...Summary of Stephen King’s “Why We Crave Horror Movies” In Stephen King’s “Why We Crave Horror Movies”, King attempts to convince the reader that humans are all somewhat mentally unstable by laying out specific situations where we enjoy being frightened, and witness others doing the same. Throughout the essay, King analyzes the reasons why we are so attracted to horrifying events, and states that we have to metaphorically “lift up a trap door in the civilized forebrain and throw a basket of raw meat to the hungry alligators swimming around in that subterranean river beneath” preventing the chance of those demons getting out. As the essay progresses, King explains how watching horror movies entertains the demons or feeds the “alligators” within us which causes us to believe that we aren’t awful, or at least as awful as the actual lynchers in the movies. Horror movies “provide psychic relief”, as King says, that allow our emotions to be expressed like the fear that we try to overcome by proving our normality as we are able to watch as many nauseating scenes as we desire. He says that there is a “potential lyncher” living within each and every one of us that has to be set free from time to time through more actions that seem normal like telling sick jokes. The universal popularity of horrific entertainment portrays how several people share the same curiosity, obsession, and interest in this phenomenon like King does. No one admits to this though, which is another reason why horror...
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...En1320 Lab3 “Why We Crave Horror Movies” by Steven King presents an intriguing philosophy of watching horror movies. I believe that the purpose behind this article is to appeal to the reader’s unrealized dark side. King implies that are able to overcome their hysterical fear of things when they’re confronted with it and watching a horror movie is the easiest way to do that. He explains that in some way we all have this courage to overcome our deepest fears and one of the ways we show it is placing ourselves, in this case a movie theater, directly in front of what we know will scare us. The intended audience for this article is most likely the younger age demographic. Horror Movies are especially popular with ages 15-35. When you are younger you have this need to seek out new experience and thrills. Throughout the essay King directs a message to the young by making a comparison of horror movies to roller coasters describing the excitement that is felt throughout the ride. King is trying to persuade his reading audience to watch horror movies that bring his popularity up because he has books that have been made into movies. Although persuasive, King's article does not have factual evidence to solidify his argument that we all crave horror movies. The article uses many rhetorical strategies such as: compare and contrast, analysis and evaluation, cause and effect, absolutes, generalizations, and assumptions. King's ability to use these strategies demonstrates why he is one of...
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...ITT tECHNICAL INSTITUTE | Why we crave horror movies | A Steven King article | | Angela Hullman | 7/17/2015 | In this essay we focus on evaluating the article by Steven King to address the five elements of rhetorical situations. | Stephen King, the famous author of horror genre, discusses his views on why people crave horror movies. King has written many horror novels, some even have been adapted into films or television shorts’. First King examines what he considers to be the basic reasons behind our interests in horror movies, and then he analyzes deeper to develop reasons as to why horror films are so captivating. King first explores the obvious reasons stating “to show that we can, that we are not afraid, and that we can ride this roller coaster”. He suggests that horror films are much like roller coasters, in the way that they keep us guessing what will be next and make us scream at various parts in the ride. On the surface level, he states that we all watch horror movies for fun. He suggests that we watch for the adrenaline, the dare and to see how far it can push us, and that is what makes the horror genre experience so fun. King then delves into the less obvious reasons, the deeper reasons that many people may not quite be aware of consciously. He argues that horror movies will take away the “shades of grey” in life, and invites the viewers to revert back to a childish mindset, when you were able to see the world in black and white. He argues that...
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...Stephen King’s cause and effect essay entitled “Why We Crave Horror Movies”, the author suggests how horror movies serve a specific purpose. The author reveals the popularity of attending horror movies and he also provides reasons that explain this “craving” behavior. The author claims that attending horror movies is not just a trend but also a necessity. Throughout his essay he explains that society has two main reasons to watch horror movies. First by viewing these films, society fulfills their cravings for excitement and entertainment. Yet, society also watches horror movies to fulfill their “physiological need”. King states that society needs to watch horror movies in order to release dark fantasies so they don’t act on them and exercise their dark side for their overall all well-being. King introduces the subject of the essay with a shocking statement where he says “..we are all mentally ill” (522). The author utilizes stereotyping in order to convince the reader that his thoughts are not so clean and positive, as the reader thinks. Furthermore, the author wants to prove that watching horror movies is an independent decision and people are willing to dare the “nightmare”(King 522). To further expand on the main reasons why people like horror movies, through the use of metaphor the author...
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...1. The essay idea I currently have is around ADHD, I haven’t determined yet if the focus will be on ADHD in general, focused on children only or focused on ADHD in adults. I plan to address the perception that people have around stating ADHD isn’t really an illness. I am going for a persuasive rhetorical strategy addressing what ADHD is, explaining what someone feels like when they have ADHD and are not armed with tools to help, such as medication and the benefits gained when someone with ADHD has these tools available to them. 2. The reading I felt offered some ideas was Stephen King, Why We Crave Horror Movies. While I am not personally a horror movie watcher, I like how Stephen King used his thoughts on what he felt drove people to...
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...Horror has always been an interest with people. It awakens morbid interests within seemingly normal people. These interests are so common and odd that people, especially those who have those interests, make theories about it, regarding why some are so interested in things that should make people cringe or run away. Some of these theorists and horror-makers are Stephen King, Angela Carter, and Stanley J. Solomon. Their theories can be applied to why people like works of horror, such as stories, haunted houses, or horror movies. One of these movies in particular is the classic Texas Chainsaw Massacre Part 2. This movie displays the ideas of these theorists in a variety of ways. Stephen King discusses the inner self in his essay Why We Crave...
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...Since the beginning of my freshman year at MTSU, my semester has almost seem like a blur. I faintly remember my very first day of Dr. Donovan’s Expository Writing course. The first thing I first noticed when I walked in was how minimal the class roster was. Through the weeks that seemed like no time, I was surrounded in a welcoming and professional environment. Over the duration of forming the assigned four projects, we all formed a friendly, helpful bond that assisted us in shaping our overall grades. When outlining Why We Praise Hip-Hop as my third project, I had to convey a tone that made my information seem reliable. Since I am not a musician or music critic as a profession, it seemed difficult to speak from a position of expertise. I learned how to obtain this by using my sources from being an avid listener of hip-hop music for many years. I also used specific terms and vocabulary that music fans would recognize to demonstrate a tone they would be familiar with in order to establish credibility....
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...Instructor’s Manual to Accompany The Longman Writer Rhetoric, Reader, Handbook Fifth Edition and The Longman Writer Rhetoric and Reader Fifth Edition Brief Edition Judith Nadell Linda McMeniman Rowan University John Langan Atlantic Cape Community College Prepared by: Eliza A. Comodromos Rutgers, The State University of New Jersey New York San Francisco Boston London Toronto Sydney Tokyo Singapore Madrid Mexico City Munich Paris Cape Town Hong Kong Montreal NOTE REGARDING WEBSITES AND PASSWORDS: If you need a password to access instructor supplements on a Longman book-specific website, please use the following information: Username: Password: awlbook adopt Senior Acquisitions Editor: Joseph Opiela Senior Supplements Editor: Donna Campion Electronic Page Makeup: Big Color Systems, Inc. Instructor’s Manual to accompany The Longman Writer: Rhetoric, Reader, Handbook, 5e and The Longman Writer: Rhetoric and Reader, Brief Edition, 5e, by Nadell/McMeniman/Langan and Comodromos Copyright ©2003 Pearson Education, Inc. All rights reserved. Printed in the United States of America. Instructors may reproduce portions of this book for classroom use only. All other reproductions are strictly prohibited without prior permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. Please visit our website at: http://www.ablongman.com ISBN: 0-321-13157-6 1 2 3 4 5 6 7 8 9 10 - D O H - 05 04 03 02 CONTENTS ...
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...this situation sounds familiar, you may find it reassuring to know that many professionals undergo these same strange compulsions before they begin writing. Jean Kerr, author of Please Don’t Eat the Daisies, admits that she often finds herself in the kitchen reading soup-can labels—or anything—in order to prolong the moments before taking pen in hand. John C. Calhoun, vice president under Andrew Jackson, insisted he had to plow his fields before he could write, and Joseph Conrad, author of Lord Jim and other novels, is said to have cried on occasion from the sheer dread of sitting down to compose his stories. To spare you as much hand-wringing as possible, this chapter presents some practical suggestions on how to begin writing your short essay. Although all writers must find the methods that work best for them, you may find some of the following ideas helpful. But no matter how you actually begin putting words on paper, it is absolutely essential to maintain two basic ideas concerning your writing task. Before you write a single sentence, you should always remind yourself that 1. You have some valuable ideas to tell your reader, and 2. More than anything, you want to communicate those ideas to your reader. These reminders may seem obvious to you, but without a solid commitment to your own opinions as well as to your reader, your prose will be lifeless and boring. If you don’t care about your subject, you can’t very well expect anyone else to. Have confidence that your ideas are...
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... but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves included—frequently malign or ignore. As we have considered our quandary, we have come face-to-face with the central paradox that characterizes the genre: Teaching manuals tend to be distant, mechanical, impersonal, and lifeless, when in fact good teaching is immediate, flexible, personal, and lively. In this manual, therefore, we have attempted to communicate to fellow teachers...
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...ii 10/17/11 12:01 PM HABIT W h y We D o W h a t We D o and How to Change It THE POWER OF CHARLES DUHIGG Random House e N e w Yo r k Duhi_9781400069286_2p_all_r1.j.indd iii 10/17/11 12:01 PM This is a work of nonfiction. Nonetheless, some names and personal characteristics of individuals or events have been changed in order to disguise identities. Any resulting resemblance to persons living or dead is entirely coincidental and unintentional. Copyright © 2012 by Charles Duhigg All rights reserved. Published in the United States by Random House, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York. RANDOM HOUSE and colophon are registered trademarks of Random House, Inc. ISBN 978-1-4000-6928-6 eBook ISBN 978-0-679-60385-6 Printed in the United States of America on acid-free paper Illustrations by Anton Ioukhnovets www.atrandom.com 2 4 6 8 9 7 5 3 1 First Edition Book design by Liz Cosgrove Duhi_9781400069286_2p_all_r1.j.indd iv 10/17/11 12:01 PM To Oliver, John Harry, John and Doris, and, everlastingly, to Liz Duhi_9781400069286_2p_all_r1.j.indd v 10/17/11 12:01 PM Duhi_9781400069286_2p_all_r1.j.indd vi 10/17/11 12:01 PM CONTENTS PROLOGUE The Habit Cure GGG xi PA R T O N E The Habits of Individuals 1. THE HABIT LOOP How Habits Work 3 31 60 2. THE CRAVING BRAIN How to Create New Habits 3. THE GOLDEN RULE OF HABIT CHANGE Why Transformation Occurs GGG PA R T T...
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...Table of Contents Title Page Copyright Page Dedication Introduction Chapter 1 - Priming Chapter 2 - Confabulation Chapter 3 - Confirmation Bias Chapter 4 - Hindsight Bias Chapter 5 - The Texas Sharpshooter Fallacy Chapter 6 - Procrastination Chapter 7 - Normalcy Bias Chapter 8 - Introspection Chapter 9 - The Availability Heuristic Chapter 10 - The Bystander Effect Chapter 11 - The Dunning-Kruger Effect Chapter 12 - Apophenia Chapter 13 - Brand Loyalty Chapter 14 - The Argument from Authority Chapter 15 - The Argument from Ignorance Chapter 16 - The Straw Man Fallacy Chapter 17 - The Ad Hominem Fallacy Chapter 18 - The Just-World Fallacy Chapter 19 - The Public Goods Game Chapter 20 - The Ultimatum Game Chapter 21 - Subjective Validation Chapter 22 - Cult Indoctrination Chapter 23 - Groupthink Chapter 24 - Supernormal Releasers Chapter 25 - The Affect Heuristic Chapter 26 - Dunbar’s Number Chapter 27 - Selling Out Chapter 28 - Self-Serving Bias Chapter 29 - The Spotlight Effect Chapter 30 - The Third Person Effect Chapter 31 - Catharsis Chapter 32 - The Misinformation Effect Chapter 33 - Conformity Chapter 34 - Extinction Burst Chapter 35 - Social Loafing Chapter 36 - The Illusion of Transparency Chapter 37 - Learned Helplessness Chapter 38 - Embodied Cognition Chapter 39 - The Anchoring Effect Chapter 40 - Attention Chapter 41 - Self-Handicapping Chapter 42 - Self-Fulfilling Prophecies Chapter 43 - The Moment Chapter 44 - Consistency...
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...MORE ADVANCE NOISE FOR QUIET “An intriguing and potentially lifealtering examination of the human psyche that is sure to benefit both introverts and extroverts alike.” —Kirkus Reviews (starred review) “Gentle is powerful … Solitude is socially productive … These important counterintuitive ideas are among the many reasons to take Quiet to a quiet corner and absorb its brilliant, thought-provoking message.” —ROSABETH MOSS KANTER, professor at Harvard Business School, author of Confidence and SuperCorp “An informative, well-researched book on the power of quietness and the 3/929 virtues of having a rich inner life. It dispels the myth that you have to be extroverted to be happy and successful.” —JUDITH ORLOFF, M.D., author of Emotional Freedom “In this engaging and beautifully written book, Susan Cain makes a powerful case for the wisdom of introspection. She also warns us ably about the downside to our culture’s noisiness, including all that it risks drowning out. Above the din, Susan’s own voice remains a compelling presence—thoughtful, generous, calm, and eloquent. Quiet deserves a very large readership.” —CHRISTOPHER LANE, author of Shyness: How Normal Behavior Became a Sickness 4/929 “Susan Cain’s quest to understand introversion, a beautifully wrought journey from the lab bench to the motivational speaker’s hall, offers convincing evidence for valuing substance over style, steak over sizzle, and qualities that are, in America, often derided. This book is brilliant...
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...cover next page > title author publisher isbn10 | asin print isbn13 ebook isbn13 language subject publication date lcc ddc subject : : : : : : : : : : : cover next page > < previous page page_i next page > Page i 1100 Words You Need to Know Fourth Edition Murray Bromberg Principal Emeritus Andrew Jackson High School, Queens, New York Melvin Gordon Reading Specialist New York City Schools . . . Invest fifteen minutes a day for forty-six weeks in order to master 920 new words and almost 200 useful idioms < previous page page_i next page > < previous page page_ii next page > Page ii © Copyright 2000 by Barron's Educational Series, Inc. Prior edition © Copyright 1993, 1987, 1971 by Barron's Educational Series, Inc. All rights reserved. No part of this book may be reproduced in any form, by photostat, microfilm, xerography, or any other means, or incorporated into any information retrieval system, electronic or mechanical, without the written permission of the copyright owner. All inquiries should be addressed to: Barron's Educational Series, Inc. 250 Wireless Boulevard Hauppauge, NY 11788 http://www.barronseduc.com Library of Congress Catalog Card No. 00-030344 International Standard Book Number 0-7641-1365-8 Library of Congress Cataloging-in-Publication Data Bromberg, Murray. 1100 words you need to know / Murray Bromberg, Melvin Gordon. p. cm. Includes index. ISBN 0-7641-1365-8 1. Vocabulary. I. Title: Eleven hundred words you need...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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