in discussions of ethics, virtue theorists can say: †¦rather than using rules and government regulations to protect subjects in research, some claim that the most reliable protection is the presence of an ‘informed, conscientious, compassionate, responsible researcher’. The underlying view here is that character is more important than conformity to rules and that virtues should be inculcated and cultivated over time through educational interactions, role models, etc. A practical consequence of this view is that the education of, for example medical doctors, should include the cultivation of virtues such as compassion, discernment, trustworthiness, integrity, conscientiousness as well as benevolence (desire to help) and nonmalevolence (desire to avoid harm). Critical Evaluation of Virtue Ethics Often times we encounter morality between strangers (as when one enters an Emergency Room after a car accident). At these times, it’s not the person’s character, but his/her need to follow rules and procedures that seem to come to the forefront (Virtue is not enough). Furthermore, persons of ‘good character’ can certainly formulate ‘bad policy’ or make a ‘poor choice’ and we need to evaluate those policies and choices according to moral principles. Constructive Evaluation of Virtue Ethics Yet †¦ethical theory is more complete if the virtues are included†¦motives deserve to be at center stage in a way that some leading traditional theories have inadequately appreciated †¦ To look at acts without also looking at the moral appropriateness and desirability of feelings, attitudes, forms of sympathy, and the like is to miss a large area of the moral picture (BC, 4th Ed., 69) Liberal Rights and Communitarian Theories Today we often find moral problems framed by perspectives derived from political philosophy. Issues like euthanasia, stem cell research and abortion as well as distributive justice concerns such as social security and medicare, are likely to be seen along the liberal/conservative divide. Traditional moral theories need to take these frameworks into consideration. Will Kymlicka’s Introduction to Political Philosophy provides analyses of the philosophical ideas behind the â€Å"ideological debates† that now envelop many topics in moral philosophy. Of particular value is his discussion of liberal equality, libertarianism, and communitarianism. Liberal equality is often associated with the work on John Rawls in his Theory of Justice. It argues that we should rationally affirm two fundamental principles of justice designed to protect our political liberties and social opportunities. It can be directly contrasted with the libertarian ideas found in Robert Nozick’s Anarchy, State, and Utopia. Nozick challenges Rawls’s approach to social inequalities and argues for a minimalist state. But both authors (and their followers) conceive of individuals as ‘Socratic’ in nature, capable of reasoning about their life plan and questioning, in principle, the world around them. In this sense, they are both ‘liberals’ in the tradition of John Stuart Mill’s essay, â€Å"On Liberty. † â€Å"For liberals, the question about the good life requires us to make a judgment about what sort of a person we wish to be†. Thus liberals will emphasize the role of choice and freedom from government interference in private matters. For communitarians, on the other hand, individuals are not atomistic, ‘unencumbered selves’ individuals are situated within a community, embedded in the received wisdom of our human culture. Communal values are ‘authoritative horizons’ wherein we take our orientation toward life . The self is not prior to, but rather constituted by, its ends we cannot distinguish ‘me’ from ‘my ends’ [and] our selves are at least partly constituted by ends that we do not choose, but rather discover by virtue of our being embedded in some shared social context . Since self-determination does not occur in a vacuum, the government needs to support a social environment that is conducive to the development of what is best in all of us. For those communitarians who are social conservatives, this will often take the form of a promotion family values that can, for example, discourage changes in the institution of marriage. Broadly speaking, these two positions account for the divide between ‘liberals’ and ‘social conservatives’ in dealing with matters such as abortion and euthanasia. In these situations, liberals tend to become pro-choice and social conservatives tend to become pro-life. ***** As is to be expected in a modern, pluralistic democracy, many of these issues are addressed in the political realm and through the political process (including the courts). But the kinds of cases that arise within these areas should also be addressed within the framework of applied ethics as a way to get clearer about the nature of the problem and its potential for resolution. Indeed, we often see analyses found in applied ethics, such as the concept of a person in the morally significant sense or the distinction between killing and allowing to die, embedded in the political debate itself. Ethics of Care In the 1970s and 80s feminist writers began to question the assumptions behind many of the traditional ethical theories. Carol Gilligan’s work in moral psychology challenged justice-based approaches to moral discussion: men tend to embrace an ethic of rights using quasi-legal terminology and impartial principles †¦ women tend to affirm an ethic of care that centers on responsiveness in an interconnected network of needs, care, and prevention of harm. Taking care of others is the core notion. Annette Baier’s philosophical account of an ethics of care does not recommend that we discard categories of obligation, but that we make room for an ethic of love and trust, including an account of human bonding and friendship. In both of these accounts, there is a specific criticism of Traditional Liberal Theory and its emphasis on impartiality and universality: The impartiality and the ‘standpoint of detached fairness’ advocated by liberal theories of justice, overlook, for example, the moral role of attachment to those close to us. Speaking from the perspective of medical ethics, The care perspective is especially meaningful for roles such as parent, friend, physician, and nurse, in which contextual response, attentiveness to subtle clues, and the deepening of special relationships are likely to be more momentous morally than impartial treatment In articulating the challenge to universal principles, Beauchamp and Childress write: We can produce rough generalizations about how caring physicians and nurses respond to patients, for example, but these generalizations will not be subtle enough to give helpful guidance for the next patient. Each situation calls for a set of responses outside any generalization†¦. Proponents of an Ethics of Care emphasize the roles of Mutual Interdependence and Emotional Response that play an important part in our moral lives: †¦many human relationships involve persons who are vulnerable, dependent, ill, and frail †¦ [and] the desirable moral response is attached attentiveness to needs, not detached respect for rights (BC, 373) and The person who acts from rule-governed obligations without appropriately aligned feelings such as worry when a friend suffers seems to have a moral deficiency. In addition†¦insight into the needs of others and considerate alertness to their circumstances often come from the emotions more than reason. Thus the emotions seem to have a ‘cognitive role,’ allowing us to grasp a situation that may not be immediately available to one arguing solely from a ‘justice perspective. ’ Critical Evaluation of the Care Ethic The example of a nurse who personally wants to help a patient die, but who will not do so as it violates professional duty, shows that †¦the ethics of care must confront situations in which bona fide requirements of impartiality conflict with acting partially from care. Some feminists actually interpret the ‘care ethic’ as culturally determined by the male hierarchy. For example, a terminally ill grand mother may request to be allowed to die because she doesn’t want to be ‘a bother’ to her family. Here someone like Susan Sherwin sees a need to examine the social context of care as well as to establish limits to the ethics of care. Both enterprises would involve appeals to justice†¦ Constructive Evaluation of the Care Ethic Sensitivity and emotional response to particular situations (like family discussions with physicians) provide important guides to morally acceptable actions. A care ethic also seems to favor adopting procedures from Conflict Resolution and Dispute Mediation as alternative ways to approach an apparent ethical conflict. Hedonism The term â€Å"hedonism,† from the Greek word (hedone) for pleasure, refers to several related theories about what is good for us, how we should behave, and what motivates us to behave in the way that we do. All hedonistic theories identify pleasure and pain as the only important elements of whatever phenomena they are designed to describe. If hedonistic theories identified pleasure and pain as merely two important elements, instead of the only important elements of what they are describing, then they would call it Hedonism uld not be nearly as unpopular as they all are. However, the claim that pleasure and pain are the only things of ultimate importance is what makes hedonism distinctive and philosophically interesting. Philosophical hedonists tend to focus on hedonistic theories of value, and especially of well-being (the good life for the one living it). As a theory of value, hedonism states that all and only pleasure is intrinsically valuable and all and only pain is intrinsically not valuable. Hedonists usually define pleasure and pain broadly, such that both physical and mental phenomena are included. Thus, a gentle massage and recalling a fond memory are both considered to cause pleasure and stubbing a toe and hearing about the death of a loved one are both considered to cause pain. With pleasure and pain so defined, hedonism as a theory about what is valuable for us is intuitively appealing. Indeed, its appeal is evidenced by the fact that nearly all historical and contemporary treatments of well-being allocate at least some space for discussion of hedonism. Unfortunately for hedonism, the discussions rarely endorse it and some even deplore its focus on pleasure. This article begins by clarifying the different types of hedonistic theories and the labels they are often given. Then, hedonism’s ancient origins and its subsequent development are reviewed. The majority of this article is concerned with describing the important theoretical divisions within Prudential Hedonism and discussing the major criticisms of these approaches. The Origins of Hedonism . a. Aristippus and the Cyrenaics The Cyrenaics, founded by Artistippus were also sceptics and Hedonistic Egoists. Although the paucity of original texts makes it difficult to confidently state all of the justifications for the Cyrenaics’ positions, their overall stance is clear enough. The Cyrenaics believed pleasure was the ultimate good and everyone should pursue all immediate pleasures for themselves. They considered bodily pleasures better than mental pleasures, presumably because they were more vivid or trustworthy. The Cyrenaics also recommended pursuing immediate pleasures and avoiding immediate pains with scant or no regard for future consequences. Their reasoning for this is even less clear, but is most plausibly linked to their sceptical views – perhaps that what we can be most sure of in this uncertain existence is our current bodily pleasures. b. Epicurus Epicurus founder of Epicureanism, developed a Normative Hedonism in stark contrast to that of Aristippus. The Epicureanism of Epicurus is also quite the opposite to the common usage of Epicureanism; while we might like to go on a luxurious â€Å"Epicurean† holiday packed with fine dining and moderately excessive wining, Epicurus would warn us that we are only setting ourselves up for future pain. For Epicurus, happiness was the complete absence of bodily and especially mental pains, including fear of the Gods and desires for anything other than the bare necessities of life. Even with only the limited excesses of ancient Greece on offer, Epicurus advised his followers to avoid towns, and especially marketplaces, in order to limit the resulting desires for unnecessary things. Once we experience unnecessary pleasures, such as those from sex and rich food, we will then suffer from painful and hard to satisfy desires for more and better of the same. No matter how wealthy we might be, Epicurus would argue, our desires will eventually outstrip our means and interfere with our ability to live tranquil, happy lives. Epicureanism is generally egoistic, in that it encourages everyone to pursue happiness for themselves. However, Epicureans would be unlikely to commit any of the selfish acts we might expect from other egoists because Epicureans train themselves to desire only the very basics, which gives them very little reason to do anything to interfere with the affairs of others. c. The Oyster Example With the exception of a brief period discussed below, Hedonism has been generally unpopular ever since its ancient beginnings. Although criticisms of the ancient forms of hedonism were many and varied, one in particular was heavily cited. In Philebus, Plato’s Socrates and one of his many foils, Protarchus in this instance, are discussing the role of pleasure in the good life. Socrates asks Protarchus to imagine a life without much pleasure but full of the higher cognitive processes, such as knowledge, forethought and consciousness and to compare it with a life that is the opposite. Socrates describes this opposite life as having perfect pleasure but the mental life of an oyster, pointing out that the subject of such a life would not be able to appreciate any of the pleasure within it. The harrowing thought of living the pleasurable but unthinking life of an oyster causes Protarchus to abandon his hedonistic argument. The oyster example is now easily avoided by clarifying that pleasure is best understood as being a conscious experience, so any sensation that we are not consciously aware of cannot be pleasure.

The Internationalization Of Higher Education Education Essay

The Internationalization Of Higher Education Education Essay This study on the internationalization of higher education pursues this objective. Provide a brief overview of the nature and development of internationalization in the higher education system. This will shed light on relevant concepts and strategies from a global, European and domestic perspective and provide background information for an in-depth analysis of the objectives and organizational measures of studies for foreigners in United States and studies abroad for American students. Results of the Study The following overview will give the reader a brief summary of the results of the survey. Internationalization Strategies Internationalization of higher education is guided by the ideals of academic universality, the humanitarian objectives of social developmental aid work abroad, and the incentives of securing economic productivity at home. In the age of globalization, international mobility is increasingly used to boost USAs competitiveness as a place to study. The market orientation of internationalization and the social dimension of international student mobility are two conflicting aspects of higher education that require corrective policies to bring them into balance. United States continuous attractiveness as a place to study has to go hand in hand with reforms of the structure of higher education studies and measures to improve the general social conditions of students. The market orientation of studies for foreigners involves targeting specific groups of students. SUMMARY As the number of high school graduates in the United States levels off, the competition for international students is getting fiercer as universities attempt to meet their enrollment goals. U.S. universities however are not competing only with each other, but institutions from other countries as well. Rapidly increasing numbers of students in foreign countries have boosted international mobility, resulting in 2.7 million students who study abroad every year. The main countries of origin for foreign students are China, India and South Korea. Industrial countries are the destination of these mobile students. Data shows that the U.S. currently has the largest share of international students worldwide; In terms of absolute numbers, the USA is the worlds leading host country. Mobile foreign students represent 3.7% of the total student population in the USA. However this market share is decreasing due to increased competition from other countries and a perception that international students are not wanted in the U.S. after more stringent visa policies were instituted in response to the terrorist attacks on September 11, 2001 making it much harder to obtain a student visa. Having more international students enrolled in U.S. universities benefits both the universities and the U.S. government, hence there must be a more coordinated effort between the two in order for the U.S. to recoup its lost market share and maintain its rank as the top destination country for international students. In this paper I will attempt to show that the current U.S. policy of attracting international students to this country cannot sustain the demand of U.S. universities, nor effectively compete with the policies and efforts of other countries; instead international education, including curricular integration, study abroad and student exchange must be central to a new, USA High Education System Strategic Planning for the 21st century. As a result of this national strategy, the students will need to work successfully and comfortably in multiple cultural contexts with people who hold values and viewpoints which vary significantly; Students will be the future leaders and educators in an environment which increasingly requires an international perspective; What exactly is the Internationalization of higher education? Internationalization has become an important issue in the development of higher education. Sven Groennings (1987) describes it as one of the most powerful substantive development in the history of American higher education (p/2). It is perceived as one of the laws of motion propelling institutions of higher learning (Kerr 1990, 5); as a major theme for the next decade (Davies 1997, 83); and as one of the most important trends of the last decade (Teichler 1999, 6), if not of the past half century (Altbach 2000c, 2) De Wit (2002) uses three terms to highlight the complexity of defining internationalisation, namely international dimension, international education and internationalisation of higher education, each referring to a specific phase of the development. He uses three interrelated arguments in which (i) he sees the international dimension of higher education, prior to the 20th century as more incidental, than organised; (ii) states that this international dimension as an organised activity, referred to in general by the term international education, is a product of the 20th century introduced first mainly in the United States for reasons of foreign policy and national security. (iii)The third argument is that around the end of the Cold War, this international dimension evolved into strategic processes, referred to as the internationalisation of higher education and became increasingly linked to globalisation and regionalisation of our societies and the impact of this on higher education. He further argues that with the development of globalisation, the international dimension will evolve into an integrated element of higher education and move away from its present position as an isolated set of activities, strategies and processes. This is manifested in a shift in emphasis from more traditional forms of international education to strategies that are more directly related to the core functions of the university, and in a shift in emphasis from political to economic rationales. The implications of these shifts are the increasing importance of quality assessment of internationalisation strategies, the emergence of English as the common language of higher education, the increasing relevance of international networks and strategic alliance, and the gradual acceptance of the internationalisation of higher education as an area of research. De Wit points out the need to relate the internationalisation of higher education in todays world to the general roots of the university, and to place the present developments in historical perspective. His work (2002) makes a useful contribution to the unfolding of this phenomenon in the European and American higher education systems. Another study (De Wit et al., 2005) examined the internationalisation of higher education in the Latin American context. Related issues and concepts It is interesting to take a look at the third Global Survey Report on Internationalization of Higher Education, which was recently released by (IAU 2009).   This comprehensive survey is the largest of its kind worldwide, and includes responses from 745 institutions in 115 countries. For purposes of analysis, the results were clustered in the following regions: Africa, Asia-Pacific, Europe, Latin America and the Caribbean, Middle East, and North America (the U.S. and Canada). Even though the survey is on its third edition, it still has limitations which fortunately are acknowledged and explained in the document. According to this survey, the top five reasons for internationalizing an institution are, in order of importance, to improve student preparedness; internationalize the curriculum; enhance the international profile of the institution; strengthen research and knowledge production; and diversify its faculty and staff. However, when the information is analyzed by regions, interesting variations are found. For instance, both North America and Latin America give much more importance to international preparedness of students than Europe. Interestingly, institutions in Africa consider as the more important internationalization rationale, to strengthen research and knowledge production. The Middle East gives the highest importance equally to improving student preparedness and also strengthening research. Results suggest also that institutions in North America are not bothered with the notion of increasing their international profile.   For them, this is placed at a distant fourth level of importance in comparison with, for instance, Europe where it is the second most important rationale. I wonder if this can be explained by some degree of insularity, or a somewhat egocentric perspective of the regions status in the world of higher education. Surprisingly, all regions gave an extremely low importance to internationalizing the campus with the idea of diversifying sources of income or in response to public policies. When asked about the most important benefits of internationalization, the top three reasons at the global level listed in order of relevance were: increasing international awareness of students; strengthening research and knowledge production; and fostering international cooperation and solidarity. The only significant difference in this otherwise very consistent pattern was offered in the IAU Survey by institutions in North America for which international cooperation and solidarity was not considered as beneficial as it was in the rest of the regions. This factor placed a worrying 5th in North America Another puzzling finding of the survey has to do with to which geographic region higher-education institutions are turning their eyes for their internationalization work. The aggregate results show that no major shifts have happened in the last five years. And the winner is à ¢Ã¢â€š ¬Ã‚ ¦ Europe! (Asia-Pacific region was placed second.) The bronze medal goes to North America. Nevertheless, the analysis by region should be a matter of concern for policymakers in some parts of the world. For instance, in the Asia-Pacific region the first geographic priority for the internationalization policy in the majority of their institutions is Asia-Pacific, followed by Europe. For European institutions the first priority is placed on Europe itself and the second one on Asia-Pacific. For North America the first priority is Asia-Pacific, followed by Europe. Latin America and the Middle East consider Europe as the key regional priority. Sadly, the only region considering Africa as the principal pr iority is precisely Africa, but aside from that, none of the regions even consider Africa as a second or third priority. THE FIELD OF INTERNATIONAL EDUCATION International education has a somewhat unusual position in higher education. While recognized as an important sphere of activity, it tends to be handled by administrative offices at the top of departments of languages and literature and international affairs. The scholars involved in international education usually have their primary involvement in other teaching and research. This leads to four distinctive characteristics particular to the field of international education: 1. There is little consensus concerning the guiding theme of the field as well as its scope. Should the field stress internationalization, transnationalization, or globalization (Barrows, 2000; Committee for Transnational Competence, 2000; Hilary, 2000) 2. International education is not a prominent feature of the contemporary higher education experience. Using enrollment in foreign languages as an indicator, 16 percent of all U.S. college students were enrolled in foreign languages in the peak period of the 1960s; the proportion is currently down to 8 percent (Hayward, 2000, p. 6). 3. There is imbalance in regional coverage. The regions and languages covered at a particular institution are a function of idiosyncratic patterns of faculty recruitment. Nationally, there is reasonable coverage of Western Europe and Latin America and most European languages compared to limited coverage of Africa and the Middle East. For students enrolled in foreign languages, Spanish is the most popular followed by the other major languages of Western Europe; 6 percent enroll in Asian languages. Languages of the Middle East make up only 2 percent (1.3 being Hebrew and .5 percent Arabic). The languages of Africa constitute only 0.15 percent of enrollments. 4. Because international education is not a primary concern of most scholars in the field, research is somewhat sporadic, non-cumulative, and tends to be carried out by national organizations as part of advocacy projects (e.g. Lambert, 1989; Brecht and Rivers, 2000). The most recent example is the American Council of Educations (ACEs) Internationalization of Higher Education: A Status Report. (Hayward, 2000). Historical data Following the events of September 11, the total number of international students studying in the United States leveled off and even dropped slightly after 2002, though enrollment numbers have recently rebounded. (See fig. 1.) According to the Institute of International Education (IIE), the decline in the number of international students attending U.S. higher education institutions between 2003 and 2006 was the first drop in over 30 years. While the United States continues to be the leading destination for international students, the U.S. share of international students worldwide dropped-from 26 to 20 percent between 2000 and 2008.  [1]  (See fig. 2.) According to the Pew Global Attitudes Project, since 2002 the United States image has declined in both the Muslim world and among many of Americas oldest allies. In the wake of September 11, the United States also tightened its immigration policy and made it more difficult for foreign nationals, including international students, to a pply for a visa. As we previously reported, these changes, made to help protect our nations security interests, may have contributed to our declining share of international students and the perception that the United States was an unwelcoming place for international students. (GAO 2007) The U.S. government seeks to improve global attitudes toward America through diplomatic and development assistance efforts, which include funding higher education for international students in the United States. (GAO, 2008) Nine weeks after September 11, 2001, President George W. Bush said (Bush, 2001): We must also reaffirm our commitment to promote educational opportunities that enable American students to study abroad, and to encourage international students to take part in our educational system. By studying foreign cultures and languages and living abroad, we gain a better understanding of the many similarities that we share, and learn to respect our differences. The relationships that are formed between individuals from different countries, as part of international education programs and exchanges, can also foster goodwill that develops into vibrant, mutually beneficial partnerships among nations. Americas leadership and national security rest on our commitment to educate and prepare our youth for active engagement in the international community. On February 27, 2002, Secretary of State Colin Powell reaffirmed the State Departments support for foreign students: The Departments policy on student visas is based on the democratic values of an open society and the perception that foreign students make an important contribution to our nations intellectual and academic climate, as well as to our nations economy. We must continue to nurture these vital relationships even as we improve the security of our borders. à ¢Ã¢â€š ¬Ã‚ ¦ American values, including democracy, economic freedom, and individual rights, draw students from many nations. As these students and scholars from other countries gain from our society and academic institutions, they also serve as resources for our campuses and communities, helping our citizens to develop the international understanding needed to strengthen our long-term national security and enhance our economic competitiveness. The professional partnerships and lifelong friendships that are created through international education are important for a secure, prosperous future, not only for our own country but also for th e world as a whole. The New York Times, in a September 24, 2002, editorial, suggested that our efforts to spread our influence and understanding of our culture should be stepped up, not abandoned. Cautioning that government policies must not impede legitimate exchange, the editorial said, Higher education is one of the best methods we have of spreading the word about who we are and of exposing our citizens to non-Americans. Bringing foreign students onto our campuses is among the best favors we can do ourselves. While the federal government provides funds for the education for international students to achieve public diplomacy and development objectives, the vast majority of students who come to the United States to study do not receive funding from the U.S. government. According to the Institute of International Educations Open Doors 2008 report, 623,805 students came to the United States to study during the 2007-2008 academic year and nearly 9 out of 10 international students reported their primary source of funding for education as coming from either personal and family sources or from their host college or university in the United States. Who are the main players in the international market for students? In order to have a genuine perspective on the reality of the competitors that the U.S higher education institutions face, it is useful to have a look at what the international outlook has in store. According to the Institute of International Education, the number of international students in U.S. higher education institutions has increased in most years since 1955. According to IIEs Open Doors 2002, the authoritative source of data on international student enrollment for academic year 2001-2002, This years 6.4 percent increase in international student enrollment in U.S. colleges and universities equals last years increase, which was the largest increase in the past 20 years. This continues a trend of substantial growth in foreign student enrollments that began in 1997, after a four-year period of minimal growth. It is quite evident that although the absolute numbers are increasing, U.S. market share is decreasing. According to IIE, the U.S. share of internationally mobile students-the proportion of all international students who select the United States for study-declined by almost ten percent from 1982 to 1995, the last year that IIE did the calculation (39.2 to 30.2 percent). In itself, that is not an alarming statistic. U.S. market share is still healthy, and the argument could be made that our nearly 40 percent market share was unsustainable. It is what lies behind that statistic that is alarming. Merely the existence of fiercer competition is not the only reason for the declination of U.S. market share. at least two other factor can be noted. First, it is reflects aggressive recruitment efforts by the competitors of the USA-the usual suspects, United Kingdom, Australia, Germany and more recently China and others-who have determined that they want to reap more of the foreign policy, economic, and educational benefits those international students bring. Combined with the distinctive absence of such a conclusion on the part of the United States, which apparently assumes that international students will always come because they always have such complacency risks the loss of this countrys leadership in international education, with the accompanying negative ramifications for our security, foreign policy, and economy. Second, the declination U.S. market share does not appear to reflect any decline in international demand for U.S. higher education. Demand is still strong. The problem is access. While competing nations seek to remove disincentives to study in their countries, U.S. policy ignores-and sometimes exacerbates-the disincentives to study here. The problem lies not in the internationally popular product, nor in the highly motivated customer, but rather in market imperfections that keep the two from finding each other. Those imperfections are all subject to the control or the influence of American public officials. If they continue to ignore these factors, the market share that the American high education currently enjoys, will continue to be eroded out to the competition. Ultimately, whats wrong with this picture is the absence of a strategy to sustain the number of foreign students coming to the USA. For a generation after World War II, the United States had a strategy of promoting international student exchange as a means of waging the Cold War and promoting international peace. But now more than ever, the U.S. government seems to lack overall strategic sense of why exchange is important-and, therefore, of what U.S. interests are at risk by not continuing to foster exchanges. In this strategic vacuum, At the most basic-and encouraging-level, the problem is not one of weakness. The United States has every resource it needs to be successful in attracting international students-and, indeed, has been successful at it. The United States has more higher education capacity than our major competitors combined, the high quality of U.S. higher education is universally recognized, and the United States is a magnet for many throughout the world. The problem is not how to make the United States and its higher education system more attractive, but how to make them more accessible. A strategic plan is needed to address them. The principal barriers to access are: (1) The absence of a proactive, coordinated effort to recruit international students; (2) Burdensome U.S. government regulations, which often effectively cancel out recruitment efforts. (3) The cost of U.S. higher education, (4) The complexity of American higher education system. All of important powers have historically used education for international students as a tool to advance diplomatic, development, economic, and other objectives, often simultaneously. In the survey of GOA 2009 titled HIGHER EDUCATION Approaches to Attract and Fund International Students in the United States and Abroad (GOA 2009), the approaches of several countries have been analyzed. For example, Australian officials said that international higher education helps Australia achieve economic goals. Education was Australias third largest export and contributed $15.5 billion in Australian dollars (about $13 billion in U.S. dollars) to its economy in 2008. International students also help Australia meet its foreign relations and diplomatic goals. According to Chinese officials, providing international educational opportunities to foreign students is part of their strategy for promoting cultural, scientific, and technological exchanges between the East and the West. China develops exchanges with other countries in the fields of education, science, and technology to strengthen friendship and understanding between the Chinese people and people around the world and to promote modernization in China. China reported that its collaboration with foreign universities and educational institutions helps to develop an exchange network that allows it to send the best students to study in the best universities under the supervision of the best advisers, mutually benefiting institutions and countries. Officials from Germanys national agency that supports international education, stated in the GOA report that international students help Germany advance several goals, including increasing the international appeal of German universities and promoting the academic, economic, and democratic development of developing countries. German officials said that their ability to advance several goals simultaneously is an important strength of international education. For example, international students studying in science and technology help advance German research and innovation goals while also advancing public diplomacy goals by returning to their home countries as unofficial ambassadors for Germany. Officials in the United Kingdom (UK) reported that international education contributes to building a high-skilled workforce, helps build relationships with people from around the world, enhances understanding about each others cultures, and opens doors to trade, investment, and political influence. The European Union (EU) also seeks to advance several international education goals, including promoting intercultural understanding through cooperation with non-European countries as well as ensuring that education and training are accessible to the global community. To promote their higher education systems internationally, countries like the United Kingdom, Germany, and Australia have developed broad marketing strategies with a focus on outreach to international students. These marketing strategies include developing a national brand through the use of logos and slogans to promote higher education systems among international communities, much as a corporation would promote a commercial brand, as shown in figure 3. The financial outlook. Internationalization of higher education is good business for the U.S. economy. While this is not in the most important reason for reaching out to such students, it is nevertheless one the basic driving force leading competitor countries to adopt proactive strategies for attracting them. NAFSA (Association of International Educators) estimates that international students and their dependents spent nearly $18.78 billion in the U.S. economy in the 2009-2010 academic year, which makes international education a significant U.S. service-sector export. (NAFSA 2003) This economic benefit is shared by schools, communities, states, and the U.S. economy as a whole. According to the Institute of International Education, more than 70 percent of undergraduate international students pay full tuition and receive no financial aid, thus allowing schools to offer more financial assistance to American students. The Statistical Analysis of The Economic Benefits of International Education to the United States for the 2007-20010 Academic Years estimates that foreign students and their dependents contributed approximately $15.54 billion to the U.S. economy during the 2007-2008 academic year; approximately $17.6 billion to the U.S. economy during the 2008-2009 academic year; And approximately $18.78 billion to the U.S. economy during the 2009-2010 academic year. Every higher education institution has more or less received ample financial benefits. For example at New Yorks Columbia University, international students accounted for 21 percent, or about 7,000, of the student body in the 2008-2009 school year. These students funneled almost $250 million to Columbia in tuition and living expenses, according to a report by its international student office. (Laya 2010). At South Florida University for example in-state U.S. citizens pursuing undergraduate studies pay $5,100 in tuition annually, out-of-state students; including those from foreign countries, pay about $15,900, more than three times as much. (Fischer 2010. Chronicle of Higher Education) For schools like South Florida, increasing the number of international students also means increased revenue. But this is not the only benefit that international students bring. United States has relied on undergraduate and graduate students from other countries as important sources of innovation and productivity in our increasingly knowledge-based economy. Such students who remain in the country after completing their studies have brought needed research and workforce skills and strengthened our labor force. For example, international students have earned about one-third or more of the degrees at both the masters and doctoral levels in engineering, math and computer science, and the physical sciences. Bill Gates, founder of Microsoft, says U.S. visa curbs on immigrants with special skills in science, math or technology must be overhauled.If we dont, American companies simply will not have the talent to innovate and compete, Gates said in testimony to the House Committee on Science and Technology on March 12, 2008. (Laya 2010). In addition, U.S.-educated students take home preferences for Am erican products, and business students in particular take home an education in U.S. business practices. By any measure, international education makes a significant contribution to the U.S. economy. Is there a correlation between the role nations to play in the international scene and the internationalization of their universities? Our ability to relate to and interact with those whose cultural backgrounds differ from our own will be among the determining factors for the future of our societies. For most people, regardless of whether they aim for international careers or life in their local communities, intercultural dialogue will become a fact of life rather than an option. Education will need to play a key role in developing the ability to conduct intercultural dialogue, which is an integral part of developing democratic culture. A panel of leading experts in national security, higher education, and foreign policy made a strong case for the need to place international education at the heart of Americas public diplomacy efforts, at a policy forum November 16, 2006. The speakers were Dr. Joseph S. Nye, Distinguished Service Professor at the Kennedy School of Government at Harvard University; Ambassador Cresencio Arcos, Director of International Affairs at the U.S. Department of Homeland Security; Sanford J. Ungar, President of Goucher College; and the Honorable Jim Kolbe, United States Congressman (R-Ariz.). (NAFSA 2005) Joseph Nye stated that the presence of foreign students in American universities is a tremendous resource for American soft power.'   He told a story about the influence of educational exchanges on reform and dissident elements in the Soviet Union during the Cold War, and noted that while hard power is necessary, it is [also] essential to get our story out, and the best way to [do that] in terms of winning hearts and minds, the best emissaries are really people who have been [to] American universities and return home. Nye acknowledged improvement in the visa process but said we have quite a long way to go to ensure that we keep the doors open and remain an attractive destination for international students. Goucher College President Sanford J. Ungar focused his remarks on the importance of promoting study abroad among American college students. Goucher recently instituted a new policy that requires all of its students to study abroad before graduation. (à ¢Ã¢â€š ¬Ã‚ ¦) Ungar stressed that the international education of todays students must be an urgent matter of public policy and an important component of public diplomacy. Representative Jim Kolbe (R-Ariz.), the final panelist, (à ¢Ã¢â€š ¬Ã‚ ¦) spoke specifically about his efforts and those of Congressman Jim Oberstar (D-Minn.) to urge the establishment of an international education policy for the United States, most recently through their introduction of House Concurrent Resolution 100.   Tying together the comments of the other panelists, Kolbe said: We cant lead in a world that the American people dont understandà ¢Ã¢â€š ¬Ã‚ ¦We cant have a successful foreign policy with out internationally educated and aware citizens who support that foreign policy and who understand, relate and interact with the people of all countries that we are engaged with. Andà ¢Ã¢â€š ¬Ã‚ ¦ a successful foreign policy depends on our being able to educate future leaders from around the world about our way of life, our system of government, our culture, our political sy

Othellos Jealousy in William Shakespeares Othello Essay -- Papers

Othello's Jealousy in William Shakespeare's Othello In Shakespeare's Othello we are introduced into a web of a world entangled with lies, jealousy, and ultimately tragedy. We observe as Iago single handedly destroys the matrimony shared between Othello and the beautiful Desdemona. He does so with a flurry of deceit and trickery, playing upon one of the strongest human emotions, that of jealousy. Iago offers a story of betrayal to his master Othello, which ensnares his soul in a jealous rage of infidelity and honesty. Iago convinces his master that his beloved wife, Desdemona, is false in her virtue and with his right hand man Cassio nonetheless. Iago offers many ‘proofs’ to his lord, most of which are deceitful, but alas some that only work to spark the flame of jealousy in Othello. We shall examine each one and unravel Iago’s plan to dethrone his lord Othello, the Moor whom he despises so much. We first find Iago sparking the flame of jealousy in Othello’s brain when he asks of the honesty of Cassio, as well as Desdemona. Iago sly as he may be begins Othello to suspect ...

The Character of the Curate and Marian in Old Mrs. Chundle by Thomas Ha

The Character of the Curate and Marian in 'Old Mrs Chundle' In Thomas Hardy's short story, 'Old Mrs Chundle', the Curate is a well-respected, well-mannered and considerate man. He is determined to spread the word of God to Mrs Chundle. Mrs Chundle is also a considerate woman. She does not regularly visit the church and lives alone in South Wales. At the beginning of the story, the Curate asks for some lunch from Mrs Chundle. At first Mrs Chundle did not hear the Curate, so he has to repeat what he asked earlier. The Curate is an open man; he is not ashamed of asking food from others and is willing to dine with an old woman. This shows that the Curate is a friendly man and he does not judge people. The Curate strikes up a friendly conversation, which eventually leads to Mrs Chundle lying about visiting the church once a week. Due to this, the Curate thinks he and Mrs Chundle have something in common as ho belongs in the same church, which Mrs Chundle lied about. He hopes to see Mrs Chundle again which shows that the curate has become quite friendly with her and also shows that he is a pleasant man. When the Curate is talking to his rector, he finds out about the lie Mrs Chundle told. His view of Mrs Chundle changes for a short while. He now thinks of her as a wicked woman. In Eudor Welty's short story, 'A Visit Of Charity', Marian is a typical 14-year-old teenager. She is a campfire girl trying to gain a few points by visiting old ladies in an 'Old Ladies Home'. At the beginning of the story, Marian, holding a potted plant, jumps off the bus, stops for a moment besides a prickly dark shrub and then proceeds towards the Old Ladies Home. She says to the nurse at the desk, 'I'm a Campfire girl I ... ...had not avoided her, Mrs Chundle would have had the joy of listening to God's words once more before she had died. Marian had not particularly learnt an important lesson. She is only a young adolescent. The only reason she had visited the old ladies was for a few points. When Marian came out of the Old Ladies Home, the first thing she did was take out her apple from under the bush and took a bite out of it. This shows that Marian was not affected in anyway from her experience with the old ladies. She had not gone to visit the old ladies out of her own choice but only for herself. The Curate had learnt the most from his experience as he showed the signs of confusion, guilt and had to ask for forgiveness from God. Marian had just taken a bite out of her apple as soon as she got out. She showed no signs of sympathy and compassion toward the old ladies.

Glee Essay

Topic 2. ‘There is nothing ironic about show choir! ’ – Rachel Cohen Is Rachel’s assessment of the musical performances on Glee correct? Discuss the interplay of melodrama, irony and intertextuality in Glee. Your essay should contain detailed analysis of at least two scenes from Glee’s 1st season. Your essay should also make reference to your core course readings on television and postmodernism. Due 14 September heir true voice; and this one was, to me, ultimately about the series demonstrating its own voice and its space within the world of contemporary musicals. I don’t know what exactly I expected when I heard Joss Whedon would be directing, although it did send me diving for my Buffy The Vampire Slayer sing-along DVD. What I didn’t expect was an episode that didn’t feel like Whedon at all but felt intensely like Glee, more specifically the Glee that endeared itself to me in the first half of the season.What has always appeale d to me about Glee, and apparently to Joss Whedon based on this episode and his interview on Fox’s website , was the show’s delicate balance of tongue-in-cheek bitter cynicism, which keeps Glee blessedly away from High School Musical territory, and a sometimes heartbreakingly authentic sentimentality that draws me into a deeply emotional engagement with the characters and a desire to see them triumph.As others on this blog have mentioned, the stunt shows, focusing around a musical theme or dance conceit, are fun but can bring the show away from its narrative engagement and this mix of sincerity and cynicism that musical numbers have often been harnessed in service of. â€Å"Dream On† brought back this dynamic and foregrounded it in contrast to some of the more music-themed recent episodes. Neil Patrick Harris is the king of bitter(sweet) cynicism, and his performance as Bryan Ryan maintained the comedy in what otherwise was in danger of becoming a maudlin episod e.Rachel and Artie’s storylines gave both characters an opportunity for growth. Artie’s triumphantly joyful flash mob scene (fangirl moment – thank you Glee, for a flash mob! ) in particular made his final moments of aching vulnerability that much more poignant. There has been reflection on this blog about the way that Glee sometimes uses, one might even say exploits, disabled characters for emotional endings and to humanize its more difficult characters (Sue and Rachel), and Artie’s storyline comes dangerously close to becoming part of this trend.There are certainly issues with how Artie’s storyline is presented in this episode, and I leave those issues for other commentators more knowledgeable in these areas. Problematic though this is, it is consistent with the series’ ethos from the beginning. The show has always undermined its own after-school special themes, or at least made them less saccharine, by unabashedly drawing on stereotypes a nd refusing after-school special endings: Artie cannot dance, Tina doesn’t do the â€Å"right† thing. All is not well in McKinley High.If it were, it wouldn’t be Glee. That this episode spoke most clearly with what I feel is Glee’s unique voice is made even more important through its intertextuality, which evoked a self-awareness on the part of the series about its place amongst contemporary musicals. Here again we return to Joss Whedon and Neil Patrick Harris. Both figures have had important roles in bringing contemporary uses of the musical to television and the web. They worked together on the web series Dr. Horrible’s Sing-Along Blog.Neil Patrick Harris has performed in musical episodes of How I Met Your Mother and Batman: The Brave and the Bold, and Whedon’s musical episode of Buffy often makes lists of the best musical television episodes of all time. In this same episode that the guest director and guest star positioned Glee within th e contemporary use of the musical on television, we discover that Shelby Corcoran is Rachel’s mother. Shelby is played by Idina Menzel, who originated Maureen in Rent and Elphaba in Wicked on Broadway, with Glee guest star Kristin Chenoweth.Menzel and Chenoweth further link Glee to the tradition of the contemporary musical that may be a much more appropriate reference here than for the more obvious, but deceptive, High School Musical. Contemporary musicals have become increasingly mature, cynical, parodic and subversive, trends that Glee falls squarely within. In an episode so drenched in references to the contemporary musical context, it was all the more important that Glee followed the examples of its characters in the last episode and emphasized its own unique voice.Whedon showed himself to be a true Gleek by emphasizing the voice of the show over his own. egardless of whether you are a Gleek (if you don’t know this term, read on), you may have noticed the buzz surr ounding FOX’s musical comedy, which returned Tuesday to the second-best ratings of the night after a â€Å"Gleek Week† of promotional appearances and news coverage. Created by Ian Brennan, Brad Falchuk, and Ryan Murphy, Glee focuses on a diverse group of teenagers participating in a high school show choir, treating the participants in â€Å"New Directions† with alternating doses of warmth and snark.It also is one of the first series in the last few decades to successfully incorporate musical numbers; its music has become a lucrative cross-promotional element of the Glee phenomenon. The series has garnered ardent fans, or Gleeks, around the world — evident in the many websites dedicated to it, such as Gleeks United, Glee Club Online, Forum Francais de Glee, Glee Brazil, and my favorite, What Would Emma Pillsbury Wear? , inspired by the fashions worn by the eponymous guidance counselor with a penchant for all things sterile and for sexy-librarian sweaters.J ust as notable, it appears to have been embraced as particularly American. The cast was invited by First Lady Michelle Obama to sing at the White House’s annual Easter egg roll last weekend, and they followed that up with a Glee-themed episode of The Oprah Winfrey Show (she praised them as the â€Å"hardest working cast on television†). News coverage on the return of Glee and spoilers have followed in most major news outlets—including two dueling reviews in The New York Times—and in scholarly forums (a shout out to In Media Res, which recently hosted a Glee-themed week).What is it about Glee that has inspired this phenomenon? Based on my own experience, as a Gleek and as a scholar focusing on the series in my research, I find the show’s play with diversity equally satisfying and frustrating, and always compelling (arguably, it is â€Å"post-racial† and reinforcing of traditional racial stereotypes). And it seems that for many fans, the showà ¢â‚¬â„¢s focus on underdogs overcoming challenge, sly satire, and feel-good musical numbers are clear pulls.With respect to these and other appeals, Glee is a prime illustration of what Valerie Wee has described as hyper-postmodern media culture. A mash-up of generic influences, intertextual references, music, and ideological content that is both eerily nostalgic and forward-thinking, the series can be read and enjoyed by fans in multiple and diverging ways. This week’s episode, â€Å"Hell-o,† provided a full helping of these and other pleasures.We witnessed cheerleading coach Sue Sylvester (Jane Lynch)’s return to the high school and renewed mission of obliterating the glee club and the long-awaited blossoming of two romantic relationships, Mr. Shuester and Emma and Rachel and Finn, although difficulties naturally arise for both couples. In these and other entanglements as New Directions looks toward regionals, the timing and humor are spot on, not the least of which was the limiting of the musical numbers to songs with the word â€Å"hell† in the title.The hilarious mix that ensues includes â€Å"Hello, I Love You,† â€Å"Highway to Hell,† and â€Å"Hello, Goodbye. † And the narrative may not be important as the sum of Glee’s parts; they include the hyper-postmodern mash-up described above, exciting and talented performers, upbeat music that can be enjoyed in other arenas, sweetly geeky fandom, and the overall ethos of embracing the loveable loser in all of us. Are you a Gleek, and if so, what do you think encourages its appeal? What do you make of the series as a contemporary television, music, or theatrical text?In response to this complicated series we plan to follow Glee, its paratexts, and its fandom on a weekly basis as it continues to air this season. We hope you’ll take part in the discussion Reprinted with permission from our good friends at InsideCatholic. com, the leading online journa l of Catholic faith, culture, and politics. The musical comedy-drama Glee debuted on Fox just over a year ago. The story of a high school Spanish teacher's attempts to resurrect the Lima, Ohio, high school glee club surprised critics by ending its first season ranked at 33 in the Nielsen ratings.Now in its second season, the show's ratings have only gone up, as it climbed to the #15 spot last week. On May 23, the plans for a third season of Glee were announced. While there's no reason its popularity won't continue to climb, the challenge of producing a primetime musical series to appeal to a generation not brought up on the traditional musicals like Camelot, West Side Story, and The Sound of Music is obvious: How do you combine a contemporary story and characters with music and dance in a way that does not send viewers, especially younger ones, groaning in the direction of their PS3s and iPhones?The producers of Glee found their solution in the example of Chicago, the Broadway show where the musical numbers were always performed in the context of a cabaret. The characters of Glee don't burst into song in the manner of, say, Rodgers and Hammerstein; rather, the strongly choreographed musical numbers – five to eight each episode – are usually staged as the glee club's performances or rehearsals. Thus, Glee retains enough of a realistic feel to appeal to a younger audience. The music, a combination of pop and Broadway standards newly rranged by Adam Anders, appeals to all ages and has been a phenomenal success on CD and downloads, with over $2 million in digital sales. The cast of Glee had 25 singles on the Billboard Hot 100 in 2009, more than any artist since the Beatles in 1964. Their performance of â€Å"Don't Stop Believin'† went gold last November, with over half a million dollars in sales. Perhaps the most remarkable aspect of Glee's achievement its ability to keep three generations of viewers – children, parents, and grandparent s – in front of the TV together.The choreography of Zachary Woodlee, sexy without being sleazy, evokes Broadway's Jerome Robbins rather than Bob Fosse, much less the crotch-grabbing antics of tuneless rappers. Viewers with memories of Gene Kelly and Fred Astaire, or even the June Taylor Dancers on The Jackie Gleason Show, find themselves smiling once again. The producers and cast members also maintain tasteful control over material chosen – from older classics like â€Å"Over the Rainbow,† â€Å"One Less Bell to Answer,† â€Å"Smile,† and â€Å"I Could Have Danced All Night,† with newer ones such as â€Å"Proud Mary,† â€Å"Piano Man,† â€Å"Jump,† â€Å"Bootylicious,† and Josh Groban's â€Å"You Raise Me Up. When a Rolling Stone critic snidely chides Glee's leading actor, Matthew Morrison, saying he â€Å"couldn't rap his way out of 98 ° rehearsal,† he seems oblivious to the fact that more than an occas ional nod to rap would immediately begin thinning its audience (starting with me). The choice to offset the Disney-like innocence of Will Schuester, played by Morrison, with the cynical cheerleading coach, Sue Sylvester (Jane Lynch), works perfectly. The conflict between Schuester and Sylvester becomes nothing less than the perennial clash of ars gratia artis (arts for arts sake) with the cultural philistines.The writing for Sylvester's character is so good it has spawned its own wiki thread. Take, for example, her attitude toward intimacy in marriage: â€Å"I, for one, think intimacy has no place in a marriage. Walked in on my parents once, and it was like seeing two walruses wrestling. † But beyond the Schuester and Sylvester rivalry, Glee fails to achieve the generational integration of taste in its characters and storyline that it has attained with its music and dancing. Will's wife, Terri (Jessalyn Gilsig), seems like a refugee from John Sayles' Serial Mom, where the ent irety of middle-class family life is cynically, and hilariously, parodied.The viewer is left constantly questioning how Will, whose fundamental decency and kindness are repeatedly evoked, could have married such a demented twit as Terri. Such jarring contrasts of character abound in Glee. Finn Hudson (Cory Monteith), the lead singer of the glee club and quarterback of the football team, doesn't seem to know a hot tub cannot serve as a medium for impregnating his cheerleader girlfriend, Quinn Fabray; meanwhile, his best friend, Puck Puckerman (Mark Salling), who did get Quinn pregnant, is rampaging though the neighborhood sleeping with the â€Å"cougar† mothers of his classmates.There are also politically correct touches. Kurt Hummel (Chris Kolfer), the member of the glee club who likes to dress in black lace, not only â€Å"comes out† in the course of the first season but also leads the winless football team to their first victory by teaching them all how to dance. Yet Kurt's character is not made into a complete caricature: While his achievement on the gridiron is simply silly, the scene where he admits to his blue-collar father his same-sex attraction is quite affecting – and, I might add, realistic.Not to be outdone, Rachel Berry (Lea Michele), who has the best voice in the cast, is also the most neurotic, having been raised by two homosexual fathers. Rachel eventually discovers that her birth mother is the coach of the rival glee club. Such is the search for postmodern innocence in Glee – there is too much water under the cultural bridge to directly revive the musical idiom and heritage of the 1940s and 1950s that became second nature to so many baby-boomers.Before Glee, of course, there was Stephen Sondheim, who throughout his career as a composer and lyricist struggled with the same question of how to extend the musical to an audience that no longer believed in the univocal meaning of â€Å"I love you. † We can be grate ful to the creators of Glee for making an effort to bring us a popular entertainment with such a high level of singing and dancing. The temptation will be to lose sight of the initial choices that have led to its success and, particularly, the generational breadth of its audience.Just as American Idol has found out the hard way from its plunging ratings, once you start trying to please only the teenagers, the whole enterprise will quickly collapse Mid-April, with its tax deadline, is a time that many people dread; this year, however, millions looked forward to it with great eagerness, because April 13th brought the first episode of â€Å"Glee† after a four-month hiatus. The Fox show, set in the fictional William McKinley High School, inLima, Ohio, is part satirical comedy, part musical, and—since its setting is high school—a bit of a drama. It’s not exactly a high-school musical, and it’s not exactly â€Å"High School Musical,† the Disney so ng-and-dance franchise, although, like that TV movie and its brand extensions, it has a long tail of tie-in merchandise and live performances. It also has over-the-moon fans—â€Å"gleeks,† they happily call themselves—which is a notable thing for a mainstream, non-niche network show that began only last fall.The first post-hiatus episode had more than thirteen million viewers; the second, which featured the songs of Madonna, was close behind. Of course, it doesn’t hurt that the show follows â€Å"American Idol† on Tuesday nights—though the pairing did pain many people a couple of weeks ago, when a live edition of â€Å"Idol† ran long, causing DVRs across the land to cut off the last minutes of â€Å"Glee. † And â€Å"Glee,† although a work of fiction, is â€Å"Idol† ’s spawn, part of the current craze for watching star-making (and dream-crushing) machinery at work. Glee† was created and is written by Ryan Murphy, Brad Falchuk, and Ian Brennan. Of the three, Murphy is the best known, having created the just ended FX psychomelodrama â€Å"Nip/Tuck† (for which Falchuk was a writer and a producer) and the 1999 WB comedy â€Å"Popular,† which was also a sendup of teen-age archetypes—as in â€Å"Glee,† there was a star football player who was torn between sports and the stage—but involved much more extracurricular activity among parents and families.Except for the teachers and the administrators at McKinley High, few adults appear in â€Å"Glee,† which gives the series a cartoonish feel that’s reinforced by the fact that the grownups we do see, well meaning though they may be, are as cluelessly wrapped up in themselves as the young people are. (Oddly, or not, of the group of about ten students we hang out with two have lost a parent.It seems like a lot. ) The success of â€Å"Glee† depends on the energy and the obvious talent of its young (but way beyond high-school age) performers, and on Jane Lynch, who plays Sue Sylvester, the acid-tongued, sneaky, and completely loony cheerleading coach, whose every line of dialogue is quotable (and is duly quoted, minutes after being delivered, on Facebook pages and in Twitter feeds).Sue’s counterbalance, and nemesis, is Will Schuester (Matthew Morrison, who has a solid Broadway background and Leyendecker good looks, including thick, wavy hair that Sue mocks, in elegant variations, pretty much every time she sees Will), a youngish Spanish teacher and a graduate of McKinley High in the days when it had a top-notch show choir. Will makes it his project to bring back that glory, and he starts by tricking the captain of the football team (Cory Monteith), whom he hears singing in the shower after practice one day, into joining his ragtag crew.If Will gets funding for his group, the economy being tough—Sue’s cheerleading crew will lose theirs. Will also wants some of Sue’s girls—the Cheerios—for his group. She tells him that he doesn’t get it—that he can’t blur the lines in the rigid caste system that is high school: â€Å"Your jocks and your popular kids—up in the penthouse. Your invisibles and the kids playing live-action druids and trolls out in the forest—bottom floor. † What about the Glee kids? Will asks. What category are they in? â€Å"Sub-basement,† she says. from the issue * cartoon bank * e-mail this The real engine of the show isn’t the machinations of its characters or its unfolding plot but its basic structure. Because â€Å"Glee† is actually about a group of singers, it doesn’t seem artificial when the cast breaks into song; the music fits into the proceedings organically. The songs—which Murphy chooses—range from oldies to newies, so that there is, theoretically, something for everybody, from â€Å"Sing Sing Sin g† and â€Å"Sweet Caroline† to â€Å"Gives You Hell† and â€Å"Single Ladies. Still, it must be said, even people who love these songs may find something to hate in the style of singing sometimes showcased in â€Å"Glee†Ã¢â‚¬â€the earsplitting, maniacally melismatic car-alarm whine that Whitney Houston popularized—but, thankfully, there are quiet ballads to balance things out. Rachel, one of the choir members, has a bit of that pleading quality in her voice, but it suits her desperate ambition. She’s played by Lea Michele, who, at twenty-three, is a fifteen-year Broadway veteran.Yet her large talent doesn’t extend to the non-singing parts of her performance. I give it up for her gifts, but I don’t feel soul there. Rachel takes herself very seriously, and things very literally; one of the other kids, Artie (Kevin McHale), is wheelchair-bound, and Rachel complains to Will that Artie shouldn’t be singing â€Å"Sit Down Y ou’re Rockin’ the Boat† because he’s already sitting down. Artie’s take is that Will’s choice was meant to be ironic, and Rachel responds, â€Å"There’s nothing ironic about show choir! Of course there is, but there’s more, too—there’s also real glee, when things come together and when the characters get as much fleshing out as the stereotyping and the time constraints allow. With several production numbers per episode, almost all of which have remarkably weak choreography and poorly synched lip-synching, the writers haven’t been able to go very deep into anyone’s lif Read more http://www. newyorker. com/arts/critics/television/2010/05/10/100510crte_television_franklin#ixzz25UpjRdrc And then there’s Glee.Because there are no original songs, they’ve got to reference other works multiple times in every episode. When the show is at its best it takes cultural referents such as the video for Beyonce’s â€Å"Single Ladies (Put a Ring on It)† and turns it into something else by putting it in the context of trying to win a football game. It’s an utterly ridiculous and goofy scene that belies the reality of the way football works, but it’s also enormously satisfying and pretty funny to boot.The show’s musical numbers are to me more successful when they transport their sources to locales away from the stage or the classroom. And even when a musical number starts within the walls of William McKinley High School, if there are sequences that take us to other places and/or elsewhere in time, such as when Kurt recently sang â€Å"I Want to Hold Your Hand† for his classmates, that can also work incredibly well.But when their numbers are stagebound things often become stagnant, sucking the life out of the song and leaving a strong distaste in the mouths of many viewers, or at least those who know the original. Kurt poses for photos when he ’s not transporting us through time via the power of song. The apotheoses of these occurrences take place in the episode titled â€Å"The Substitute,† which features renditions of classic numbers from Singin’ in the Rain (Donen/Kelly 1952), which were themselves new takes on old songs.I’m not saying some texts are untouchable, but if you’re going to cover something so culturally iconic, you might want to do something totally new with it. So Gus Van Sant’s shot for shot remake of Psycho (1998)? Probably not a good idea. Conversely, Martin Scorsese’s reimagining of Ford’s The Searchers (1956) as an urban western in Taxi Driver (1976)? That works. If you don’t approach homage in this way it becomes nothing more than imitation, which might be the highest form of flattery but doesn’t make for good TV or cinema.So Glee’s rendition of Singin’ in the Rain’s title song incorporates a mash-up with Rihan na’s â€Å"Umbrella† and takes place on a stage full of water featuring the cast re-enacting moves from Gene Kelly’s classic sequence while also incorporating new moves into their set-piece number. There’s revision, and there’s imitation, and then there’s shitting on sanctity. I’m no purist and I’m not saying they shouldn’t have done it, but I would argue that despite the attempt at innovation, it doesn’t go far enough in its departure from either original.And the one thing that it’s missing that makes the movie’s original so great is passion you can feel. Kelly’s rendition takes place within the context of his falling in love with Kathy (Debbie Reynolds) and it results in Dionysian abandon, bringing to Technicolor life the giddy exhilaration that comes with new love, whereas Glee’s version is akin to watching craftsmen make shoes: there’s artistry in their production and the fin ished product is expertly made, but it lacks the soul that still makes Kelly’s sequence so resonant.Worse still is their take on â€Å"Make ‘Em Laugh,† which features Will Schuester (Matthew Morrison) and Mike Chang (Harry Shum, Jr. ) in a duet that is at times a near step for step imitation of Donald O’Connor’s version. Again, failing to revise the setting and context in an interesting way leaves their rendition flat. It lacks the visceral joy of O’Connor’s sequence, the best part of which is that it makes the audience do what the title suggests, which is laugh.Will and Chang are great dancers, but as there’s no real reason for the scene other than to show that they can do a rote imitation of the steps, their version is totally devoid of life and spontaneity, making it seem as though it’s performed by technically proficient but non-sentient automatons. There’s no reason you can’t do a scene that’s al most identical to the original, so long as you update it in such a way so as to give the audience a new way to interpret it. Take Spike Lee’s incorporation of the Love/Hate tattoo sequence from Night of the Hunter (Laughton 1955) into Do the Right Thing (1989).Robert Mitchum’s iconic scene is as seemingly inviolable as anything from Singin’ in the Rain, but by transposing it from a depression era white psychopathic murdering preacher in the deep south to Radio Raheem (Bill Nunn), a socially aware young African-American male living in what was at the time contemporary Bedford-Stuyvesant, Lee both pays homage and avoids pastiche, creating something new in the process, a model of artistic quotation that I’m afraid might be falling out of favor in our current media landscape, as evidenced on Glee and elsewhere * Why a blog and not a website? TUESDAY, 30 AUGUST 2011 Project: Art History. † Evolution of musical film genre†. â€Å"Williams and Hall both have argued that culture is not so much a set of things (television shows or paintings, for example) as a set of processes or practices through which individuals and groups come to make sense of things, including their own identities within and even against or outside the group† Stunken ; Cartwright (2009) The intention of the essay is to link evolution in cinema genres with the changes in the structure of popular culture.The quotation expresses the approach to culture as a process in which individuals interact, and this is the way the essay would like culture to be seen. Cinema is the perfect method to analyse popular culture from this point of view. Since its invention, it has given human beings a new and different opportunity of enjoying simulated worlds. Musical genre is particularly interesting because it has been present since the beginnings of cinema as one of the main Hollywood genres, and it has needed to introduce new strategies to survive. There are periods whe n it nearly disappeared before coming back in a new form (Hayward 2000).This essay is structured in such a way that it describes the periods of the genre and how its codes and conventions have been applied in each, and then analyses the main ideas from a social and theoretical point of view. But first, it may prove useful to discuss genre theory. Genre can be considered a strategy created by the cinema industry to identify a category of film. But it also can be described as a cognitive mechanism to help the viewer and filmmaker to know the expectations and hypothesis of the viewers when sitting in front of a screen to watch a film.Any genre is formed by a set of codes and conventions that the spectator has learned and can decode automatically and unconsciously. He or she feels pleasure in identification. This last point of view agrees with the one of the essay, as its aim is to connect the research on genre with what spectators experience when watching a film (Nelmes 2007) (Hayward 2000). It is also interesting to analyse what makes the spectator enjoy watching a film. Hayward (2000) identifies three stages in spectatorship theory. The first stage in the 70's treats the spectator as a passive subject.It is inspired on Freud's idea of the Oedipal complex and on Lacan's idea of the â€Å"mirror stage† that says that our identity is not coming from within, but from the way we see ourselves for the first time from the outside. In our adulthood we are in a constant state of desire that cannot be fulfilled because our unconscious mind cannot be influenced by the world around us. Freud's ideas associate the mirror stage with the relationship between the child and his mother. The male character sees his mother as an object and identifies with the father to try to meet the child's feeling of â€Å"castration† of not having access to the mother (Ward 2003).The spectator identifies the cinema screen with this â€Å"mirror†. The second stage, from the middle of the 70’s, is influenced by Laura Mulvey. She introduces the idea of sexual difference in identification with personalities and criticises the masculine point of view in cinema narrative that fetishizes women. The option for the female spectator is to identify with the passive female or with a masculine third character. In the third stage, from the 80's, we find investigations derived from the debate started by Mulvey. Some ideas talk about the bisexual position of the female child after her mirror stage.She first has the mother as her object of desire and then she has to change to the father as her object of desire. And the male spectator can also position himself bisexually, when identifying with the active and passive modes of the male character. The spectator is treated as an active subject, he or she does not occupy just one position in relation to the characters. Dyer considers that there are three periods in a genre: primitive, mature and decadent (Hayward 20 00). On the experimental primitive period, before the 30's, musical is generated as a hybrid from European operetta and American vaudeville and music hall (Hayward 2000).On the mature period, from the 30's to the 60's, first we find a director such as Busby Berkeley. His films do not pay attention to the plot, but rather, are vehicles for song and dance that are introduced in an artificial way. It is pure spectacle and sensuality. Sex is offered through the gaze (Hayward 2000). Later, songs and dances move with the narrative and are introduced on a more natural way. Fred Astaire develops an elegant, stylised style and Gene Kelly develops a more energetic one. The music was often composed by talented authors brought from Broadway.In the 50's, it is the first time the studio system pay special attention to the youth audience, linked to the rise in the music record industry. Singers as Elvis Presley and Cliff Richard became actors (Hayward 2000). For Altman musicals of the mature perio d are an â€Å"ode to marriage†. The narrative is based on the principle of pairing and mirroring. Male and female are paired, maturity is paired to immaturity. The main characters are mirrored in other couples; settings are mirrored in other settings (Hayward 2000). This conclusion was made following a synchronic analysis, i. . , just focusing in a moment in the film, specifically in the final scene. Recently, this same author has reflected about that approach and has analysed musical films diachronically. He proposes two hypotheses. Following the first one, in musicals main characters are first paired with a â€Å"wrong† partner to be finally paired to the â€Å"right† one. Films such as â€Å"An American in Paris† (Minnelli, 1951) follow this structure. The second hypothesis is more speculative. It is based in the idea that the relationships of the characters turn from homosocial to heterosexual.This structure is found in many films, from â€Å"An Ame rican in Paris† (Minnelli, 1951), to â€Å"Grease† (Kleiser, 1978). In â€Å"Grease†, the main actress and actor belong to a group where all members are women or all men, respectively, and eventually left these groups to become a couple. This can be seen as an evolution from childhood to adulthood. The author also speculates on whether this structure tries to avoid the character moving from a homosocial relationship to a homosexual relationship (Altman 2010). Cohan (2010) considers that the dual register between narrative and performance is one of the distinctive conventions of the genre.It breaks the dominant codes of realism in cinema, whose aim is to guide the audience through the story, so the codes and conventions become â€Å"transparent† to avoid distracting them (Nelmes 2007). The concept of diegesis refers to the fictional world described inside the story. In musicals, filmmakers can add extra-diegetic shots that have no logical reason for being t here. And they can add a diegetic to call public attention to the star, to show that they are amazed when they see and hear the main characters dancing or singing, and to create the illusion that the real non-diegetic audience is part of that public (Hayward 2000).Dyer (2002) distinguishes three tendencies of musicals: one that keeps narrative and number separate, another that identifies narrative with problems and numbers with scape, but trying to integrate the number through signals, and a last one that dissolves this distinction between narrative and number, which makes this narrative also utopian. Richard Dyer writes that the strategy of the genre is to â€Å"provide the spectator with an utopia through the form of entertainment†.Any film reflects these categories: abundance, energy, intensity, transparency and community in opposition to the real society, where we can find: scarcity, exhaustion, dreariness, manipulation and fragmentation. Abundance is shown through the lu xurious costumes and huge settings. Energy is shown through the dance and also the camera work. Intensity refers to experiencing emotions directly. Transparency refers to spontaneity. Community refers to the sense of belonging. This utopia is associated with the specific mainstream ideology of this period: capitalism, economic and social stability (Hayward 2000), (Stacey 1994).Of the decadent period, from the 60's, codes and conventions are questioned. Musicals are more realistic; subjects such as racism and delinquency are treated. Examples are â€Å"West Side Story† (Wise, 1961), â€Å"Saturday Night Fever† (Badham, 1977) and â€Å"Grease† (Kleiser, 1978). We also find Julie Andrew's films such as â€Å"The Sound of Music† (Wise, 1965). This is identified as a family film that follows traditional conventions. But its structure differs from the classical one. There is no more a duality, instead, there is a female main character and the male character has a secondary role.She represents liberated femininity. In Barbra Streisand's films – â€Å"The Way We Were† (Pollack, 1973) – the girl needs a partner but does not always achieve it. When she fails to do it, the film shows her drive for freedom and female independence (Farmer 2010), (Robertsib Wojcik 2010). This reflects how conventions in cinema have changed with changes in society; in the 70's women rebelled against the traditional patriarchal society. It has been almost 50 years since the period of decline of the musical genre begun. It looked as if it was going to disappear. But lately, we are seeing a revival of the genre.Sometimes it is successful, such as â€Å"Moulin Rouge! † (Luhrman, 2001), â€Å"Chicago† (Marshall, 2002) and â€Å"Mamma Mia† (Lloyd, 2008), sometimes it is not, such as â€Å"Nine† (Marshall, 2009). At this point, we can ask ourselves about the reasons for bringing back musicals. Cohan (2010) mentions David R ooney and Jonathan Bing describing them. They mention how development of new technology can help with the task of shooting and editing, and reducing costs. Also, the after-market of the fans of musical can be economically attractive, as they are repeating viewers, so DVDs and soundtracks would sell well – as well as merchandising would do.Another interesting fact is that the youth audience has grown up watching music videos and Disney's animated films. Finally, another reason can be that the golden period of musicals happened during the 30's Big Depression. Maybe it is not a coincidence that in the actual moment of economic recession, the public is going back to watch films that supply escapism (Burgess-Alllen 2010). Feuer (2010) argues that in the decline period, there are reconstructive musicals and deconstructive musicals. Reconstructive musicals can be â€Å"Moulin Rouge† (Luhrman, 2001), â€Å"Chicago† (Marshall, 2002), â€Å"Nine† (Marshall, 2009). Cabaret† (Fosse) in 1972 already has influences of art cinema (Hayward 2000). They are targeted at art-house audiences, while keep the classical conventions, and show an interest in aesthetic and nostalgia for the past. Following the these, â€Å"Moulin Rouge† (Luhrman, 2001) mixes cinematic references, historical intertexts and cultural allusions, this makes it difficult to define which genre it belongs to as it can be considered a musical, a melodrama, and author film, or even a music video (Nelmes 2007).Deconstructive Musicals are oriented towards the teenage public and create new conventions, they do not represent lead performers but amateurs that love singing and dancing, they â€Å"take up the position of spectators of Old Hollywood musicals in a world where it is no longer possible to be Fred Astaire† (Daldry, 2000). Following these, there are productions for TV, such as â€Å"High School Musical† (Ortega, 2006) and, more recently, â€Å"Glee† (Murphy, 2009). Conventions in â€Å"High School Musical† (Ortega, 2006) follow the traditional ones. It follows the principle of duality with two main characters.What it adds new to the genre is a contrast between authenticity, represented by the main couple, and manipulated artistry, represented by another couple. It also adds a reflection of a rigidly hierarchical world, where the characters move between conformism and rebellion. The characters are stereotypes: jocks, cheerleaders, and brainiacs. â€Å"Glee† (Murphy, 2009) takes the idea of â€Å"High School Musical† and exaggerates it. We again find the same stereotypes but they are taken to the extreme of satire. All the characters know that to be someone at the school they have to belong to a group: cheerleaders, football team†¦Wearing a distinctive uniform is important for them. â€Å"Glee† also adds being playful with reality. It highlights being a simulation of reality and reminds us often about it, advising us not to take it too seriously. The narrative is an utopia in the same way as the performances. And this utopia again follows a specific ideology. Subjects that affect teenagers are treated: pregnancy, alcohol, sexuality, family relationships, †¦ (Cohan 2010), (Payne 2010). Another thing these films have changed from classic films is that musical soundtracks are not created specifically for the film, now it appropriates pop music or music from other films.The concept of film genre is directly related to the concept of intertextuality. The film is always going to be framed by the genre as each film belonging to it uses conventions previously used by other members of it (Nelmes 2007). But this can be a contradiction, because intertextuality is also associated with taking the text beyond the boundaries of the genre. This semiotic term was first used by Julia Kristeva, who understands that the text connects in two ways, first the author to the reader and then t he text to other texts (Chandler 2009). The growing preponderance of visuals in ads has enhanced the ambiguity of meaning embedded in message structures. Earlier advertising usually states its message quite explicitly through the medium of written text†¦ , but starting in the mid-1920s visual representation became more common, and the relationship between text and visual image became complementary – that is, the text explained the visual. In the post-war period, and especially since the early 1960s, the function of text moved away from explaining the visual and towards a more cryptic form, in which text appeared as a kind of ‘key' to the visual.In all, the effect was to make the commercial message more ambiguous; a ‘reading' of it depended on relating elements in the ad's internal structure to each other, as well as drawing in references from the external world. † Leiss (1997) This paragraph talks specifically about the use of intertextuality in adverti sing, which is not the subject of the essay, but it is included here because it expresses that the way creatives communicate messages has evolved from being explicit to being ambiguous. Leiss talks about how the â€Å"receiver's brain is an indispensable component of the total communication system†.Explaining it clearly, the spectator is no longer considered stupid. Viewers have a wider visual knowledge that make them able to understand messages transmitted on ambiguous ways. We have grown with the rapid association of images in film, TV, and advertisement (Kolker 2002). The visual knowledge of the spectator has helped to make it more sophisticated. The basis of the plot remains simple but the filmmaker can and must introduce mechanisms to appeal a target audience that has become highly media literate.As a result of the the research can be taken the most interesting ideas about the way contemporaneous filmmakers apply the codes and conventions of the genre. They follow some o f the conventions of films from the classical era: keeping a simple plot, selling an ideology. And they add to the genre: using soundtracks from pop music or other films instead of creating it specifically for the film, the creation of fictional worlds that make reference to another fictional world, playing with reality and stereotypes, playing with the dual register between narrative and performance.It can be found in several essays and articles that talk about contemporaneous musical films being postmodern, as the following one written by Edwards (Cohan 2010): â€Å"The charm and artistic merit of the original High School Musical movie lies in its ability to consider a sophisticated theatrical and musical heritage and consequently revise it for a modern audience †¦ it simultaneously conforms to genre expectations and pays homage to its textual influences while taking a postmodern delight in exposing its own limitations and playing with some gentle pastiche of literary and ci nematic predecessors†.Flanagan (2002) wrote about the features of a film that can be identified as postmodern. The first ones are playfulness and self reference. It reminds us that it is a construction, that is not real, and that we must not take it seriously. The musical film's creators play with the way they integrate the performances in the narrative, with the stereotypes. It follows the tendency of dissolving the distinction between narrative and number, meaning that this narrative is also utopian. The second ones are generic blurring and intertextuality.The use of references to other texts is very usual in musicals. The third ones are popular and commercial media mixed with high culture. Current musical films do not have a soundtrack created for them, but they appropriate music. The fourth ones are fragmentation and death of representation. This refers to the way audience make sense of things through representations of reality instead of doing it through the reality itsel f. And finally uncertainty and the loss of context as consequence of the previous ones. According to this, films such as â€Å"Glee† (Murphy, 2009) can be considered postmodern.But probably to label a film as postmodern is not going to influence the audience as to whether to be interested on it or not, what probably can be considered more important is the â€Å"sophisticated hyperconsciousness† in contemporaneous popular entertainment, i. e. , the high degree of media literacy in the audience that allows playing with the conventions (Collins 1993), (Nelmes 2007). Why is Glee Postmodern In this blog and our discussion of postmodern television, the TV showGlee  has come up as an example.. One of the theories we’ve learned about postmodernism is that it rejects the idea of metanarratives (stories about stories).In postmodernism there is not black and white, good vs. evil, etc. In the show  Glee  there is the character Puck, a football player who seems to be y our typical tough-guy bully. However, even though Puck is a bully and even shoves around some of the other characters that we like, we still do not dislike him. We don’t see him as the villain even though typically the jock/bully is seen as the â€Å"bad guy. † Plurality is another term we learned regarding postmodernism, and this is when there are multiple stories and multiple identities.This show has so many characters, each with their own personal story and all of their stories get told in one way or another. Within Season 2 episode 8 the character ‘David’ is focused on and he is being questioned about whether he is gay or not. The glee club is a dance singing club but within this is another story. This gives the program room to expand and here for example the program deals with modern day issues that are publicised in the media. Grand narratives are clearly contradicted in this episode as homosexuality is put in the limelight and is praised.One of the male characters shows very feminine attributes and in their rehearsal wears a top which says â€Å"Likes Boys. † This is done to try to numb the shock of homosexuals coming out and normalise it so that the program can move forward. There are different races, different personalities, different handicaps; different cliques, all represented in this show and all of their stories are being told. Nostalgia is another postmodern term represented in  Glee. Many of the songs performed on this show are songs from the past for example Les Miserables – Kareoke and Born this Way.The teacher in charge of Glee Club, Mr. Schuester, loves doing songs from when he was younger and this really brings nostalgia to the show. Convergence, the flow of media content across a range of different platforms is also part of this show. You can download the songs performed on the show, many viewers discuss the show online, and many people attempt to win parts on the show by creating videos of thems elves singing and performing and posting them online. There are many forms of media involved with this show other than simply watching the show.Not to mention the fact that you can also watch the show online, just one more form of media regarding this show Glee draws people in by creating stereotypical situations and characters, each with their own flaws that the audience can easily identify with. This identification process allows viewers to become more intimate with the show, especially when the actors begin to sing songs that modern viewers already know and love. Fox originally took a chance on the new musical project, but hedged their bets with innovative marketing strategies and with a huge lead in audience from American Idol.The use of cultural classics and songs that recently premiered on the top 40, drew in the American Idol audience members specifically, and music lovers generally. This target audience was strong in the 18-49 demographic, and particularly strong with women. The strength in these demographics enabled Glee to become the 3rd most expensive show to buy advertisements on. This advertising revenue is supplemented with a steady stream of money made from selling singles on ITunes. This model has been so successful that Glee has now become a tent-pole of its own and anchors the entire comedy lineup on Tuesdays. contrast, in recent years American television has brought us Scrubs, Ugly Betty and now Glee, shows that combine boldly imaginative approaches to narrative with a humour and humanity that is often exhilarating to behold. While we seem to be mired in an endless debate about platforms, content, news values and the multimedia revolution, the Americans have managed to retain an enthusiasm for the dramatic possibilities of television. And what's clear is that those possibilities are founded upon an enduring belief in sharp, savvy writing and deeply committed performances.At first sight, Glee (C4) follows a stupefyingly familiar path. It's se t in a midwest high school, amid the over-fictionalised world of geeks and jocks. And in a nod to the High School Musical fad, it focuses on a glee club, or singing society. However, Glee takes these tropes and cliches and stretches them in surprising directions to create a whole new form, as different to its original source as a butterfly is to a caterpillar. Last week, teen pregnancy, the difficulty of coming out in high school, and sexual attraction between teacher and pupil were plot themes but, unlike many American shows, not moral â€Å"issues†.Glee is possessed of a liberal heart but its balls, as well as some of its most memorable lines, belong to the politically incorrect coach, Sue Sylvester (played by Jane Lynch). Like two opposing grammarians, kitsch sentiment and killer sarcasm wrestle over every line. Yet, at the point where conventional drama plunges into pathos, Glee slips into song. At one moment the school quarterback was singing â€Å"I'll Stand by Youâ₠¬  to the ultrasound of his unwanted child (which isn't his), the next his friends were rallying round in a stirring rendition of â€Å"Lean on Me†.A lot of the humour stems from snappy social observation, but the show also boasts the kind of verbal extravagance that, in the wrong hands, can sound written rather than said. Typical was the scene in which a former schoolgirl stalker, who once responded to rejection by eating a lethally hot pepper, advised her equally deluded successor: â€Å"Let me tell you a few things I learned from two years of intense psychotherapy and an oesophagus transplant. The reason that line worked is the same reason the songs and outrageous storylines work: because the characters are immersed in their own reality. They never act as if they've said something funny. There's no pause for laughter, no nods or winks, as Glee shows the same faith in its audience as it does in its characterisations. Laughter isn't forced, so isn't false. In common with U gly Betty and Scrubs, there is plenty of cultural commentary and knowing asides but failure to spot the reference doesn't undermine the scene. The action just moves swiftly on.If Glee is postmodern, it doesn't bother knocking twice. The show has attracted a lot of plaudits, particularly in America, so it's probably soon due for a backlash. This might be an opportune moment, then, to say that the hype is deserved. It's a rare and heartening pleasure to watch so much energy and emotion expended in the unfashionable cause of family entertainment. Some of its fans might say Doctor Who performs a similar feat, though really the nearest British television comes, or attempts to come, to Glee is in shows like Strictly Come Dancing.Where US networks can be persuaded to invest in good writing and acting, our TV executives prefer to back the all-dancing duo of celebrity and reality. Only in an atmosphere in which originality is viewed as marginal or suspect could a series like Life of Riley (B BC1) be produced. It may seem unfair to pick out this harmless sitcom as an illustration of the failings of British comedy drama, but perhaps not quite as unfair as the decision to recommission another series. Why is Glee Postmodern?Glee is an American musical-comedy drama series. It started in 2009 and is produced by Ryan Murphy, Brad Falchuk and Ian Brennan, who originally wanted Glee to be a film, but decided to make it more interesting as a series. The episode I have chosen to focus on is the ‘Britney/Brittany’ episode, which pays tribute to Britney Spears when a member of the club Brittany Pierce experiences an anesthesia-induced hallucination in which she recreates iconic Spears moments, and comes to self-realization.I believe that this episode shows examples of being postmodern, as for a start the songs are in the past, and therefore have been created from an idea that’s already happened, Postmodernism postulates that many, if not all, apparent realities a re only social constructs and are therefore subject to change so Glee supports this view, it highlights that it is taking the original idea (song) that we all know from Britney Spears, and constructing it into their own, like the ‘Toxic’ version they performed on stage, straight away it’s obvious that this episode is showing pastiche, as the hole episode is making tributes to classic pop culture, and it gives us as audience ( or those who are old enough) a nostalgic feeling. One of the theories learned about postmodernism is that it rejects the idea of metanarratives (stories about stories). In postmodernism there is not black and white, good vs. evil, etc. There is the character Puck, a football player who seems to be your typical tough-guy bully.However, even though Puck is a bully and even shoves around some of the other characters that we like, we still do not dislike him. We don’t see him as the villain even though typically the jock/bully is seen as the â€Å"bad guy,† and in this episode, he shows examples of this by fitting in with the rest of the club and wanting to perform the Britney songs, when typically you’d expect the ‘jock’ to go against this idea as it wasn’t ‘cool enough’.Plurality is another term regarding postmodernism, and this is when there are multiple stories and multiple identities, and this is shown in this particular episode when although the focus is on Britney, there are several storylines going ahead with each individual character like with Will coming to terms that the girl he loves if with someone else, and then the high school problems the glee club members are all facing.The characters are also known for having multiple identities, this episode especially shows the members like Brittany and Rachel dressed up mimicking Britney Spears, and Santana also comes across as being tough, but in this episode she performs with Brittany in ‘Me Against the Musi c’ and we find out she is also in love with Brittany. Many of the songs performed on this show are songs from the past. The teacher in charge of Glee Club, Mr.Schuster, loves doing songs from when he was younger and this really brings nostalgia to the show, but in this episode he rejects the idea of doing Britney week, as he believes she gives out the wrong messages, but eventually he comes around and performs with them, which causes outrage to the school, which is also very postmodern, although Glee is a fun, light-hearted comedy series, it can also have many adult references in, especially in this episode, which I believe to be very postmodern as it ignores the typical conventions of a ‘high school drama’ and actually takes the stereotypes to an extreme but twists them.Glee has also been quoted to be described as hyper-postmodern media culture. A mash-up of generic influences, intertextual references, music, and ideological content that is both eerily nostalgic and forward-thinking, and this episode is a prime example showing all these things, the fact that the students go to the dentist to get their teeth fixed which is an ‘underlying’ important message, influencing the audience to take care of their selves, its then twisted when they get put under an anesthesia, and hallucinate Britney Spears fantasies, Glee is known for taking simple, conventional ideas and turning them to almost inappropriate. Like two opposing grammarians, kitsch sentiment and killer sarcasm wrestle over every line. Yet, at the point where conventional drama plunges into pathos, Glee slips into song† was quoted by a news article, showing how Glee takes a completely different take on high school drama. Convergence, the flow of media content across a range of different platforms is also part of this show.You can download the songs performed on the show, many viewers discuss the show online, and many people attempt to win parts on the show by creating videos of themselves singing and performing and posting them online. There are many forms of media involved with this show other than simply watching the show. Not to mention the fact that you can also watch the show online, just one more form of media regarding this show. In conclusion, I believe that Glee is postmodern because it uses examples of hyperreality, pastiche, intertextuality and is not your ordinary high school drama.