A well documented case study Subject has a diagnosis of Alcohol Abuse, Cannabis Abuse, Schizophrenia, Paranoid Type, Schizotypal Personality Disorder, Borderline Personality Disorder

A well documented case study Subject has a diagnosis of Alcohol Abuse, Cannabis Abuse, Schizophrenia, Paranoid Type, Schizotypal Personality Disorder, Borderline Personality Disorder Subject Name: Doe, JaneJane Doe is a stated twenty two year old female. She has a history of reoccurring problems on the work site and at home. Most recently, Jane experienced a "psychotic" episode at work and was hospitalized for two weeks during which time she received treatment geared at stabilization of the acute episode. Little is known about Jane?s family history and she has had no prior hospitalizations. Information available comes from her current therapist, hospital reports, and coworkers. Jane also has presented some information though the credibility of her reports is questionable.Physical PresentationThe client I am presented with is a woman who looks obviously much younger than her stated age. She is estimated as being within the above average range of intelligence. Her attire was extremely provocative and she was heavily made-up. She was demonstrating childlike mannerisms and speech. Ms. Doe carried only a large backpack that she described as her "safe".This flow diagra m illustrates the development of B...She reports carrying all her important papers and items with her at all times "in case someone needs to know something about me". Her speech was extremely rapid and slightly pressured. She constantly fidgeted in the chair, dominating the conversation with drawn out explanations of her own history, behaviors, and problems.Cognitive PresentationThought processes were organized and non-delusional with some bizarre paranoid and compulsive features. She did not appear to be experiencing the effects of any substances at the time of this interview. Ms. Doe admitted to frequent use of alcohol and marijuana, which she uses to make herself "feel better, and forget about things" but denies dependency to either substance.Emotional PresentationClient?s mood at the time of this observation was somewhat elevated and anxious. She admitted to a history of attempted suicides and violent episodes but denied current suicidal ideation.

Audience in Rhetoric and Composition

Audience in Rhetoric and Composition In rhetoric and composition, audience  (from the Latin- audire: hear),  refers to the listeners or spectators at a speech or performance, or the intended readership for a piece of writing. James Porter notes that audience has been an important concern of Rhetoric since the fifth century B.C.E., and the injunction to consider audience is one of the oldest and most common suggestions to writers and speakers (Encyclopedia of Rhetoric and Composition, 1996). Examples and Observations Your readers, those people you are trying to reach with your writing, constitute your audience. The relationship between your audiences needs- based on its knowledge and level of expertise- and your own selection and presentation of evidence is important. Much of what you say and how you say it depends on whether your audience is a group of experts or a more general audience consisting of diverse people interested in your topic.Even the way you organize your writing and the amount of details you include- the terms you define, the amount of context you provide, the level of your explanations- depends in part on what your audience needs to know.(R. DiYanni and P. C. Hoy II, Scribners Handbook for Writers. Allyn, 2001) Knowing Your Audience Knowing your audience means understanding what it is that they want to know, what they are interested in, whether they agree with or oppose your central arguments, and whether they are likely to find your subject matter useful. You also need to keep in mind the diversity of the audience- some of them might want knowledge while others want to be entertained.(David E. Gray, Doing Research in the Real World. SAGE, 2009)In short, knowing your audience increases your ability to accomplish your purpose for writing.(George Eppley and Anita Dixon Eppley, Building Bridges to Academic Writing. McGraw-Hill, 1996)Writing a book is a solitary experience. I would hide from my own family in a tiny room next to our washer/dryer and type. To keep the writing from being too stiff, I tried to imagine I was having a conversation with a friend.(Tina Fey, Bossypants. Little, Brown, 2011)Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesnt exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person- a real person you know, or an imagined person and write to that one.(John Steinbeck, interviewed by Nathaniel Benchley. The Paris Review, Fall 1969) How to Increase Your Awareness of Audience You can increase your awareness of your  audience  by asking yourself a few questions before you begin to write: Who are to be your readers?What is their age level? background? education?Where do they live?What are their beliefs and attitudes?What interests them?What, if anything, sets them apart from other people?How familiar are they with your subject? ​(X.J.  Kennedy, et al.,  The Bedford Reader, 1997) Five Types of Audience We can distinguish five types of address in the process of hierarchical appeals. These are determined by the kinds of audiences we must court. First, there is the general public (They); second, there are community guardians (We); third, others significant to us as friends and confidants with whom we talk intimately (You which internalized becomes Me); fourth, the self we address inwardly in soliloquy (the I talking to its me); and fifth,  ideal audiences whom we address as ultimate sources of social order.(Hugh Dalziel Duncan, Communication and Social Order. Oxford University Press, 1968) Real and Implied Audiences The meanings of audience...tend to diverge in two general directions: one toward actual people external to a text, the audience whom the writer must accommodate; the other toward the text itself and the audience implied there, a set of suggested or evoked attitudes, interests, reactions, [and] conditions of knowledge which may or may not fit with the qualities of actual readers or listeners.(Douglas B. Park, The Meaning of Audience. College English, 44, 1982) A Mask for the Audience [R]hetorical situations involve imagined, fictionalized, constructed versions of the author and the audience. The authors create a narrator or speaker for their texts, sometimes called the persona- literally the mask of the authors, the faces they put forward to their audiences. But modern rhetoric suggests that the author makes a mask for the audience as well. Both Wayne Booth and Walter Ong have suggested that the authors audience is always a fiction. And Edwin Black refers to the rhetorical concept of audience as the second persona. Reader-response theory speaks of implied and ideal audiences. The point is that the author has already begun to craft the appeal as the audience is envisaged and assigned to a position...The success of the rhetoric  depends partly upon whether members of the audience are willing to accept the mask offered to them.(M. Jimmie Killingsworth, Appeals in Modern Rhetoric: An Ordinary-Language Approach. Southern Illinois University Press, 2005) Audience in the Digital Age Developments in computer-mediated communication- or the use of various forms of computer technology for writing, storing, and distributing electronic texts- raise new audience issues...As a writing tool, the computer influences the consciousness and practice of both writers and readers and changes how writers produce documents and how readers read them...Studies in hypertext and hypermedia point out how in these media readers contribute actively to textual construction in making their own navigation decisions. In the realm of interactive hypertext, the unitary notions of text and author are further eroded, as is any notion of the audience as a passive receiver.(James E. Porter, Audience. Encyclopedia of Rhetoric and Composition: Communication from Ancient Times to the Information Age, ed. by Theresa Enos. Routledge, 1996)

Aggregate demand and its components Essay Example | Topics and Well Written Essays - 1250 words

Aggregate demand and its components - Essay Example This essay is an attempt to figure out the constituents of aggregate demand and how they interact to determine the national income. The main focus of this essay is Keynesian economics and how aggregate demand is determined in Keynesian economics. A basis proposition of Keynesian theory is that the equilibrium level of income and output depends on the economy’s aggregate spending for output. If aggregate spending is excessive, it results in inflation. My goal in this essay is to figure out how national income is determined through aggregate demand and what is the impact of aggregate demand on other major macro economic variables. Introduction In national income determination, aggregate demand plays a vital role. The first major objective of any economy is to increase and sustain its national income, an analysis of aggregate demand is very important. By controlling the aggregate demand, you can control the major economic variables. Aggregate demand is the total demand in an econ omy for all the goods and services produced. It consists of : Consumption expenditure, Investment expenditure Government expenditure Net export Aggregate demand = C+ I+ G+ (X-M) The following sections analysis each of these variables in detail: Consumption Expenditure Consumption expenditure depends on the real income of the house hold. An increase in the real income of the household leads to an increase in the consumption expenditure and a reduction in the real income of the household results in a reduction in consumption expenditure. ... tion expenditure, Keynes gave priority to consumption function which is a mathematical function showing the relationship between consumption expenditure and income. As income increases, people set aside a portion of their income for their future needs. In other words, as income increases, savings also increase. Even though the consumption increases as the income increase, the rate of increase is less. But, as the income increases, the savings increase at an increasing rate. It means, the individual set aside a larger portion of his income for savings and a smaller portion of consumption. Keynes considered consumption function as constant in the short term. The change in consumption is always greater than zero and less than one. It means, whenever there is a change in income, people won’t spent the whole amount on consumption. Investment Expenditure Keynes gave more importance to investment demand than consumption demand. The investment demand depends on two things: 1) Marginal efficiency of capital 2) Rate of interest Out of these two, rate of interest is usually stable in the short run (changes based on the policy of the central bank). So the investment demand depends largely on marginal efficiency of capital. The marginal efficiency of capital means the expected rate of profit that the investor hopes to make from the investment in capital assets. The marginal efficiency of capital depends up on the replacement cost of capital goods and profit expectations of investors. As there is no replacement in the short run, the investment in short run mainly depends on profit expectations. To increase national income and employment, government should take those measures which increase investment. So, the investment demand depends on the marginal efficiency of capital and

Ss310 unit 8 Research Paper Example | Topics and Well Written Essays - 500 words

Ss310 unit 8 - Research Paper Example hat grew out of the Great Society initiative can most succinctly be concentrated to those dealing with poverty and the level of racial equality within the United States. As such, it is without a doubt that the level of racial equality since Johnson’s time has improved greatly. This of course does not mean that ours is a society without any racial conflict; however, great strides have been made to include the use and application of affirmative and a host of others. With respect to poverty and its representation within the American society, the same cannot be said. If one measures the overall level of poverty that existed during the Johnson administration as compared to the overall level of poverty for each proceeding decade, the trend is saddening. This is due to a host of economic factors and cannot ultimately be attributed to the government’s failure or success in implementation of the Great Society; however, it is indicative of the level of success that such a program has experienced. As such, it is the opinion of this student that taken as an aggregate, the overall success of the Great Society would be a solid C to C-. This is due to the fact that although great strides have been made with regards to racial equality as a function of government programs, directives, and legislation, the level of poverty itself has not shrunk and in many ways has grown to encompass an even larger segment of American society. With regards to the level of faith that this student has with regards to whether Social Security and/or Medicaid will be available during my entire lifetime, the answer to this question is that I have little if any faith that these programs will be there for the entirety of my life. The reason for this is the level of short-sightedness with which successive Congresses and presidents have dealt with this issue. Moreover, as each successive administration promises to ensure that these programs continue to exist well into the future, the fact of the

The issues included in uncovering the historical Patrick Essay Example for Free

The issues included in uncovering the historical Patrick Essay When explaining the issues involved in uncovering the historical background, it is a most difficult task. This is for a number of reasons, but the main reason would be the lack of historical information in Patricks writings. Patrick felt dates were unimportant, and so didnt include many of them in his writings. This means that his writings are a lot more useful for getting an insight into his thoughts and feelings, for hearing Patricks spiritual journey in his own words, and hearing about the difficulties he faced in his mission, and how he responded to them. However, whenever it comes down to historical background, key dates, or geographical information, Patricks writings arent as useful as would be hoped, and therefore a lot of scholars draw their own conclusions, which we must take into account when trying to make our own. Kenney says that when we search for historical facts within Patricks writings, we are faced with an exasperating incoherence, which leaves the meaning constantly in doubt and suggests that Patrick may actually be a much more obscure character than we would like to admit. Sà ¯Ã‚ ¿Ã‚ ½an MacAirt refers to the fifth century as the lost century, because of the absence of any historical information. We are still in the era of pre-history, which the exception of Patricks writings, and Prospers reference to the arrival of Palladius. Within these two documents, which are of the utmost importance, there are only two place names given to us, and no dates, so it is very hard to gather historical fact. ORahilly rightly says of humble Patrick the last thing that the saint could have imagined, would be that hundreds of years later, the document would be scrutinised again and again with a view to gleaning biographical details of the writers life. The big problem is that there is a two-hundred year gap between the time Patrick actually lived, and when he was first written about, so this leaves plenty of room for false information or inaccuracy. In Patricks Confessio, Patrick tells us of his birth place, Bannaven Taburniae, but he does not tell us where it is actually located. There have been many unsuccessful attempts to agree on the location of the birth of Patrick; however there has been an agreement on three basic points that must be taken into account when trying to determine the location. The first of these is that it would have to be in the West of Britain. This is to facilitate easy access to the Irish raiders. At a young age, Patrick was taken captive, and taken to Ireland, so it Is important to consider how realistic suggestions such as Gaul where, in that were the Irish raiders really going to travel all the way to Gaul and back, without being caught? Charles Thomas adds to this point, by suggesting that it would be opposite the place of Patricks captivity in Ireland. The next important criterion is Patricks sense of Roman Identity. Patrick has a very strong sense of Roman Identity, so it is fair to say that his birth place would need to be a strongly Romanised part of Britain. Baring this in mind, Bannavem Taburniae would have to be south of Hadrians Wall. And the last of the three criteria, is that Patrick must have been living near a town with a civil administration centre. This is because Patricks father Calpurnius was a collector of taxes. Bearing these in mind, there have been different suggestions put forward to the location of Bannavem Taburniae. In the seventh century, Muirchà ¯Ã‚ ¿Ã‚ ½ tells us that Bannavem Taburniae was identified as ventre. Although that does not directly help us with our identification, Bieler did find it useful when reconstructing the name as Bannaventa Taburniae. If this is correct, there was a small roman settlement in Northamptonshire. The name of this settlement was then taken and given to a place outside Daventry. However, this suggestion fails to meet one of the most important of the criteria- this area would not be very accessible to Irish raiders, as it is in the midlands. Charles Thomas believes that the only place to fulfil all three criteria would be the North West of Britain. He concludes that the most likely location is Carlisle, which entirely outweighs that of Daventry, Dumbarton or elsewhere. It is also far enough North to explain Patricks poor use of Latin. Dark warns us that any attempt to locate Bannavem Taburniae is based on assumptions, and cannot be taken as facts; however he believes the only place we can safely say for definite suffered from frequent raids by the Irish during the fifth and sixth century were the areas of Cotswolds and Dorset. There has also been a great deal of debate in regards to the location of Silva Foclutti (the wood of Foclut). It arises in Patricks narration of the call, when he says As I read the beginning of the letter, I seem to hear the voice of those who were by the wood of Foclut which is near the western sea, and they cried as with one voice, Holy Boy, we are asking you to come and walk among us again. Bury ORahilly and Hanson assume that this is referring to the place of Patricks captivity, and Mohrmann agrees, saying interpreting Patricks words seems to suggest that they are from the mouth of people from a part of the country that Patrick seems to have known from his captivity.Some scholars suggest that Patrick is speaking metaphorically here in that even at the furthermost point of Ireland; the people were calling to him. Bieler on the other hand believes that it could perhaps be a place that Patrick had heard of, but never been to, as he believed that Patricks call was from the Irish in general, and not from a specific area. There has been a great deal of difficulty in reconciling the two suggested locations of Slemish and Mayo, which are both traditionally held as the place of Patricks captivity. Tà ¯Ã‚ ¿Ã‚ ½rechà ¯Ã‚ ¿Ã‚ ½n himself was from that area. Others however believe that as it is the earliest identification we have, we should accept it as genuine. Patrick does give us a clue in his Confessio to the location, when he says it was near the western sea. Hanson believes that Patrick does give us further clues throughout his writings, such as when he tells us that he had to travel to a ship that was perhaps two hundred miles away. If we are to accept that, he was returning to Britain, perhaps he had to make a journey from the North coast of Mayo, to the coast of Wicklow or Wexford, diagonally across Ireland. There is also a long known tradition of Patrick tending the flocks as a boy on Mount Slemish. Hanson argues however that this does not fit the evidence of the escape story, as an escape from here would have involved only a thirty mile walk, rather than the two hundred Patrick mentions. Hanson argues that we must accept the plain evidence of his own words, and place his captivity in County Mayo, near the border with County Sligo. Bury ORahilly and Hanson all reject the location as being Slemish, however, Slemish is a mountainous area, while the area suggested around Killala is plain. Philbin and Concannon both suggest a compromise in that both localities can be accepted because Patrick changed master. We cannot be certain of the place of his captivity, and although we shouldnt accept something purely based on the fact its tradition, we also cannot dismiss a longstanding tradition In his writings, Patrick also mentions Gaul, and a strong desire to study there. This has led to some historians assuming he spent a significant portion of his life there, most likely undergoing clerical training. Patrick says he wishes to visit Gaul to see the Brethen, which may have been a desire to visit friends he made during his training. However, Binchy believes that this was merely a desire to visit the Holy men of God. Muirchà ¯Ã‚ ¿Ã‚ ½ wrote in the seventh century, that Patrick stayed in Gaul for some thirty years, but ORahilly argued against this, saying that he got this account confused with Palladius training and ordination. The unresolved debate regarding Patrick and Gaul has led many to believe that some of the details of the life of the historical Patrick can never be resolved, and are forever lost to the historian. Others argue that the most important part of Patrick, such as his personality shall be preserved for eternity, in his own writings. There is so little historical information about Patrick that there is even conflict regarding the dating of Patrick, even his death. Charles Thomas believes that Patrick wrote his letter to Coroticus at some time between 465-475, and that the Confessio was written sometime after 480. He says that the annalistic dates from his death cluster around the early 490s may reflect with some reality, the tradition that he dies before the end of the century. In 1942, Thomas ORahilly suggested a later dating for Patricks mission, still within the fifth century. He took the evidence from the fifth and sixth century annals into account, and concluded that Patrick arrived in Ireland in 461, and died in 492/3. In conclusion, although it is very difficult to determine historical fact in regard to Patrick, if we focus on hints within his letters, scholarly opinion, and what he says himself, we can come up with some possible dates and locations for Patricks birth, mission, and death, and this will hopefully in time become more conclusive.

The Nature of the Creutzfeldt-Jakob Disease Essay -- Exploratory Essay

The Nature of the Creutzfeldt-Jakob Disease Dementia is traditionally considered to be one of the possible results of aging. Its effects are heartbreaking and tremendously exhausting for the patient as well as their family and friends. There are many factors to consider. What would be the best treatment plan for my loved one? Who would care for them? These are all very difficult decisions that impact the patient and family for years to come. But what if you only had a few months to make these decisions? What if all your loved one had was a few very short months before they were gone? In Creutzfeldt-Jakob Disease (CJD), the situation is just that. With no known cause or cure, CJD takes the patient and family completely by surprise. Time is precious when you see new changes arising day after day in areas such as movement, speech and cognition. How could you make them as comfortable as posssible? What could have caused these sudden changes? What treatment options do you have in such a short period of tim e? Most importantly will my loved one be able to express their needs to me? Creutzfeldt-Jakob is considered to be a transmissible dementia or transmissible spongiform encephalopathy, which means that the spread of the disease is similar to that of viruses. Further studies have shown that instead of a virus, Creutzfeldt-Jakob Disease or CJD, is considered to be caused by a proteinaceous infection agent or "prion" (Asher et al, 2000) that attacks nerve cells causing vacuolization, the formation of holes in the cell, and eventually cell death. To date there are no effective screenin... ...ore to be learned. The important factor during the course of CJD is the patient. We as Speech Pathologists must ask ourselves a few questions. Was the best interests of the patient met for as long as they could have been? Was the family aware of any and all support and community groups available to them during this difficult time? If we as SLP's can answer these questions with a yes, then we have done our jobs indeed. To those who involoved with CJD, thank you. Because of the researchers, therapists, and families of CJD patients, we have the knowledge we have today. This knowledge will continue to grow, providing tests, screening measures and maybe some day a cure. To live with the hope that one day another person will not have to endure what sorrows you have can be a great motivation.

Formalist Literary Theory

Written Report: Russian Formalism and New Criticism Formalism is a literary theory that was spearheaded by two main bodies – Russian Formalists and New Critics – which focused on understanding the literary text through the text itself. Its principles posed a great shift from the traditional approaches during its time, and so it sparked a movement in the field of literary studies that would adopt new perspectives and ideas.While Formalism received much criticism due to its dubious methods of the closed reading of a text, its lack of a solid theory of language, and so on, it was also able to establish the notion of literary study being a partly scientific, objective process, and its framework would serve as a starting point and a great influence for future ideas and theorists to come. Old Criticism. The form that literary studies had taken during the second half of the nineteenth century, positivism, was largely based on the genetic approach: critics concentrated on uncov ering the sources and genesis of particular works.The role of biography and history reduced the importance of literature itself in literary scholarship. Study of literature had become a loose aggregate of philosophy, history, psychology, sociology, etc. As Jakobson said, historians of literature had become practitioners of what he called ‘homespun’ disciplines based on psychology, politics, and philosophy, where literature itself could only offer secondary and defective evidence. Emergence of Russian Formalism Formalist theory emerged from the meetings, discussions, and publications of the Opojaz (The Society for the Study of Poetic Language) and the Moscow Linguistic Circle.They were dissatisfied with the ways of studying literature in the academe. Opojaz was based on St. Petersburg, dates back to 1914, and dissolved in 1923. Its nucleus was formed by Sklovsky, Eikhenbaum, Brik, Tynyanov. MLC came to life in 1915. Its best known member is Roman Jakobson. When he left t hem in 1920 for Prague, they lost their most talented member, and ceased to be a significant formalist center. Some of the figures who influenced Russian Formalism were: Andrei Bely and his work, Symbolism Said that, â€Å"our knowledge of reality is never direct†¦ we do not know reality except approximately through symbols. * Literary criticism has to be preoccupied with the specific forms of artistic creativity. * What is joined in the symbol in a humanly inseparable way is form and content. * Literature is both spatial and temporal. Other arts like sculpture or music realize themselves within only one of these forms. * Reality appears to be different from that seen in a work of art. It is â€Å"deformed†. Occurs by certain specific constructive forms. These are to be investigated. Immersed in the mystery that the mosaic of art covers, the critic lose their view of their proper task. They search for something that is beyond it before describing it with any accuracy. A . A. Potebnja * Literary activity is cognitive and tightly connected with its medium – language. * Poetry is a form of thinking in images, the ‘shape’ of which is dependent on the linguistic features of a given language. * Poetic image need not mean a static picture of something, it can also mean action. Not just spatial, but temporal too. * Images play a synthetic role in our thinking.Poetry strives to reduce the wide variety of complex phenomena to a small number of images. * Imagery is not basic aspect of poetic craft – but also sound. Images are not the only means to convey meaning in a poetic work. Emergence of New Criticism The prominent figures in the movement for the New Criticism were John Crowe Ransom, Allen Tate, Robert Penn Warren, and Cleanth Brooks. They initiated a professionalization of American literary studies – one way of spreading the ideas of New Criticism was by publishing New Criticism based textbooks to be used in universitie s.These individuals saw the contemporary world as driven by desire in profit and greed, as well as â€Å"triumphs† in modern science, threatening to destroy tradition and everything that was not immediately useful – including poetry. Poetry is a means of resisting commodification and superficiality. Some of the figures who influenced New Criticism were: T. E. Hulme * â€Å"Romanticism and Classicism†. Romantic view: man is intrinsically good, spoilt by circumstances. Classical view: man is intrinsically limited, but disciplined by order and tradition to something fairly decent.Romantics are regarded as a well of possibilities. Classicals are regarded as finite and fixed. * Classical view leads to poetry. Romantic one to uncontrolled flights of emotions and metaphors. * New poets will disclaim the thought that poetry is a vehicle for expressing emotions, but rather, it provides a precise description of the world around us. T. S. Eliot * Those who treat literature as a product of a historical moment or a philosophical foundation should be called historians and philosophers. * Rejected vague emotionalism and verbal profusion of Romantic style.Critic should be preoccupied with literature itself, its accurate usage of words, rather than the phenomena flanking it. * Does not deny that emotions enter poetry, but rejects the directness of the overflow. Disliked sentimental poetry and respected tradition. * Highest poetry should synthesize thought and feeling, argument and image, the rational and the non-rational. Literariness. The first question for the Formalist was not how to study literature, but what the subject matter of literary study actually is. To get specificity for literary study, it entails the exclusion of all mimetic and expressive definitions of literature.Because in regarding the literary text as an instrument of expression (a point of view which will lead us to the personality of author, leading to biography or psychology) or repr esentation (we will see the it as a picture of society, leading to history, politics, or sociology), we overlook the specificity of its literary qualities. What makes a text literary? This was a concern for the Formalists. What distinguishes literature from, say, a news article or a travel book? Simply put by Eikhenbaum, literature constitutes differences from other orders of facts.The object of study of literary study is not an object, but a set of differences, and the science will consist of the study of those specifics which distinguish it from any other material. Literary studies analyze the differences implied in the opposition between practical and poetic language. The differential element of poetry, gives it its specificity. We owe this difference to the process of defamiliarization. According to Sklovsky, art defamiliarizes things that have become habitual or automatic. Take for example the act of walking. Walking is a daily activity. We have ceased to be aware of it.But whe n we dance, the automatically perceived gestures of walking are perceived anew. â€Å"A dance is a walk which is felt. † In the same way, everyday use of language is something that is natural or unconscious. But language in poetry is more or less the same language we know, but this time, we have become more aware of its presence – it is a new sensation to be felt, just like the dance. Practical language constitutes the main automatized elements made strange by art. Everyday language is made strange in poetry, and in particular, the physical sounds of words themselves become unusually prominent.Poetic speech is formed speech. Poetic speech is not the specialness of vocabulary (e. g. just because a poem uses an unfamiliar word like â€Å"lo! † does not mean that it is poetic speech), but because its formal devices – like rhyme and rhythm – act on ordinary words to renew our perception of them, as well as their sound texture. Because of that, defamili arization is found almost everywhere form is found. The poetic speech that one would find in a poem is a deliberate act of creating a form that is based on defamiliarized language. As Jakobson described it, poetry is organized violence committed on ordinary speech.It roughens up and impedes pronunciation of ordinary speech – syntax, rhythm, semantics. Devices and Function. Poetry makes use of literary devices – hyperbole, parallelism, repetition, iambic pentameter, and so on. That poses the question: can’t devices lose their function? Because the literary devices themselves were subject to automatization of perception since they are in literature now, they lose their distinction as literary and non-literary. Literariness then is a feature not just of form as impeded speech, but more importantly, of impeded form.So the defamiliarization will not wholly depend on the existence of devices, but their function in the work they appear in. For example, foregrounding gi ves us a dominant factor. A work will contain passive or automatized elements that are subservient/subordinate to the dominant element. So what would interest a Formalist, is how the elements are interrelated. How do these automatized elements give way for the foregrounded element, or perhaps, what makes the foregrounded element stand out; the device could have been just commonplace or uninteresting, so how does it achieve its dominant status in relation to other devices?In other words, the active components of a work are now differentiated not only from the practical language, but from other formal components which have become automatized. Fabula and Syuzhet. However, the method for analysis and the literariness of poetry cannot be applied exactly for prose narrative as well. They have different constructions. The Formalist study of narrative was based on a distinction between the events and construction of a prose narrative – Fabula and Syuzhet. Fabula (plot) refers to the chronological sequence of events. Syuzhet refers to the order and manner in which they are actually presented in the narrative.Syuzhet creates the defamiliarizing effect. We could have a crime story and it could be told in its chronological sequence: there was a crime, the police went to investigate, they had to seek for the help of a world-famous detective, and he solves the crime, the end. From point A, it ends to point D. That is the Fabula. Manipulation of the Syuzhet though, allows it to be told in a different, more defamiliarized way. We could start with the ending wherein the crime was already solved, or we can start in the middle of the sequence of events wherein the detective receives a request for his assistance.We can even tell the story from the point of view of the killer. All of it makes for a new way of telling a common plot. Close Reading. When we do a reading of a text, we ought to focus on the text of a work; exclude the author’s intention, historical and cu ltural contexts. The text was an object of literature complete in itself. It is an autonomous entity, and therefore should be treated as one that is not dependent on its creator or external influences. If the goal of reading a text is to get its meaning, then we should not look further from the text.Form and meaning are intimately connected and should not be analyzed separately. Good literature transcends the time of the author. Who cares if X was in love with lady Y? We should disregard the details of such, and focus on how the poem focuses on scorned love. Emotion and Intention. William Wimsatt and Monroe Beardsley’s essay, The Intentional Fallacy, talks about the mistake of attempting to understand the author’s intentions about his work since it violates the autonomy of the work. The meaning of a work should be contained solely within itself. The Affective Fallacy talks about the mistake of nterpreting a text through the emotions of the reader. A text must be unders tood not relatively, but its meaning must be inherent. Paradox. Poetry should carry the element of heterogeneity, of negating their own affirmations. They are better equipped for whatever treatment they will undergo. Homogeneous poetry cannot bear â€Å"ironic contemplation†. It is irony and ambiguity that make for good poetry. Poetry is paradoxical in nature. Life is complex. The force of the paradox holds a poem together, it builds unity and coherence within the text and the task of the critic is to lay bare these paradoxes and show how they work.Poetry says something ‘for real’ that is not equal to a logical statement or to an emotional attitude. It is not just a psychological stimulus, as Richard said. Poetry obliquely tells us something about the nature of reality. All of its meaning is linguistic, but not all that is pertinent to meaning can be explained by linguistic analysis. Literary History. The dominant devices in a particular genre and/or period contr ibute to the evolution of literature. When they become familiar, new works will pick them up to make them perceptible again.Through this, genre evolves. If so, then literary language is not a planned development of tradition, but a colossal displacement of traditions. Legacy Formalism, because of the specificity it wished to explore, thus creating the concept of literariness, was a productive and adaptable framework. Formalism anticipated and influenced some important ideas in 20th century literary theory – central position of language, devaluation of biographical element, importance of norm deviation, etc. will be featured by future theorists from Jakobson to Barthes. ShortcomingsThey have no developed theory of language, especially since Formalism was made in a pre-Saussurean view of language. Marxist critics argue against the absence of any social dimension in Formalism’s conception of literature. They claimed that use of language is social and ideological. Referenc es: Bertens, Hans. Literary Theory: The Basics. Abingdon, Oxon: Routledge, 2008. Jefferson, Ann & Robey, David. Modern Literary Theory: A Comparative Introduction. Totowa, N. J. : Barnes and Noble, 1984. Thompson, Ewa. Russian Formalism and Anglo-American New Criticism: A Comparative Study. The Hague: Mouton, 1971.