This article made a few very significant points–and it was nice to see a newspaper defend our generations ability to compose. With modern technology and popular culture–from Facebook to wikis all the way to text messaging, scholars and students alike can no longer ignore the changing nature of the English language. While the mediums most prevalent in our daily lives often disregard the proper use of grammar and spelling, on the other hand, the multitude of these mediums enhance an individual’s ability to adjust to different audiences. Yes, we could care less if we spell words right when we talk to our friends via Facebook or AIM, but I, like many other students my age, know the difference between your and you’re or a fragment and a complete sentence. As this article notes, to use such habits as a generalization our inability to understand the English language is both unfair and unfounded. In fact, the essential nature of such informal writing instills efficiency. More importantly, now more than ever, students possess the ability to reach a real audience as the process of teaching composition moves beyond the student-teacher relationship. Finally, our writing has a purpose greater than boosting our GPA. Ultimately, the article recognizes the idea of the ever-changing English language, an idea we experience in our daily lives online and in the classroom. Through this, the article directly relates to our class not only with regards to the nature of modern composition but also with the relationship between words and images as another equally significant movement in the evolution of our language. In the end, composing relies on understanding of its multiple contexts, audiences and means of expression.
November 12, 2008
November 7, 2008
Beauty is skin deep—or so they say. Rather, as this photograph by John Rankin suggests, superficiality and artificial alterations define the modern sense of beauty. Entitled “Bootiful,” the image represents the fallacy of perfection that society faces daily, not only a signature characteristic of magazines but now entering the realm of school photographs as well. In the visual portrayal of the harsh criticism of the boy’s facial qualities, the image highlights such imperfections in a way that demonstrates the ridiculous nature of the process. The comparison of the before and after photographs calls the viewers attention to the false impression of perfection and beauty as seen on the right. In essence, the touched-up photograph falls short to the magnitude of the message of the photograph on the left, crucial to the viewers understanding. The idea of removing all blemishes to create beauty creates standards impossible to surpass, or even meet, in an individual’s daily life, which as an extension impedes the ability of an individual, particularly in adolescence, an age captured by the subject of the image, to feel beautiful and therefore confident. Through this, the artist ultimately inspires the viewer to crush the false standard of beauty and perfection.