Federal Deposit Insurance Corporation, Social Security Act of 1935, Dust Bowl Free Essay Example, 1000 words

In the 1920s, the theatres for movies and radios were the most popular entertainment. However, movies outweighed the use of radios because they were expensive to purchase. Additionally, dancing was famous during the entire process. FDIC is the Federal Deposit Insurance Corporation. It is an independent corporation and was created in 1933, to promote public confidence and stability in the nation s banking systems. The social security Act was developed to tackle old age, poverty unemployment and the burden of widows. It gave the federal government the power to assist the less fortunate, in the society. The dual bowl was caused by severe drought and poor agricultural practices leading to environmental damage to the product. The great depression was a serious problem for American society but the causes of the great market crash were different and have not been understood by economists. The crash of the stock market of 1929 on black Tuesday, October 29, 1629, was the principal cause of d epression experienced. The crash led to massive loss totaling to more than $40 Billion Dollars (Foner 78). The loss was so immense that led to poor recovery for the country increasing the risk of entry into the great depression. We will write a custom essay sample on Federal Deposit Insurance Corporation, Social Security Act of 1935, Dust Bowl or any topic specifically for you Only $17.96 $11.86/pageorder now Coupled with the stock market crash banks failed in the 1930s leading to loss of savings because bank deposits were not insured. The collapse of the banks reduced bank loans leading to less expensive than initial. The crash of the stock markets reduced the spending capability of individuals through fear of further economic woes. Unemployment and job losses led to a reduction in purchasing power. In addition, American economic policy changes as a result of the ailing economy. The government created the Smooth-Hawley Tariff to protect the American companies. The policy charged high tax for imports reducing the amount of trade between America and the rest of the world.

Revising to Make Your Writing Precise

Finding the right word was a lifelong quest for French novelist Gustave Flaubert: Whatever you want to say, there is only one word that will express it, one verb to make it move, one adjective to qualify it. You must seek that word, that verb, that adjective, and never be satisfied with approximations, never resort to tricks, even clever ones, or to verbal pirouettes to escape the difficulty.(letter to Guy de Maupassant) A perfectionist (who happened to have an independent income), Flaubert would spend days worrying over a single sentence until he got the words just right. Most of us, I suspect, dont have that kind of time available. As a result, we often have to be satisfied with approximations when drafting. Near synonyms and almost-right words, like temporary bridges, let us move on to the next sentence before a deadline arrives. Nonetheless, converting inexact words to precise ones remains a critical part of revising our drafts — a process that cant be reduced to one simple method or clever trick. Here are 10 points worth considering the next time you find yourself in search of the right word. 1. Be Patient In revising, if the right word is not at hand, run a search, sort, select process through your mind to see if you can find it. (Even then, a word may be elusive, refusing to emerge from the mind one day only to arise from the subconscious the next.) Be prepared to rewrite today what you revised yesterday. Above all, be patient: take the time to select words that will transfer your exact thought to the mind of a reader. May Flewellen McMillan, The Shortest Way to the Essay: Rhetorical Strategies. Mercer University Press, 1984 2. Wear Out Your Dictionary Once you have a  dictionary, use it as much as possible.   When you sit down to write and need a particular word, pause to consider the key ideas you want to convey. Start with a word thats in the ballpark. Look it up and go from there, exploring synonyms, roots, and usage notes. Manys the time a usage note in the American Heritage Dictionary has led me to the word that fits, much as the right jigsaw puzzle piece slips into place. Jan Venolia, The Right Word!: How to Say What You Really Mean. Ten Speed Press, 2003 3. Recognize Connotations Do not be fooled into thinking you can substitute one word for another simply because a thesaurus groups them together under a single entry. The thesaurus will do you little good unless you are familiar with the connotations of possible synonyms for a given word. Portly, chubby, chunky, heavy, overweight, stocky, plump, and obese are all possible synonyms for fat, but they are not interchangeable. . . . Your task is to select the word that conveys most accurately the precise shade of meaning or feeling you intend. Peter G. Beidler, Writing Matters. Coffeetown Press, 2010 4. Put Away Your Thesaurus Using a thesaurus will not make you look smarter. It will only make you look like you are trying to look smarter. Adrienne Dowhan et al., Essays That Will Get You Into College, 3rd ed. Barrons, 2009 5. Listen [B]ear in mind, when youre choosing words and stringing them together, how they sound. This may seem absurd: readers read with their eyes. But in fact they hear what they are reading far more than you realize. Therefore such matters as rhythm and alliteration are vital to every sentence. William Zinsser, On Writing Well, 7th ed. HarperCollins, 2006 6. Beware of Fancy Language There is a difference between vivid language and unnecessarily fancy language. As you search for the particular, the colorful, and the unusual, be careful not to choose words merely for their sound or appearance rather than for their substance. When it comes to  word choice, longer is not always better. As a rule, prefer simple, plain language over fancy language . . . Avoid language that seems stilted or unnecessarily formal in favor of language that sounds natural and genuine to your ear. Trust the right word — whether fancy or plain — to do the job. Stephen Wilbers, Keys to Great Writing. Writers Digest Books, 2000 7. Delete Pet Words They may be more pests than pets. They are the words you overuse without even knowing it. My own problem words are very, just, and that. Delete them if theyre not essential. John Dufresne, The Lie That Tells a Truth. W.W. Norton, 2003 8. Eliminate the Wrong Words I do not choose the right word. I get rid of the wrong one. Period. A.E. Housman, quoted by Robert Penn Warren in An Interview in New Haven. Studies in the Novel, 1970 9. Be True How do I know, the sometimes despairing writer asks, which the right word is? The reply must be: only you can know. The right word is, simply, the wanted one; the wanted word is the one most nearly true. True to what? Your vision and your purpose. Elizabeth Bowen, Afterthought: Pieces About Writing, 1962 10. Enjoy the Process [P]eople often forget that the sheer joy of finding the right word which expresses a thought is extraordinary, an emotional rush of an intense kind. Playwright Michael Mackenzie, quoted by Eric Armstrong, 1994 Is the struggle to find the right word truly worth the effort? Mark Twain thought so. The difference between the almost-right word and the right word is really a large matter, he once said. Its the difference between the lightning-bug and the lightning.

It was 500 AM as the ever so loud alarm clock awakened...

It was 5:00 AM as the ever so loud alarm clock awakened Max telling him it was time to get ready for work. That machine was both his best friend and his worst enemy as it awakened him from his hellish nightmares only to bring him back to this world where every day was a living hell. He had been having the same nightmare every day since the night he mistakenly killed two innocent women who he thought were the murderers in a case he was working on. At this point in his life Max Hammel was merely a shell of a man, putting on a mask only to keep up appearances in order to make sure that no one bothered him. Every day his conscience ate at him, constantly reminding him of how he left those poor kids without mothers, â€Å"You killed them, you†¦show more content†¦The dream kept repeating itself and every time the woman would become a much more prominent figure in his mind. She seemed to be a sort of beacon of hope that he had been longing for these past two years. His mind as a detective knew that there was something there and he would not stop until he found out what it was. He tried many times to reach her but he failed. He tried until one day he was able to catch up to her and to his surprise he did not wake from his dream. Whenever he would reach the end and the woman was within arm’s reach Max would find himself woken up by either his alarm clock or the ringtone that warned him his boss was calling. When he approached her his senses were awestruck. Her hair was raven-black. It flowed in waves to adorn her porcelain-like skin. Her eyes emerald green eyes seemed to shine on their own. She was the picture of perfection, or in his words, â€Å"imaginary.† â€Å"Are you the one that chases me?† she asked, her voice was rich and elegant but with an edge of power that Max hadn’t noticed until now. Max normally wouldn’t stammer in a situation like this but he couldn’t find what words to say. â€Å"Come to me,† she said, â€Å"why is it you hesitate? Are you afraid? I will free you from your suffering and sever the chains that make you feel guilty because you did not do that on purpose† she added. He thought this might be some kind of trap, that God had finally come to punish

Putting a Name to the Confusion Essay Example For Students

Putting a Name to the Confusion Essay â€Å"A man who kissed or embraced an intimate male friend in bed did not worry about homosexual impulses because he did not assume that he had them. In the Victorian language of touch, a kiss or an embrace was a pure gesture of deep affection at least as much as it was an act of sexual expression,† says Anthony Rotundo, attempting to define the boundaries between romantic friendship and erotic love, in relation to same gender friendships, in the late nineteenth century (Miller 4). Same gender relationships could exist on a physical level, expressing affection, without bringing up questions of sexual preference. Further, F.S. Ryman, a gentleman in his twenties, wrote of the very few documents ever discovered from the Victorian age regarding intimate encounters and the emotions attached to them. He has helped give us an idea of what some male relationships were like back then. In his diary, August of 1886, he describes spending the night in his best friends arms with out sexual intentions. â€Å"†¦Now in all this I am certain there was no sexual sentiment on the part of either of us†¦ I am certain that the thought of the least demonstration of unmanly abnormal passion would have been as revolting to him as it is ever has been to me, yet I do love him I love to hug kiss him because of the goodness genius I find in his mind† (Duberman 45). The ability to express love for another male through affection became more questionable short there after as the distinction between romantic and erotic love was less muddy. Until this point, no one got forced into feeling shame because they made it clear that they cared deeply for each other on a close-friendship level. An intimate or affectionate moment between two males never acquired a homosexual context. Male friends could kiss each other, lacing friendships with a more profound level of compassion, without the threat of being labeled as a homosexual. Culturally, this type of behavior had no definite wrong or abnormal connotation strapped to it. As Neil Miller describes, â€Å"In the 1870s, a concept of homosexual identityor of gay and lesbian communitywas barely articulated† (Miller xvii). In America, the idea of homosexual love was beyond societal understanding. Prior to the introduction of homosexuality people were free to care about each other on levels without the co nstraints of any insecurity base on a the possibility of getting a label. While the concept of homosexuality did not exist in the United States, changes were happening in Europe with the issue. Right around the 1870’s affectionate relationships between males acquired a label. â€Å"It was the sexologists†¦ who were to define same-sex love, to give it a name. The term homosexuality was actually used for the first time in 1869 by Karl Maria Kertbeny, a German-Hungarian campaigner for the abolition of Prussia’s laws that criminalized sexual relations between men. Homosexuality was not the only term that the late nineteenth century found to describe sexual relations between persons of the same sex. The term inversion was even more widely used. And in 1870, the German physician Karl Westphal invented the phrase â€Å"contrary sexual feeling,† in detailing the history of a young lesbian. These expressions all had a clinical tinge to them. Then there were the more sympathetic, but no less problematic, terms- the â€Å"third sex† and the â€Å"intermediate sex† (Miller 13). These terms and phrases had not yet come across the Atlantic to penetrate the English language in American society except for sexual inversion on a moderate level outside of the clinical sphere. In 1892, however, homosexuality appeared. Prior, the concept of homosexuality was not yet present in the United States. George Chauncey, who has made a thorough study of the medical literature on the subject, persuasively argues, â€Å"Sexual inversion, the term used most commonly in the nineteenth century, did not denote the same conceptual phenomenon as homosexuality. ‘Sexual inversion’ referred to a broad range of deviant gender behavior, of which homosexual desire was only a logical bit indistinct aspect, while ‘homosexuality’ focused on the narrower issue of sexual object choice† (Halperin 15). The introduction of homosexuality gave the people something