Mrs. Whipples Mistreatment of Her Son in Katherine Anne Porters He :: Katharine Anne Porter He Essays

Mrs. Whipple's Mistreatment of Her Son in Katherine Anne Porter's He The prevailing theme in Katherine Anne Porter's story "He" is Mrs. Whipple's concern over appearances and particularly how her neighbors perceive her actions concerning her retarded son. Many critics have written about Porter's emphasis on appearances in this story. However, what lies under the surface of the story is also interesting. Contrary to both her actions and spoken words, it is clear Mrs. Whipple inwardly feels her retarded son is an animal and that she secretly wishes for his death. The story "He" is similar to another story of Katherine Anne Porter's titled "The Downward Path to Wisdom." Both stories depict children who are retarded, who are equated to animals by one or both of the parents, and who are wished dead or never born (Weisenforth 359). The title of the story "He" provides the reader with the first clue that the retarded son is de-humanized. Throughout the story the other two of Mrs. Whipple's children, Emly and Adna, are given names and are referred to by their given names. This is not true of the retarded son. Not once in the story is He called by his given name. In fact, the reader never learns his given name. The failure to give the retarded son a name is similar to the farm practice of giving names to pets but not to the ever-present farm animals. People generally do not name animals they plan on killing. Because Emly and Adna have names, they appear to the reader to be more human. In contrast, the failure to name the retarded son makes him appear more animal-like or less than human. Another example of animal treatment takes place during family meals. The retarded son does not eat his meals at the table with his family. In a description of the retarded son, Porter writes "He didn't whine for food, as the other children did, but waited until it was given Him; He ate squatting in the corner, smacking and mumbling" (597). When Mrs. Whipple's brother comes for a visit, Porter writes "He wouldn't come into the dining room, and Mrs. Whipple passed it off very well" (599). For appearances sake "Mrs. Whipple loaded up a big plate for Him first, before everybody"(Porter 599). The parallels to how people treat their dogs can not be overlooked. It is common practice for dog owners to train their dogs not to beg or whine for food.

Advertising Statement Essay

Rosser Reeves was the one who invented the term â€Å"USP†. The Unique selling proposition is sometimes referred to as â€Å"product difference.† In rare cases, some products or services have a unique and impressive proposition/benefit. A unique selling proposition is the ultimate proposition because its one that no other competitor can claim. It has to be something that you could also sell from. The concept of a unique selling proposition, or USP, is based on a benefit statement that is both unique to the product and important to the user. The heart of a USP is a proposition, which is a promise that states a specific and unique benefit you will get from using the product. If the product has a special formula, design, or feature, particularly if protected by a patent or copyright, then you are assured that it is truly unique. This is why a USP is frequently marked by the use of an â€Å"only† statement, either outright or implied. There are various methods that c an be used to find a USP as it is demonstrated in advertising strategies and ideas. Strategy in Advertising In advertising, â€Å"strategy† refers to the overall marketing or selling approach. It is the thinking behind the concept/idea. (The thinking behind the thinking, if you like.) Decisions about selling premises are central to the overall advertising strategy. The strategy (or strategic thought) can come from a proposition/benefit of the product, how it used, the market background, the choice of target audience, or any combination thereof. Every strategy should have an element of distinction ( small or large ) from the competition’s strategies, as should the proceeding concept and campaign. All strategies should be written in the form of a strategy statement, also known as â€Å"creative brief†. However, there are several questions we should seek to answer to cover the area of strategic analysis. Competitor, best prospects, and what buying appeals have the greatest leverage. At the corporate level what takes place in the advertising department would be seen as tac tical whilst in the advertising department this would be seen as strategic. * Corporate strategies are concerned with the major functions of the company, and cover finance, human resource management, production, administration, and marketing. * Marketing strategies are concerned with ANSOFF’s matrix and the marketing mix. * Promotional strategies are concerned with the promotional mix options (advertising, sales promotions, PR, publicity, selling, sponsorship, exhibitions). Effective Advertising Advertising that is effective creates the message that best expresses the product-prospect relationship. In addition, the message has to be intrusive enough to battle through the clutter in the contemporary media marketplace. To reach the effectiveness in advertising, a creative strategy should be involved in the process. It has to sell the product effectively by promoting them through smart and well designed advertisement. Creative Brief When forming a strategy from which to create ideas, it needs to be written down in a black and white. This helps to focus and steer the formation of ideas from the onset. When people suggest that an idea is â€Å"off strategy,† they mean that it doesn’t relate back to the defined strategy, and will therefore be much harder to sell the idea to the client. By having a strategy statement at hand, you can keep referring back to it whilst generating ideas from that strategy. It is very hard, even if you are an experienced creative, to produce a great campaign idea (or even a single one shot) without a solid, tight strategy. In short, the better you are briefed, the easier your job will be. A poorly defined, vogue, â€Å"wooly† brief is no use to a creative person, nor is highly specific one that restricts the number of ideas. Below are the basic examples of the headings in a creative brief, * Client * Product/service * Product and market background (supposition) * Competition * Business/Advertising Objective (problem to solve) * Media * Target market/Group/Audience * Proposition/Promise/Benefit * Proposition Support Points * Tone of Voice * â€Å"Mandatories† (Inclusions/Exclusions) Media in Advertising The choice of media depends upon the type of product or service being advertised, the target market, and the client’s budget. Each campaign can be in one form of media, or multiple forms. Traditional advertising media includes print, TV, and radio. Non-traditional includes ambient and guerrilla concepts. In addition, there is direct media, and interactive media. In the UK, each type of media is defined by its relation to a hypothetical â€Å"line† that divides the two. Traditional media is â€Å"above the line,† whereas direct marketing and interactive advertising is â€Å"below the line.† Companies that produce work in all the forms are referred to as â€Å"through the line† agencies, or â€Å"full service.† Other divisions within advertising include sales promotion, and business-to-business. Whereas business-to-consumer advertising, once the skill is developed, the same creative process can easily be applied to these other forms of media an d advertising. Positioning All products and companies, as seen by the customer, occupy some kind of ‘position’ in the market whether they intend it or not. This might be, for example, high price-high value, low price-low value, high price-low value, good company-not-so-good company and so on, when compared with comparable competing products and competing organizations. Most modern organizations now attempt to actively influence this position in the market by matching product and corporate benefits with the needs of clearly identified segments. The managers have performed professionally, be integrated to match the identified needs of the target market. Positioning is how the marketer wants the consumer to view its product relative to the competition. Although product differentiation plays a role in creating a product position, product differences account for only part of a product’s position. A positioning strategy also includes the manner in which a product’s factors are combined, ho w they communicated, and who communicates them. The size (and value) of the advertising corporate and brand positioning is crucial to the well-being of any company and so should be left to the agency professional. Copywriting Copywriting is an essential part of the design communication mix, and those of us who do it for a living will tell you that crafting massages and telling stories is a rewarding mental process, even in the business context. You’ll find that being able to generate a response from your audience is a valuable and highly sought-after skill. Copy (or text, or words) used in design is a very particular type of creative writing that requires the inspiration of an artist and the control of a craftsman or craftswoman. In comparison to the rails on which the copywriter runs, the novelist or poet has no limitations. Poetry and storytelling are flights of the imagination, with no client or news editor to bear in mind. Whether the personality of the writer shines through directly or indirectly, this is the purest creative writing – it can take off in any direction, be as fictional as it wants to be, and go wherever it pleases. Writing copy, however, is all about sticking to brief, while paying homage to the creativity and style of the poet and storyteller. Journalists and copywriters are commercial writers, but the essence of the role is completely different. In most cases journalist have to create the story from the scratch, usually by following leads. They will have to research the facts to get to the heart of the matter, discover the different viewpoints and opinions, and bring this material together accurately and coherently. Articles are often written to a tightly defined structure, while features can allow more room for individual expression and the interweaving of the writer’s viewpoint. The message has to be factually correct, balanced, and fair, but the writer is allowed to take a stance, which could reflect that of the newspaper or, in the case of regular column, the writer’s opinion. Copywriting borrows from all other fields of writing in its quest for creative expression, but ther e is no room for your personality in the copy that you write; you are simply a scribe, a hired mouthpiece for your client, and it is the brand’s voice that must come through, loudly and clearly.

Essay on The Industrial Revolution in Russia - 962 Words

The Industrial Revolution in Russia Russia, which began its industrial revolution at least a half century behind most of the West European countries, had to meet a number of special challenges. Russia moved to industrialisation in stages. An uncertain experimental phase – which Russia had already experienced to an extent before 1870 – included larger reforms that helped free up economic change. This preliminary period was followed by more rapid growth in a society still overwhelming agricultural. Russia had well-developed industrial sectors by the early 20th century, but paused well behind the West. Russia became the only society to experience full-fledged political and social revolution†¦show more content†¦Mileage doubled between 1895-1905, the additions including almost the whole of a line across Siberia that opened the vast resources of this region to industrial use. Private companies, working under government allowances, did much of the work, but after 1880 state control increased. A key factor in Russia’s early industrial revolution, along with increasingly focused government planning and railway development, involved foreign entrepreneurs, from whom Russia gained much-needed capital and technical knowledge. West European industrial countries such as Germany and France, were quite aware of Russia’s vast potential. The huge population, though largely peasantry and with a traditional agriculture, presented a tempting market to target. Smaller business class in Russia made the foreign presence there even more noticeable and its role in guiding industrialisation even greater. Foreign capital was absolutely essential to Russian industry. It constituted at least 20% of all capital invested before the 1890s and then began to expand even further. France, Germany and even Britain developed wide interests in Russian Industry. 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