Qué pasa al quedarse en EE.UU. más tiempo que permitido

Los turistas extranjeros pueden visitar Estados Unidos con una visa en và ¡lida, o incluso, sin visado si pertenecen a un grupo selecto de paà ­ses que pertenecen al Programa de Exencià ³n de Visados, pero deben salir del paà ­s antes de que expire el tiempo autorizado para permanecer en el mismo. Los tiempos que se puede quedar un turista depende del tipo de documento que se utilice para ingresar y, si se ingresa con visa, incluso de las condiciones de su titular. En el documento que se conoce como I-94 registro de entrada y salida, puede verificarse exactamente por cuà ¡nto tiempo se està ¡ autorizado a permanecer en EE.UU. Ahora es un documento digital que puede consultarse en internet en la pà ¡gina oficial de la CBP. Si se ingresà ³ sin visa, el tiempo mà ¡ximo de permanencia es de 90 dà ­as. Con independencia de si se ingresà ³ a EE.UU. con visa de turista o sin ella por ser de un paà ­s del Programa de Exencià ³n de visados, todos sufren las mismas consecuencias si se permanecen en el paà ­s mà ¡s allà ¡ del tiempo autorizado. En este artà ­culo se explican cuà ¡les son esas consecuencias y por quà © se debe evitar intentar hacer trampa con el tiempo de permanencia. Consecuencias de quedarse en EE.UU. mà ¡s tiempo del permitido Desde el punto de vista migratorio los turistas que exceden el nà ºmero de dà ­as de estancia permitida se convierten en indocumentados. A partir de ahà ­ si entran en contacto con una autoridad migratoria pueden ser expulsados inmediatamente o deportados, dependiendo del caso de cada uno. Aunque existen posibilidades de legalizarse (regularizar la situacià ³n), en realidad tampoco hay tantas y los requisitos son estrictos. Por esta razà ³n, lo mejor siempre es salir del paà ­s dentro de plazo o pedir con tiempo una extensià ³n o un cambio de visa. En este punto destacar que los turistas que entraron sin visado no pueden hacer ni una cosa ni otra, para ellos sà ³lo cabe la opcià ³n de salir de Estados Unidos. Ademà ¡s, deben hacerlo dentro de los 90 dà ­as siguientes al dà ­a de ingreso. Por ello, antes de decidir quedar en Estados Unidos en situacià ³n de indocumentado, consultar con un abogado de inmigracià ³n y entender muy bien todos los problemas que pueden surgir.   En casos muy excepcionales, en los que se permanece en Estados Unidos mà ¡s tiempo que el autorizado en la visa es posible  solicitar y obtener una restauracià ³n de estatus. Esto es lo que se conoce como Nunc Pro Tunc para casos en los que no se solicità ³ a tiempo la extensià ³n o un cambio de visa. Otra consecuencia de quedarse mà ¡s tiempo del permitido es que la visa de turista se cancela. Tener en consideracià ³n que el titular no es notificado de este hecho. Se entera cuando intenta ingresar a EEUU en el siguiente viaje y no se le permite. En el caso de haber ingresado a EE.UU. sin visa, se pierde ese derecho. A partir de ese momento es necesario pedir al consulado una visa de turista si se quiere regresar a Estados Unidos y la aprobacià ³n de la misma no està ¡ asegurada. Ademà ¡s, tanto si se entrà ³ con visa o sin ella, haber estado ilegalmente es causa de inadmisibilidad y si se ha estado mà ¡s de 180 dà ­as ilegalmente en el paà ­s y despuà ©s se sale de Estados Unidos, aplica el castigo de los tres y de los diez aà ±os, con algunas pocas excepciones. Es cierto que para solicitar una visa no inmigrante, como es la de turista, estudiante, intercambio, inversià ³n, etc., es posible solicitar un perdà ³n por la penalidad de los 3 o de los 10 aà ±os, pero no se aprueba frecuentemente. E incluso en los casos en los que ya ha transcurrido el tiempo del castigo puede resultar difà ­cil que el oficial consular apruebe una nueva visa puesto que se plantà ³ ya la duda sobre las intenciones del solicitante.   Eso no quiere decir que resulte imposible obtenerla. Pero sà ­ que se va a mirar con gran detenimiento la aplicacià ³n. Error grave a evitar El sistema informà ¡tico de las aduanas de EEUU es, en estos momentos, muy completo. No es como antes. Todas las personas que dan por perdido el pasaporte, piden a sus embajadas unos salvoconductos y una vez que està ¡n de regreso en sus paà ­ses solicitan un pasaporte nuevo y la visa americana està ¡n cometiendo un error.   Eso podà ­a pasar en algunos casos hace aà ±os. Ahora ya no. Queda registrado que no se salià ³ a tiempo. Es este punto es de interà ©s conocer  quà © informacià ³n tienen en el control migratorio de la aduana americana. Los oficiales de migracià ³n, control de paso migratorio y de los consulados de Estados Unidos no tiene que probar nada. Es la persona interesada la que tiene que demostrar, en caso de duda, que efectivamente se salià ³ a tiempo. Al oficial consular o al inspector de aduanas les basta con tener la sospecha para negar la visa o la entrada. Puntos clave a tener en cuenta Quedarse mà ¡s tiempo del permitido conlleva convertirse en indocumentadoLa visa se cancela o se pierde el derecho a viajar sin visa como turistaPuede aplicar el castigo de los 3 y de los 10 aà ±os. Este artà ­culo tienen una finalidad meramente informativa.

Global Warming And Its Effects On The Earth - 927 Words

Global-Warming Mother Earth is burning as we speak; humanity has killed our precious Earth. Global-warming is a vicious killer that was created by the humans on this Earth, and there s no way to cure it. We,as humans, have the power to cleanse the Earth, but instead we destroy it. Heat is absorded by carbon dixide and greenhouse gases. A greenhouse gas absorb thermal radiation emmited by the Earth s surface. As the sun s energy reaches the Earth’s surface some of it goes back out into space, some is absorbed by the atmosphere, and the rest is emmited by the earth and warms the Earth. This is what we call the greenhouse effect which is the main reason we have global warming. Human activities disturb the balance of the Earth causing things not to function the way they are supposed to. The greenhouse effect that is normally in motion is trapping in more heat by the day. The imbalanced effect of the greenhouse makes hotspots around the world. To a lesser extent, the clearing of land for agriculture, industry, and other human activities have increased concentrations of greenhouse gas (Global Climate Change: Causes). Also with more heat the more glaciers in colder places melt making sea levels higher creating more danger. A stronger greenhouse effect will warm the oceans and partially melt glaciers and other ice, increasing sea level. Ocean water also will expand if it warms, contributing further to sea level rise (Global Climate Change: Causes). The oceans takeShow MoreRelatedThe Effects Of Global Warming On Earth1577 Words   |  7 PagesTo sustain life on earth, the earth temperature must be maintain at a very delicate figure. But what if the unthinkable happens? What if the earth’s temperature was to increase by a just mere half a degree, maybe a full or even two or three, the effects could be devastating to the environment, to me and to you. Unfortunately we may have the opportunity to see the effects of the earth temperature rising a few degrees in this lifetime. According to scientist, for hundreds of thousands of years, a phenomenonRead MoreThe Effects Of Global Warming On The Earth901 Words   |  4 Pages What is Global Warming? Countless feel as if it is a natural phenomenon that the Earth cycles through. They are terribly mistaken. It is the effect of greenhouse gasses that are emitted by the machines we use today. These gasses are becoming trapped in the earth’s atmosphere, causing the temperature to rise. The effects of global warming are all around us and are becoming more prominent. There are already efforts in place to stop it and programs to â€Å"go green†. This climate change is a serious threa tRead MoreThe Effects Of Global Warming On The Earth992 Words   |  4 Pagesthe Earth. Global warming is a problem that some people choose to ignore. They claim it doesn’t exist. Global warming is real. It is time for people to stop ignoring it and start finding a solution. What is global warming? Global warming is the result of certain gases building up in the atmosphere that block heat from escaping. These gases are causing a temperature rise in the Earth’s atmosphere and causing climate change. The rise in the Earth’s temperature has had many effects on the Earth itselfRead MoreGlobal Warming And Its Effect On Earth1612 Words   |  7 PagesName: Course: Title: Global Warming Introduction For over a hundred years, humans have understood the possibility of atmospheric warming due to anthropogenic carbon dioxide emissions. As early as 1896, Swedish chemist Svante Arrhenius predicted that a doubling of atmospheric carbon dioxide would raise average global temperatures by 4.95 degrees C (9.0 degrees Fahrenheit) (Valente, 1995). 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It i s not hard to believe that global warming affects the earth so negatively by the drastic changeRead MoreThe Effects Of Global Warming On Earth882 Words   |  4 Pages Global warming is an increase in the overall temperature of earth atmosphere. Earth s climate is changing, temperatures are rising, snow and rainfall are shifting, and more extreme climate like heavy rainstorms and high temperatures are already affecting the society and economy. Scientists are confident that many of the observed changes are happening because of the global warming. Warming and climate are changing and increasing every year. The main Cause are by people burning fuels to generateRead MoreThe Effects Of Global Warming On The Earth901 Words   |  4 PagesInconvenient â€Å"by Al Gore. In this video Gore is explaining about how the earth has became hotter than it ever has before. The ten hottest years we have ever had have been in the last fourteen years. According to the video the hottest year was in 2005. From Gore’s viewpoint we as the people are causing global warming by ourselves. Because we are the ones that are causing global warming it is having some major effects on the earth. You have Mt. Kilimanjaro, which over the years has had a lot of snow onRead MoreGlobal Warming And Its Effect On The Earth2122 Words   |  9 PagesWhat is global warming and what is the proof that it exists? The topic of whether global warming is real and what the consequences it may have has been heavily debated for quite some time now. The reason why it has been debated for such an extended amount of time is because there are still unknowns to confirm that global warming is a true threat to the earth. Many people do not believe in global warming because they truly do not know the basic concept of global warming. There are missing pieces to

Postmodernism in Literature Essay Example For Students

Postmodernism in Literature Essay Postmodern literature The term Postmodern literature is used to describe certain tendencies in post-World War II literature. It is both a continuation of the experimentation championed by writers of the modernist period (relying heavily, for example, on fragmentation, paradox, questionable narrators, etc. ) and a reaction against Enlightenment ideas implicit in Modernist literature. Postmodern literature, like postmodernism as a whole, is difficult to define and there is little agreement on the exact characteristics, scope, and importance of postmodern literature. However, unifying features often coincide with Jean-Francois Lyotards concept of the meta-narrative and little narrative, Jacques Derridas concept of play, and Jean Baudrillards simulacra. For example, instead of the modernist quest for meaning in a chaotic world, the postmodern author eschews, often playfully, the possibility of meaning, and the postmodern novel is often a parody of this quest. This distrust of totalizing mechanisms extends even to the author; thus postmodern writers often celebrate chance over craft and employ metafiction to undermine the authors univocal control (the control of only one voice). The distinction between high and low culture is also attacked with the employment of pastiche, the combination of multiple cultural elements including subjects and genres not previously deemed fit for literature. A list of postmodern authors often varies; the following are some names of authors often so classified, most of them belonging to the generation born in the interwar period: William Burroughs (1914-1997) Kurt Vonnegut (1922-2007), John Barth (b. 1930), Donald Barthelme (1931-1989), E. L. Doctorow (b. 1931), Robert Coover (1932), Jerzy Kosinski (1933-1991) Don DeLillo (b. 936), Thomas Pynchon (b. 1937), Ishmael Reed (1938), Kathy Acker (1947-1997), Paul Auster (b. 1947). Significant pre-cursors Postmodernist writers often point to early novels and story collections as inspiration for their experiments with narrative and structure: Don Quixote, 1001 Arabian Nights, The Decameron, and Candide, among many others. In the English language, Laurence Sternes 1759 novel The Life and Opinions of Tristram Shandy, Gentleman, with its heavy emphasis on parody and narrative experimentation, is often cited as an early echo of postmodernism. Other significant examples of 18th century parody include the works of Jonathan Swift and Shamela by Henry Fielding. There were many 19th century examples of attacks on Enlightenment concepts, parody, and playfulness in literature including Lord Byrons satire, especially Don Juan; Thomas Carlyles Sartor Resartus; Alfred Jarrys ribald Ubu parodies and his invention of Pataphysics; Lewis Carrols playful experiments with signification; the work of Isidore Ducasse, Arthur Rimbaud, Oscar Wilde, etc. Playwrights who worked in the late 19th and early 20th century whose thought and work influenced the aesthetic of postmodernism include Swedish dramatist August Strindberg, the Italian author Luigi Pirandello, and the German playwright and theorist Bertolt Brecht. In the 1910s, artists associated with Dadaism celebrated chance, parody, playfulness, and attacked the central role of the artist. Tristan Tzara claimed in How to Make a Dadaist Poem that to create a Dadaist poem one had only to put random words in a hat and pull them out one by one. Another way Dadaism influenced postmodern literature was in the development of collage, specifically collages using elements from advertisement or illustrations from popular novels (the collages of Max Ernst, for example). Artists associated with Surrealism, which developed from Dadaism, continued experimentations with chance and parody while celebrating the flow of the subconscious. Andre Breton, the founder of Surrealism, suggested that automatism and the description of dreams should play a greater role in the creation of literature. He used automatism to create his novel Nadja and used photographs to replace description as a parody of the overly-descriptive novelists he often criticized. Surrealist Rene Magrittes experiments with signification are used as examples by Jacques Derrida and Michel Foucault. Foucault also uses examples from Jorge Luis Borges, an important direct influence on many Postmodernist fiction writers. He is occasionally listed as a Postmodernist though he started writing in the 1920s. The influence of his experiments with metafiction and magical realism was not fully realized until the postmodern period. 2] Comparisons with modernist literature Both modern and postmodern literature represent a break from 19th century realism, in which a story was told from an objective or omniscient point of view. In character development, both modern and postmodern literature explore subjectivism, turning from external reality to examine inner states of consciousness, in many cases drawing on modernist exam ples in the stream of consciousness styles of Virginia Woolf and James Joyce, or explorative poems like The Waste Land by T. S. Eliot. In addition, both modern and postmodern literature explore fragmentariness in narrative- and character-construction. The Waste Land is often cited as a means of distinguishing modern and postmodern literature. The poem is fragmentary and employs pastiche like much postmodern literature, but the speaker in The Waste Land says, these fragments I have shored against my ruins. Modernist literature sees fragmentation and extreme subjectivity as an existential crisis, or Freudian internal conflict, a problem that must be solved, and the artist is often cited as the one to solve it. Postmodernists, however, often demonstrate that this chaos is insurmountable; the artist is impotent, and the only recourse against ruin is to play within the chaos. Playfulness is present in many modernist works (Joyces Finnegans Wake or Virginia Woolfs Orlando, for example) and they may seem very similar to postmodern works, but with postmodernism playfulness becomes central and the actual achievement of order and meaning becomes unlikely. Shift to postmodernism As with all stylistic eras, no definite dates exist for the rise and fall of postmodernisms popularity. 941, the year in which Irish novelist James Joyce and British novelist Virginia Woolf both died, is sometimes used as a rough boundary for postmodernisms start. The prefix post, however, does not necessarily imply a new era. Rather, it could also indicate a reaction against modernism in the wake of the Second World War (with its disrespect for human rights, just confirmed in the Geneva Convention, through the atomic bomb ings of Hiroshima and Nagasaki, the Holocaust, the bombing of Dresden, the fire-bombing of Tokyo, and Japanese American internment). It ould also imply a reaction to significant post-war events: the beginning of the Cold War, the civil rights movement in the United States, postcolonialism (Postcolonial literature), and the rise of the personal computer (Cyberpunk fiction and Hypertext fiction). Some further argue that the beginning of postmodern literature could be marked by significant publications or literary events. For example, some mark the beginning of postmodernism with the first performance of Waiting for Godot in 1953, the first publication of Howl in 1956 or of Naked Lunch in 1959. For others the beginning is marked by moments in critical theory: Jacques Derridas Structure, Sign, and Play lecture in 1966 or as late as Ihab Hassans usage in The Dismemberment of Orpheus in 1971. Post-war developments and transition figures Though Postmodernist literature does not refer to everything written in the postmodern period, several post-war developments in literature (such as the Theatre of the Absurd, the Beat Generation, and Magical Realism) have significant similarities. These developments are occasionally collectively labeled postmodern; more commonly, some key figures (Samuel Beckett, William S. Burroughs, Jorge Luis Borges, Julio Cortazar and Gabriel Garcia Marquez) are cited as significant contributors to the postmodern aesthetic. The work of Jarry, the Surrealists, Antonin Artaud, Luigi Pirandello and so on also influenced the work of playwrights from the Theatre of the Absurd. The term Theatre of the Absurd was coined by Martin Esslin to describe a tendency in theatre in the 1950s; he related it to Albert Camuss concept of the absurd. The plays of the Theatre of the Absurd parallel postmodern fiction in many ways. For example, The Bald Soprano by Eugene Ionesco is essentially a series of cliches taken from a language textbook. One of the most important figures to be categorized as both Absurdist and Postmodern is Samuel Beckett. The work of Samuel Beckett is often seen as marking the shift from modernism to postmodernism in literature. He had close ties with modernism because of his friendship with James Joyce; however, his work helped shape the development of literature away from modernism. Joyce, one of the exemplars of modernism, celebrated the possibility of language; Beckett had a revelation in 1945 that, in order to escape the shadow of Joyce, he must focus on the poverty of language and man as a failure. His later work, likewise, featured characters stuck in inescapable situations attempting impotently to communicate whose only recourse is to play, to make the best of what they have. As Hans-Peter Wagner says, Mostly concerned with what he saw as impossibilities in fiction (identity of characters; reliable consciousness; the reliability of language itself; and the rubrication of literature in genres) Becketts experiments with narrative form and with the disintegration of narration and character in fiction and drama won him the Nobel Prize for Literature in 1969. His works published after 1969 are mostly meta-literary attempts that must be read in light of his own theories and previous works and the attempt to deconstruct literary forms and genres. ] Becketts last text published during his lifetime, Stirrings Still (1988), breaks down the barriers between drama, fiction, and poetry, with texts of the collection being almost entirely composed of echoes and reiterations of his previous work He was definitely one of the fathers of the postmodern movement in fiction which has continued undermining the ideas of logical coherence in narration, formal plot, regular tim e sequence, and psychologically explained characters. The Beat Generation is a name coined by Jack Kerouac for the disaffected youth of America during the materialistic 1950s; Kerouac developed ideas of automatism into what he called spontaneous prose to create a maximalistic, multi-novel epic called the Duluoz Legend in the mold of Marcel Prousts Remembrance of Things Past. Beat Generation is often used more broadly to refer to several groups of post-war American writers from the Black Mountain poets, the New York School, the San Francisco Renaissance, and so on. These writers have occasionally also been referred to as the Postmoderns (see especially references by Charles Olson and the Grove anthologies edited by Donald Allen). Though this is now a less common usage of postmodern, references to these writers as postmodernists still appear and many writers associated with this group (John Ashbery, Richard Brautigan, Gilbert Sorrentino, and so on) appear often on lists of postmodern writers. One writer associated with the Beat Generation who appears most often on lists of postmodern writers is William S. Burroughs. Burroughs published Naked Lunch in Paris in 1959 and n America in 1961; this is considered by some the first truly postmodern novel because it is fragmentary, with no central narrative arc; it employs pastiche to fold in elements from popular genres such as detective fiction and science fiction; its full of parody, paradox, and playfulness; and, according to some accounts, friends Kerouac and Allen Ginsberg edited the book guided by chance. He is also noted, along with Brion Gysin, for the creation of the cut-up technique, a technique (similar to Tzaras Dadaist Poem) in which words and phrases are cut from a newspaper or other publication and rearranged to form a new message. Jackie Robinson 4 EssayIf one reads the book with a particular bias, then he or she is going to be frustrated. This often coincides with the theme of technoculture and hyperreality. For example, in Breakfast of Champions by Kurt Vonnegut, the character Dwayne Hoover becomes violent when hes convinced that everyone else in the world is a robot and he is the only human. Maximalism Dubbed maximalism by some critics, the sprawling canvas and fragmented narrative of such writers as Dave Eggers has generated controversy on the purpose of a novel as narrative and the standards by which it should be judged. The postmodern position is that the style of a novel must be appropriate to what it depicts and represents, and points back to such examples in previous ages as Gargantua by Francois Rabelais and the Odyssey of Homer, which Nancy Felson-Rubin hails as the exemplar of the polytropic audience and its engagement with a work. Many modernist critics, notably B. R. Myers in his polemic A Readers Manifesto, attack the maximalist novel as being disorganized, sterile and filled with language play for its own sake, empty of emotional commitment—and therefore empty of value as a novel. Yet there are counter-examples, such as Pynchons Mason Dixon, or James Chapmans Stet, where postmodern narrative coexists with emotional commitment. Different perspectives John Barth, the postmodernist novelist who talks often about the label postmodern, wrote an influential essay in 1968 called Literature of Exhaustion and in 1979 wrote Literature of Replenishment in order to clarify the earlier essay. Literature of Exhaustion was about the need for a new era in literature after modernism had exhausted itself. In Literature of Replenishment Barth says, My ideal Postmodernist author neither merely repudiates nor merely imitates either his twentieth-century Modernist parents or his nineteenth-century premodernist grandparents. He has the first half of our century under his belt, but not on his back. Without lapsing into moral or artistic simplism, shoddy craftsmanship, Madison Avenue venality, or either false or real naivete, he nevertheless aspires to a fiction more democratic in its appeal than such late-Modernist marvels as Becketts Texts for Nothing The ideal Postmodernist novel will somehow rise above the quarrel between realism and irrealism, formalism and contentism, pure and committed literature, coterie fiction and junk fiction Many of the well-known postmodern novels deal with World War II, one of the most famous of which being Joseph Hellers Catch-22. Heller claimed his novel and many of the other American novels of the time had more to do with the state of the country after the war: The antiwar and anti government feelings in the book belong to the period following World War II: the Korean War, the cold war of the Fifties. A general disintegration of belief took place then, and it affected Catch-22 in that the form of the novel became almost disintegrated. Catch-22 was a collage; if not in structure, then in the ideology of the novel itself Without being aware of it, I was part of a near-movement in fiction. While I was writing Catch-22, J. P. Donleavy was writing The Ginger Man, Jack Kerouac was writing On the Road, Ken Kesey was writing One Flew Over the Cuckoos Nest, Thomas Pynchon was writing V. , and Kurt Vonnegut was writing Cats Cradle. I dont think any one of us even knew any of the others. Certainly I didnt know them. Whatever forces were at work shaping a trend in art were affecting not just me, but all of us. The feelings of helplessness and persecution in Catch-22 are very strong in Pynchon and in Cats Cradle. Novelist and theorist Umberto Eco explains his idea of postmodernism as a kind of double-coding: I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows that he cannot say to her I love you madly, because he knows that she knows (and that she knows he knows) that these words have already been written by Barbara Cartland. Still there is a solution. He can say As Barbara Cartland would put it, I love you madly. At this point, having avoided false innocence, having said clearly it is no longer possible to talk innocently, he will nevertheless say what he wanted to say to the woman: that he loves her in an age of lost innocence. Novelist David Foster Wallace in his essay 1990 essay E Unibus Pluram makes the connection between the rise of postmodernism and the rise of television with its tendency toward self-reference and the ironic juxtaposition of whats seen and whats said. This, he claims, explains the preponderance of pop culture references in postmodern literature: It was in post-atomic America that pop influences on literature became something more than technical. About the time television first gasped and sucked air, mass popular U. S. culture seemed to become High-Art-viable as a collection of symbols and myth. The episcopate of this pop-reference movement were the post-Nabokovian Black Humorists, the Metafictionists and assorted franc-and latinophiles only later comprised by postmodern. The erudite, sardonic fictions of the Black Humorists introduced a generation of new fiction writers who saw themselves as sort of avant-avant-garde, not only cosmopolitan and polyglot but also technologically literate, products of more than just one region, heritage, and theory, and citizens of a culture that said its most important stuff about itself via mass media. In this regard one thinks particularly of the Gaddis of The Recognitions and JR, the Barth of The End of the Road and The Sot-Weed Factor, and the Pynchon of The Crying of Lot 49 Heres Robert Coovers 1966 A Public Burning, in which Eisenhower buggers Nixon on-air, and his 1968 A Political Fable, in which the Cat in the Hat runs for president. Hans-Peter Wagner offers this approach to defining postmodern literature: Postmodernism an be used at least in two ways – firstly, to give a label to the period after 1968 (which would then encompass all forms of fiction, both innovative and traditional), and secondly, to describe the highly experimental literature produced by writers beginning with Lawrence Durrell and John Fowles in the 1960s and reaching to the breathless works of Martin Amis and the Chemical (Scottish) Generation of the fin-de-siecle. In what follows, the term postmodernist is used for experimental authors (especially Durell, Fowles, Carter, Brooke-Rose, Barnes, Ackroyd, and Martin Amis) while post- modern is applied to authors who have been less innovative. Postmodernism (literature), term used to denote a multitude of styles and attitudes which exist partly as a response to high Modernism, and partly as a result of post-industrial mass production and late capitalism. Postmodernism is notoriously difficult to define; indeed, a central tenet is that certain experiences and concepts resist any sort of representation in writing or art. However, one of its most recognizable attributes is a certain self-consciousness with regard to the methods of production and to the social contexts of any work, together with a playful incorporation of, or gesture towards, previous styles and modes of thought. In philosophical terms, Postmodernism is part of a general attack on Enlightenment truth-claims and values, and displays a preoccupation with language as an inadequate vehicle for expressing any sort of â€Å"reality†; this mode of thought is sometimes called â€Å"the linguistic turn†, and includes the language-games of Ludwig Wittgenstein and the â€Å"ordinary language† philosophy of John Langshaw Austin. Structuralism and Post-Structuralism are closely related to Postmodernism: this relationship is particularly notable in the nalyses of society as a system of signs and codes conducted by Roland Barthes, and the origination of deconstruction as a method of reading texts and identifying tacit hierarchies within discourses by Jacques Derrida. Michel Foucault also proposed several major theories about the nature of power and repression, and the marginalization of certain groups throughout history. Important Postmodernist theorists are Jean-Francois Lyotard, whose book The Postmodern Condition: A Report on Knowledge (1979; trans. 983) is an influential, if arcane, explication of Postmodernisms central concerns, and Jean Baudrillard, whose extreme form of nihilism and theories about the mass media and hyper-reality led him to assert that the Gulf War did not happen, and was only a televised simulation of a war. In literary theory, Postmodernism refers in part to the crisis in determining meaning and signification highlighted by Post-Structuralism and deconstruction. It also refers to the process of examining the canon of literary â€Å"authorities†, that is, the writers who are most commonly studied in schools and universities, and attempting to discern the ideological and social currents that have shaped that canon. For example, much recent work in literature studies has remarked on the preponderance of DWEMs (Dead White European Males) in Western culture and has concentrated on uncovering the work of marginalized and oppressed groups, such as women and ethnic minorities. Influential critics include Fredric Jameson (Postmodernism or The Logic of Late Capitalism, 1991), Jacques Derrida, Luce Irigaray, and Julia Kristeva, a psychoanalyst and semiotician whose work on gender rejects the notion of traditionally constructed â€Å"male† and â€Å"female† identity. In the practice of fiction and poetry, Postmodernism has manifested itself in an experimentation and eclecticism which has focused on the nature of fictionality and of writing itself. The term â€Å"Postmodernist† can be attached to almost any work that questions the boundaries and possibilities of the fictional enterprise; that attempts to collapse arbitrary borders between genres and to question what constitutes the nature of genre; that refers, directly or by allusion, to other texts; and that makes problematic the idea of â€Å"characters† and of a narrative that can lead to a fixed point and convey a fixed meaning. Many novelists and poets writing today incorporate these themes and approaches in their work. The Name of the Rose (1980) by Umberto Eco and If on a Winters Night a Traveller (1979) by Italo Calvino both combined different forms of fictional genre and assimilated many of Postmodernisms theories about the nature of reading. Other writers who experiment in this fashion include Salman Rushdie and Angela Carter. Martin Amis stands out as a writer who has experimented with form as well as portraying much of Postmodern popular culture, especially American popular culture. Lyotard has identified contemporary culture as â€Å"junk Postmodernism† or â€Å"eclectic Postmodernism† because of its willingness to absorb a variety of styles regardless of their provenance or status. The growing popularity of â€Å"camp† and â€Å"kitsch† bears witness to this general trend. The explosion of information technology, and in particular cyberculture and virtual reality, has increased a sense of the possible diversification of experience.

Research Paper on Philosophy of Writing Essay Example

Research Paper on Philosophy of Writing Essay Elements of Writing Philosophy Introduction Writing is traditionally considered to be a very important part of the learning process since with poor writing skills students can hardly achieve positive results in their learning. At the same time, the teaching of writing skills is often accompanied by numerous difficulties that make the entire learning process less effective than it could potentially be. In spite of the fact that writing is an essential component of learning process that has been practiced almost from the beginning of teaching, there are still a lot of arguments concerning really effective methods of teaching which could be really successful and provide students with sufficient knowledge and skills that could make their writing good and corresponding to their level of development. Also, it is worthy of mention the fact that educators are often focused on the search for effective methods of teaching writing, and naturally they fail to succeed in their work since it is necessary to view writing at large. What is meant here is the necessity to view writing not as a separate activity students have to learn but as a part of the educational process at large that implies that teachers should understand the essence of the writing process and conditions on which writing skills could be developed the most effective as well as the impact of students background on their learning, especially in relation to their writing skills. In such a way, it is necessary to view the writing in the cultural context, analyze its correlation to reading as an essential element that contributes to successful teaching writing and find out some perspective approaches to teaching writing skills. Beliefs concerning writing We will write a custom essay sample on Research Paper on Philosophy of Writing specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Research Paper on Philosophy of Writing specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Research Paper on Philosophy of Writing specifically for you FOR ONLY $16.38 $13.9/page Hire Writer However, first of all, it is necessary to dwell upon the basic views on writing and traditional beliefs that educators have concerning writing. Naturally, the development of educational doctrines concerning teaching writing skills resulted in the spread of various beliefs which are not always supported by evidence or which turn to be just a kind if myths than real facts. First of all, it should be said that probably one of the most widely spread beliefs concerning writing is the idea that writing is social and, therefore, is best taught in collaborative and communal settings (Kirby et al. 2004). At this point, it is necessary to agree that writing is social but on the other hand it is also necessary to underline the fact that the practical realization of the idea of creation a collaborative and communal setting does not increase the effectiveness of the learning process. Specialists (Kirby et al. 2004) underline that while realizing the collaborative strategy teachers need to encourage student cooperation and their group work that often results in the wasting of time on activities that are not directly related to the teaching writing. To put it more precisely, teachers often need to spend â€Å"more time on crowd control and playing the group cop† (Kirby et al. 2004:4). Obviously, such a belief and its practical implementation turn to be not very effective. Consequently, this approach cannot be fully applied to teaching writing skills, even though such a belief is widely spread among many educators. Furthermore, when educators discuss the problem of teaching writing skills they often argue that coached practice is essential (Kirby et al. 2004). This belief implies that writing should be an interactive process while often it is a one-sided activity when student writes and, in response, just receive some comments from teachers. Instead, teachers should assist their students and show the ways to improve their writing, encourage them to write better and give them advice that can help them become good writers. At the same time, many teachers face a serious problem in teaching writing skills just at the beginning of their work with students. In fact, teachers often cannot define what they should start with. In this respect, specialists (Kirby et al. 2004) recommend starting with fluency. This means that teachers should prepare their students to their writing though easing into new, unfamiliar forms (Kirby et al. 2004). In other words, students should get acquainted with new forms and then start practicing their writing skills and get ready to experiment with their writing. As students progress in their writing, the teaching grows more and more complicated. However, many educators tend to focus on teaching parts while they do not help students to learn writing at large as a whole, while the whole is, beyond doubt, more important than the sum of parts (Kirby et al. 2004). In fact, it is probably the most difficult thing about teaching writing – to teach students to unite all their knowledge about writing into the whole that is one of the major goals of teaching writing skills. If teachers succeed in it, students will make considerable progress, but it is necessary to remember that the growth of students’ skills should be supported by an adequate and objective assessment that can stimulate their work and encourage them to write more (Kirby et al. 2004). Obviously, the beliefs mentioned above are just the basic concepts that may be crucial for successful teaching of writing skills but anyway they need to be realized in practice first to become effective. The correlation between reading and writing Obviously, students need to have a lot of examples of good writing to achieve fluency in their writing skills. In this respect, it is necessary to pay particular attention to reading which should be viewed as an essential component of teaching writing skills. In this respect, it is worthy of mention that Linda Rief underlines that â€Å"we have forgotten that a person can read without writing, but cannot write without reading† (2003:10). In such a way, teachers should start teaching writing skills from the improvement of students reading proficiency. Even though it sounds a bit paradoxical but the benefits of such approach are evident. In fact, through reading, students learn various styles, forms, and structures of writing. They get acquainted with the ready-made models of writing which they can amply use in their further learning of writing skills. It is quite possible to apply the reading material as a model for students writing. In such a way, the desirable fluency of students writing may be achieved due to their reading experience. At the same time, reading also helps students to avoid numerous mistakes they can make in their writing since they can learn from reading the correct grammatical and stylistic forms which they use as samples in their writing. Coaching writing As students acquire their basic knowledge about writing mainly from reading, it is possible to improve their fluency through stimulation of their writing. At this stage, it is possible to start to implement various methods targeting at the improvement and enlargement of students’ writing skills and abilities. In this respect, it is possible to recommend implementing coaching writing developed by William Strong (2001). In spite the fact that this approach is often criticized, it can be quite effective and contribute to the positive development of students’ writing skills. Naturally, it is possible to argue that coaching writing tends, in a way, to some drilling but at the same time this approach may be quite interesting for students. In this respect, Strong underlines that he uses sentence combining, which is the basis of his approach, â€Å"to make good sentences, not long ones† (2001:16). This is one of the major principles of this approach since the quality should dominate over quantity. Furthermore, Strong argues that sentence combining â€Å"builds fluency and prompts students to write more varied, syntactically mature sentences† (2001:23). At the same time Strong is conscious of the possible negative impact of pure drilling, this is why he warns that it is necessary to focus on â€Å"ways of working smarter, not harder – and thus reducing the risk of burnout in teaching† (2001:7). In such a way, this approach may be viewed as another step in the increasing students’ fluency in writing which may harmoniously accomplish their skills and experience acquired from reading. Writing as a writer Naturally, the fluency is important in teaching writing skills, but students need to learn new skills to keep progressing in their writing. This means that they need to become more proficient in their writing that implies the acquisition of new, more profound knowledge of language and writing. What is probably even more important is the practical implementation of students’ knowledge and skills. In fact, Tom Romano underlines that â€Å"learning to use language, to discover and communicate ideas is essential for making sense of our experience – our academic experience, our personal experience† (1987:7). At the same time, the profound understanding of language and the view on writing from the position of a writer should be mutual, i.e., on the part of both students and teachers. In this respect, Romano states that â€Å"sensitive, knowledgeable teachers who know writing from inside are invaluable† (1987:7). Obviously, if teachers can perfectly understand what writing is, then they can convey all the nuances of the writing process to their students. They should be able to make their students be a writer, to think like a writer and, what is more, students should â€Å"think about their thinking† (Strong 2001:186). In such a way, students acquire essential experience and can improve their writing skills, while teachers can teach their students to view the language and to write as the whole, as the system uniting all their knowledge about its parts. Writing in cultural context At the same time, at the upper stages of the development of students writing skills, teachers face another challenge – they need to take into consideration the cultural context and background of their students. It is not a secret that students from different cultural experience may have different writing skills. In fact, this difference may be not so obvious at first stages of teaching writing skills when elementary skills are needed but, as the learning process grows more and more complicated, the language proficiency may be crucial. Naturally, the cultural background plays an extremely important role since the language proficiency may vary considerably in different socio-cultural groups. In this respect, it is possible to refer to Mike Rose’s â€Å"Lives on the Boundary† (1989), where the author depicts representatives of different socio-cultural groups whose writing skills are quite poor because they originate from immigrants families and, therefore, their language proficiency is poor. Nevertheless, the author reveals the fact that regardless the initial difference students can achieve positive results in the acquisition of new writing skills. At the same time, students from different cultural background inevitably influence each other since â€Å"education is one culture embracing another† (Rose 1989:27). Conclusion Thus, teaching writing skills is a very complicated process. This process should start with the development of students fluency and, in this respect, reading and coaching teaching may be quite helpful. At the same time, to achieve proficiency, students should acquire profound knowledge about language and writing process as the whole, and the role of teachers is to convey this information from the position of writers who understand how the writing process occurs and what it includes. Finally, it is necessary to take into consideration the socio-cultural context in teaching students since they may have a different level of skills and knowledge.