General Book Club Questions for Study and Discussion

As a member or leader of a book club, you are likely to be reading books on a wide variety of topics, both fiction and nonfiction. No matter the genre, age, notoriety, or length of the book of the moment, book club questions can kickstart or enhance your group discussion. Whether you are discussing characters and their actions, setting, theme, or images, having a guide to questions that will lead to fruitful exchanges on your enjoyment — or lack thereof — of the book, plot, and even its moral implications can help make your discussion more productive and keep it on track. Before Diving In Before you dive into the heavy plot points, character development, themes, or other weighty subjects, start off your book club discussion by finding out everyones  first impression of the book, advises Sadie Trombetta, via Bustle. Doing so, and starting slowly, will give you a jumping-off point to discuss what about the selection kept you turning the pages, she says, or what made the book difficult to get through. These introductory questions can help you ease into the more detailed book discussion. Did you enjoy the book? Why or why not?What were your expectations for this book? Did the book fulfill  them?How would you briefly describe the book to a friend?In a book in which the author was not a character or was not doing first-person reporting, was the author present in the book anyway? Was the presence of the author disruptive? Or did it seem appropriate or fitting?How would you describe the plot? Did it pull you in, or did you feel you had to force yourself to read the book? Characters  and Their Actions Before other elements of the book, such as the  setting, plot, and  theme, the characters who inhabit the book will either infuse the work with life or drag it down to dull reading. Your book club may encounter many types of characters:  you may have a round, flat, or stock character, or even a traditional  protagonist. Knowing what kinds of characters the author has used to populate her novel or book is key to understanding the story she is trying to tell. After asking introductory questions as discussed above, put the following book club questions before your group members.   How realistic was the characterization? Would you want to meet any of the characters? Did you like them? Hate them?If the book was nonfiction, do you think the characters accurately portrayed the real events upon which the book was based? If not, what would you have changed to make the book more accurate?Who was your favorite character?Which character did you relate to most and why?Did the actions of the characters seem plausible? Why? Why not?If one (or more) of the characters made a choice that had moral implications, would you have made the same decision? Why? Why not?If you were making a movie of this book, who would you cast? Setting, Theme, and Images Many  writers  believe that the setting is the most important element of any fictional work. Whether or not you agree — for example, if you believe the storys characters are the most significant element — setting can have considerable influence over the events, feeling, and mood of a story. If the setting is a horse racing track, such as with a Dick Francis novel, youre sure to find yourself reading about horse owners and trainers, jockeys, and stablehands working hard to prepare their mounts, as well as spirited and competitive races. If the setting is London, events may be influenced by the heavy fog and damp, dank cold that city experiences. Just as importantly, a books theme is the main idea that flows through the narrative and connects the components of the story.  Any imagery the author uses is sure to be connected to the characters, setting, and theme. So, focus your next set of book club questions on these three elements. Following are a few ideas: How does the setting figure in the book?  If the book was nonfiction, do you feel the author did enough to describe the setting and how it might have influenced the plot or narrative of the book?How would the book have been different if it had taken place in a different time or place?What are some of the books themes? How important were they?How are the books images symbolically significant? Do the images help to develop the plot or help to define characters? Summarizing Your Reading Experience One of the most enjoyable aspects of a book club — indeed, the very essence of why books clubs exist — is to talk to others who have collectively read a given work about their impressions, feelings, and beliefs. The shared experience of reading a single book gives members a chance to discuss how it made them feel, what they might have changed, and, significantly, whether they believe that reading the book altered their own lives or perspectives in some way. Dont move on to your next book until youve thoroughly hashed out some of these conclusion-type questions. Did the book end the way you expected?If the book was based on real events, what did you already know about this book’s subject before you read this book? Did the story reflect what you already knew? Do you feel the book helped enhance your knowledge and understanding of the subject?If the book was nonfiction, what did you think about the author’s research? Do you think s/he did an adequate job of gathering the information? Were the sources credible?At which point of the book were you most engaged?Conversely, were there any parts of the book that you felt dragged?How would you describe the pace of the book?What three words would you use to summarize this book?What, if anything, set this book apart from others youve read in a similar genre?What other books have you read by this author? How did they compare to this book?  What did you think of the book’s length? If it’s too long, what would you cut? If too short, what would you add?Would you recommend this book to other readers? To your close friend? Why or why not?

Essay about Joseph Conrads Heart of Darkness - 794 Words

Asking the right questions is indeed an art form . It is however an even bigger burden to try to answer from an analytical presepective these subjective questions which inspire answers and explanations to the ultimate â€Å"why† and â€Å"how† . As readers we are obligated to carry with us an open mind, an analytical eye and room for suggestive arguments when trying to dissect a piece of writing. Joseph Conrads novella Heart of Darkness offers the perfect platform for interpretation. With a dozen shades of foggy grays, the short story is begging for a set of eyes that can see it through. Without proceeding too far into the novella, one can draw out a great deal of analytical suggestions as to what the title itself implies. The word Darkness†¦show more content†¦It is a critics moral obligation to remain rational and objective. Above all to consider all possible implications from every page, every paragraph, every line. Conrads Heart of Darkness stimulates the readers by diverging them from a naà ¯ve frame of thinking to a brute reality. Imagery, symbolism, character analysis and stylystic writing serve to highlight his journey into the dark and mysterious African jungle and gives us an introspective view of the darkness of the human soul. Reality, strikes in Joseph Conrads â€Å"Heart of Darkness†, through the three dimentional depth of its characters. It offers directness to anyone interested in facing darkness around and perhaps darkness within them. The concept of an individual comparing oneself to another individual becomes the root of all evil. In the book Darkness is intended to represent the mysterious, the undesirable, the chaos, and the unknown. All implications are to be looked at closely. The initial association with darkness is the obvious lack of light. As we see it, or dont see it; Darkness is black. Darkness is the unkown. In the context of the book, darkness is the journey to the African Jungle. Africa, in Conrad s time was yet to be explored. It was liberally referred to as the dark continent. Characterized by its dark jungles, damp and foggy weather and of course its natives. As the plot suggests, Conrads view of Africa is unclear. MarlowShow MoreRelated Joseph Conrads Heart of Darkness Essay763 Words   |  4 PagesJoseph Conrads Heart of Darkness Joseph Conrads novel Heart of Darkness written in 1902 is an overwhelming chronicle of Marlows journey into the heart of the African continent. It is one of the most influential novels of the twentieth century. In this ghastly and horrific tale, Marlow leads an expedition up the Congo River, only to find everything is not as it seems. This haunting and mysterious story takes him into the unbearable core of the jungle. The novel also explores tradeRead MoreSymbolism In Joseph Conrads Heart Of Darkness805 Words   |  4 PagesJoseph Conrad’s novella, Heart of Darkness, contains many symbols that connect to themes within it. Heart of Darkness incorporates the symbols of light and dark to develop the idea that society and characters, like Kurtz, contribute to the darkness of their society. Conrad’s different observations of the effect that nature can have on the characters and society within the novel, primarily focus on how something light and desirable can prove to bring out the ugliest aspects of humanity or cause significantRead MoreEssay on Joseph Conrads Heart of Darkness1414 Words   |  6 Pagesleader of a community who has this type of unchecked power and influence with a happy ending. Perhaps the greatest story ever written about good vs. evil, madness, abuse of power along with influence, and nature just might be Heart of Darkness. Heart of Da rkness, written by Joseph Conrad tells the story of an agent named Marlow, who experiences hellish conditions and behaviors whilst trying to rescue a man named Kurtz, who turns out to be quite a handful. Throughout this journey the moral ramificationsRead MoreEssay on Joseph Conrads Heart of Darkness1276 Words   |  6 PagesIn the present era of decolonization, Joseph Conrad’s Heart of Darkness presents one of fictions strongest accounts of British imperialism. Conrad’s attitude towards imperialism and race has been the subject of much literary and historical debate. Many literary critics view Conrad as accepting blindly the arrogant attitude of the white male European and condemn Conrad to be a racist and imperialists. The other side vehemently defends Conrad, perceiving the novel to be an attack on imperialism andRead More Use of Light and Darkness in Joseph Conrads Heart of Darkness 1504 Words   |  7 PagesUse of Light and Darkness in Joseph Conrads Heart of Darkness  Ã‚      Joseph Conrads Heart of Darkness contrasts light and darkness, to represent the civilized and uncivilized sides of the world. Conrad uses light to represent the civilized side of humanity while contrasting the dark with the uncivilized and savage. Throughout the thematic stages of the novel, that is the Thames river London, the companys office in Belgium, the journey to the heart of darkness and the conclusion, light andRead MoreDarkness and Evil Illustrated in Joseph Conrad’s Heart of Darkness1382 Words   |  6 Pagesindicating future misfortune; ominous. Bad or blameworthy by report; infamous. Characterized by anger or spite; malicious. The definition of evil, a term used very cautiously in modern society, is very diverse among different people. In Joseph Conrad’s Heart of Darkness, the term evil is articulated through several ways mainly four characters: the cruelty within the people of the Belgian Congo, main mystery of Kurtz, the setting upon which the character s reside, and the atmosphere in which the BelgianRead MoreThoughts Of Imperialism In Joseph Conrads Heart Of Darkness911 Words   |  4 PagesHeart of Darkness, what does it really mean, what can it signify? For all it matters, it has no meaning, but is just a phrase. By applying the following schools of theory, psychoanalysis, over analyzing texts, cultural studies which portray how readers consume the text and postcolonial which analyzes the â€Å"losers† perspective it helps to depict the novella of Heart Darkness. By using the schools of theory, it will analyze a multitude of perspective relating to the novella’s theme of imperialism disastrousRead MoreCorruption Of Imperialism In Joseph Conrads Heart Of Darkness1473 Words   |  6 Pagessome individuals may maintain their integrity in corrupt situations, and therefore not become corrupt themselves. Heart of Darkness by Joseph Conrad relates to both the idea that an individual can become corrupt in a corrupt envi ronment, and that some individuals can uphold their integrity in a corrupt situation. Both of these reactions can be seen in the main characters of Heart of Darkness, Kurtz and Marlow, in Kurtz’ becoming corrupt due to imperialism in the Congo, while still upholding some integrityRead More The Soul of Darkness in Joseph Conrads Heart of Darkness Essay1053 Words   |  5 PagesHeart of Darkness: The Soul of Darkness      Ã‚  Ã‚  Ã‚   Heart of Darkness The name itself implies a sense of unknown evil, and invokes thoughts of secrecy and mystery. Written by Joseph Conrad in 1902, Heart of Darkness tells of a physical journey down the Congo during its era of Imperialism, yet also of a mental sojourn into the core of insanity. It also paints paradoxes of seemingly clear concepts and states, such as the mental condition of central character Kurtz, an enigmatic ivory trader deepRead More Importance of the Natives in Joseph Conrads Heart of Darkness1309 Words   |  6 PagesThe Importance of the Natives in Heart Of Darkness       Conrad has been accused of racism because of the way he portrays the natives in his novel, Heart of Darkness. It has been argued that the natives cannot be an essential part of Heart of Darkness due to the manner in which they are depicted.   However, a careful reading reveals that the story would be incomplete without the natives. Marlow develops a relationship with one of the natives - perhaps the first time in his life that Marlow creates

Buss1001 Free Essays

3/11/2012 BUSS1001 Understanding Business Week 2: What is Business? Associate Professor Philip Seltsikas Associate Dean (Undergraduate) THE UNIVERSITY OF SYDNEY BUSINESS SCHOOL Preview of today’s lecture †ºWhat is Business? – Narrow view – More complex view †ºAssessment 1 2 What is business? The narrow view †ºÃ¢â‚¬ËœAny activity that seeks to provide goods and services to others while operating at a profit’ (Nickels, McHugh and M H h 2010 p. G 14) d McHugh 2010, G-14). 3 1 http://images. We will write a custom essay sample on Buss1001 or any similar topic only for you Order Now google. com/imgres? q=henry+fayolhl=engbv=2tbm=ischtbnid=L07_nJsWisbAAM:imgrefurl=http://mariaavilla 4zKAcE9kMw=131h=173ei=rrUvTvP0BJGmizar. logspot. com/2008/09/henry-fayol-vs-max-weber. htmldocid=gigzs4 sAOJ9Lkdzoom=1iact=hcvpx=287vpy=150dur=2276hovh=138h hovw=104tx=81ty=75page=1tbnh=128tbnw=88 start=0ndsp=35ved=1t:429,r:1,s:0biw=1429bih=723 Total returns on assets must exceed cost of capital required to finance assets http://en. wikipedia. org/wiki/Max_Weber http://en. wikipedia. org/wiki/Scientific_management Reinvestment Returns Reinvestment Returns Assets Debt Equity The Value Creation Equation A ‘model’ of all businesses Assets †º 1841-1925 Henry Fayol Founder of Classical Management Theory 1856 – 1915 Frederick Taylor Developed ‘scientific management’ †º 1864 – 1920 Max Weber Studied organizational bureaucracy Fayol, Weber, and Taylor All capital is a costly resource Debt Equity 3/11/2012 2 3/11/2012 What doesn’t this model show us? WHAT? Organizational building blocks †º †º †º †º Mission, Vision, Goal, Purpose Strategy Collection of assets Configuration of Assets – into a structure (s) – to enact business processes Management (decision making control) – using structure – using policies procedures – using rewards punishments DON’T NORMALLY SEE DON’T NORMALLY SEE †º Where did these companies come from? WE SEE SOME OF THESE or ASPECTS OF THEM M 3 3/11/2012 Someone is at the controls – Keeping it running and navigating the environment 10 What is a BUSINESS? †º ‘Structure’ – multiple meanings †º This is ‘part of’ understanding Business Structure †º Organisational Structure will help us understand: ‘What is a Business’? 11 Dimensions of Organizational Structure †º †º †º †º †º †º Job specialization Departmentalization Span of control Chain of Command (c. f. hierarchy) Line functions and staff functions (front office/back office) Power and authority †º †º Divisionalization Centralization / Decentralization 4 3/11/2012 Organization Chart CEO CFO CIO COO Marketing Director IT Manager Sales Director Production Manager Marketing group A Marketing group B IT department Sales region A Sales region B Plant workers French Raven 1959 5 bases of organizational power †º Coercive Power †º Reward Power http://www. carrollcoaching. com/coaching †º Legitimate Power †º Referent Power †º Expert Power Functional Organization Measures of Success? †º Profit †º Market Share †º KPIs (key performance indicators) 5 3/11/2012 Inside and Outside Perspectives †º Organisations are subject to external forces but may also influence the operation and effect of those same forces. Key aspects of the capacity of organisations to effectively shape their own destiny include the decisions that they make about: k b t ? Strategy ? Structure; and BUSS1001 Understanding Business ? Behaviour BUSS1002 The Business Environment Business: key player in society †¢ Is a major change agent †¢ Has the potentia l to be a ‘force for good’ g prosperity †¢ Drives growth and p p y Society †¢ Impacts on business †¢ Is constantly changing and so, must business change †¢ Affects what businesses do and how they do it What is business? A broader perspective Transformation of inputs into outputs to produce goods and services that meet needs and wants in the society [adapted from Wetherly and Otter 2011] For-profit businesses Private P i t sector t Types of business activity Public sector Non-profit organisations Government organisations 18 6 3/11/2012 Purpose of a ‘For-profit’ business organisation †ºMaximising returns on debt and equity †ºThis is achieved through sustainable competitive titi advantage 19 Sustainable competitive advantage †ºOutperforming your competitors in the long run †ºHow is this done? 20 Next week What? Why? Strategy 21 How to cite Buss1001, Essay examples

Blaxploitation Essay Research Paper The Emergence of free essay sample

Blaxploitation Essay, Research Paper The Emergence of ColourIn today? s culturally diverse, politically right society, it is difficult to believe that at one clip racism was non merely accepted as the norm, but enjoyed for its amusement value. Persons of African descent in North America today take the big, diverse pool of chances offered by the movie industry for granted. Much like Canadian theatre nevertheless, there was a clip when a black adult male in any function, be it servant or break ones back, was virtually unheard of. It took the blaxpliotation movies of the early 19 1970ss to alter the stereotyped word picture of Black people in American Cinema, as it took The Farm Story, performed by a little troop of Canadian histrions, to make a Canadian theater industry. To be more specific, it took the release of Melvin Van Peebles, Sweet Sweetback? s Baadasssss Song, in 1971, to alter the tradition position of Black people in American movie. We will write a custom essay sample on Blaxploitation Essay Research Paper The Emergence of or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page ? Porter? s Tom was the first in a long line of socially acceptable Good Negro characters. Always as Toms are chased, harassed, hounded, flogged, enslaved, and insulted, they keep the religion, n? er bend against their massas, and remain hearty, submissive, stoic, generous, selfless, and oh-so-very kind. ? ( Bogle,4 ) The early soundless period of film introduced five basic originals for Black characters: the Tom, the Coon, the Tragic Mulatto, the Mammy, and eventually, the Brutal Black Buck. America? s foremost Black character found manifestation as the aforesaid Uncle Tom in Edwin S. Porter? s, Uncle Tom? s Cabin, which was released in 1903. ? The paradox was that in actuality Tom wasn? t Black at all. Alternatively he was portrayed by a nameless, somewhat fleshy histrion made up in blackface. ? ( Boggle, 4 ) This was a common pattern developed by the theatre, and carried over, as were many of the moving techniques, to silent movie. Tom? s presence, and the visual aspect of the fou r Black originals which were to follow, served the same intent: ? to entertain by emphasizing negro inferiority. ? ( Boggle, 4 ) Although holding no positive consequence on the position of Black people in America socially, the tom character opened the door for Black histrions in film. Sam Lucas became the first black adult male to be cast in a prima function as a Tom, and in 1927, Universal Pictures signed James B. Lowe, a fine-looking black histrion, for the lead function in the Universal Pictures production of Uncle Tom? s Cabin. Lowe was chosen to play the portion because movie manager Harry Pollard, a former blackface histrion, believed he? tantrum in with the realistic demands of the times? ( Bogle, 6 ) Tom was to be followed by the coon, although he remained the cinematic Black character favourite. Where Tom was an adorable character, the coon provided audiences an object of amusement. Two discrepancies of the coon shortly emerged: the piccaninny and the uncle ramus. ( Bogle, 7 ) The Pickanny was the first coon type to look in film. ? By and large, he was a harmless, small crazy creative activity whose eyes popped, whose hair stood on terminal with the least exhilaration, and whose jokes were pleasant and diverting. ? ( Bogle, 7 ) The Pickaninny provided audiences with an amusive recreation, and shortly found his manner into the Black Marias of the mass audience. Following to debut was the pure coon, ? a good-for-nothing nigga? , whose undependable, brainsick, lazy nature was good for nil but feeding and doing problem. This character found its pinnacle of success in Rastus, a good-for-naught Black featured in a series of movies released between 1910 and 1911. The concluding coon brother would emerge as the tidal bore to delight metaphoric cousin to the Tom. Quaint, and na? ve, the Uncle Ramus character distinguished himself through his amusing philosophizing. ( Bogle,8 ) In general, the cinematic coon was used to bespeak the Black adult male? s contentment with his submissive place in society. Besides emerging around this clip period is the tragic mulatto: a negro visible radiation plenty to go through for white, who must contend against the negro contamination to either rise above his coloring material, or autumn victim to it. Mammy, a character closely related to the amusing coon, was the following to emerge. Headstrong and copiously female, Mammy debuted around 1914. The Mammy function would be perfected by Hattie McDaniel in the 1930? s. From the mammy functions emerged the Aunt Jemima, a male or female character who had a spot more tact and were, for the most portion, Sweet and congenial. The concluding original emerged in D.W. Griffith? s The Birth of a Nation ( 1915 ) . Picturing life before and after the civil war, all four originals are present in this movie. It depicts recreant Blacks who overpowe r the charitable, white Southerners and leave on a way of lechery, coarseness and offense. The ultimate end of these wild beast-men is sexual laterality of the pure, guiltless white adult females. At the movies decision, the white work forces of the? unseeable imperium? drive in to salvage the twenty-four hours and reconstruct white domination in the South. Proudly know aparting, D. W. Griffith, touted as one of the fore-fathers of film, uses his movie command to demo audiences what happens when? slaves get overweening? . The five originals would govern in black film for the following 50 old ages. Although Black movies did emerge, it was for the most portion produced by white production companies for a black audiences. Black Independent production companies such as the Ebony Motion Picture Company began to emerge in the 20? s, but the stereotypes and capable affair stayed the same. A common subject of societal mounting, the ultimate end of the Black being suburban life, ruling Black theaters. ( Cham, 20 ) Throughout the 30? s and 40? s the mobster movies rose to the bow, normally picturing gun-totting, slick-talking Blacks, entent on doing it large. Despite the presence of Black independent film makers such as George Randall, African American issues were basically ignored. The 50? s and 60? s brought societal agitation and the Civil Rights Movement brought a demand for movies with a stronger message. The originals of the 20? s and mid-thirtiess were no longer acceptable, and the few Hollywood? race movies? ( which normally starred Sidney Poitier ) , were no longer adequate. ? Hollywood was still unable to spot or picture the full spectrum of Black American life and culture. ? ( Cham, 21 ) In 1971, Black movie experienced an epiphany. It came in the signifier of a low-budget, severely made Gallic movie by the name of Sweet Sweetback? s Baadasssss Song. It was created about wholly by one Black man- Melvin Van Peebles. This marked a extremist alteration in Black film. ? In 1971, Melvin new wave Peebles dropped a bomb. Sweet Sweetback? s Baadasssss Song was non polite. It raged, it screamed, it provoked. It? s echos were felt throughout the state. In the Black community it was both hailed and denounced for it? s sexual rawness, its butch hero, and its word picture of the community as downpressed and in demand of rescue. ? ( Diawara, 118 ) Van Peebles movie sparked an detonation of what would go known as blaxploitation movies. What Sweet Sweetback Baadassss Song did was interpret Black Stereotypes otherwise. He, and other Black managers of the clip, took the Black Buck, Coon, and Mammy stereotypes of the epoch before and modernized them. ? Mammy? lost weight and grew an Afro, going the ultra-stylish prima donna which was personified best by actress Pam Grier. The Black Buck emerged dominant, ready to contend his historical oppressors. Blaxploitation movies acted as a cleaning procedure, through which black movies were finally able to accurately picture the African American experience. Directors such as Spike Lee and Jon Singleton were able to make? race movies? which confronted the serious urban issues of the clip, without utilizing old stereotypes. It is of import to observe, nevertheless, that Sweet Sweetback is non considered a blaxpoitation movie, as it is excessively artistic to be considered such. Rather, Melvin Van Peebles foremost movie was the accelerator for the cleaning blast. ? The Farm narrative? marked a point in time- before it there was no Canadian individuality in theater, after it there was. In the same manner, Melvin Van Peebles? film marked the minute when African Americans reclaimed their individuality. They were no longer content with the cinematic functions offered to them, and so they began to make their ain. Although blaxploitation movies were subsequently commercialized, their purpose and consequence stayed consistent, and have created the ethno-conscious film industry we find today. Bogle, Donald. Toms, Coons, Mulattoes, Mammies, and Bucks. New York: Viking Press, 1973.Cham, Mbye B. Blackframes. Cambridge: The Mit Press, 1988.Cripps, Thomas. Making Movies Black. New York: Oxford University Press, 1993. Diawara, Manthia. Black American Cinema. New York: Routledge, 1993. Lead, Daniel J. From Sambo to Superspade. Boston: Houghton Mifflin Company, 1976.Morton, Jim. Am I Black Enough for You? Blaxploitation. 20 Sept. 1998. 22 Nov. 1998. Patterson, Lindsay. Black Films and Film-Makers. New York: Dodd, Mead A ; Company, 1975.Sampson, Henry T. Blacks in Black and White: A Source Book on Black Films. New Jersey: The Scarecrow Press Inc. , 1977.