Can you write me a 1500-1700 word paper (excluding word limits) for me? Please find the below attachment for the instruction and will provide you readings after I hire you.

Can you write me a 1500-1700 word paper (excluding word limits) for me? Please find the below attachment for the instruction and will provide you readings after I hire you.
For the final report, like the first one, can you choose three topics from the subjects I’ve covered and in each case make a comparison between Britain and Japan. You should make use of material from the classes, but also add your own ideas and maybe research (but if you use other sources, please be sure to list them at the end). Write about 500 words on each of the 3 topics, to make a report about 1,500 words in all.
Can you write me a 1500-1700 word paper (excluding word limits) for me? Please find the below attachment for the instruction and will provide you readings after I hire you.
Week 14 ENGLAND AND THE IDEA OF CULTURAL STUDIES INTRODUCTION READ THIS CAREFULLY BEFORE THE CLASS In this class you have been studying culture. In many of your other classes the word culture has probably been used, too. Cultural Studies is, in fact, the fastest-growing university subject in the world. Nevertheless, the word culture is surprisingly complicated, and it is not always clear what it means, or why we should study it. To many people today culture means something like lifestyle, but if that is ALL it means, then why do we need the word at all? Before the lecture, think about what culture means to you. If you hear someone mention, say, French culture or Russian culture what sort of ideas come into your mind? In the class we ll think about different definitions of culture, and learn about how and why different kinds of culture were studied in the past. The modern idea of Cultural Studies was not developed until the 1950s, and it was developed in England, though it has since become very international. This final lecture should make you think about the point and the value of the sort of things you have learned in this class. Hopefully it will also help you think about the point and the value of other classes you are taking. Part One: What is Culture ? Three Definitions (i) The modern English word culture comes from the German word kultur. This was first used by Johann Gottfried Herder (1744-1803) and other German writers of the late 1700s to describe the spiritual nature of a nation or group of people. (ii) Soon afterwards, other German writers, such as Wilhelm von Humboldt (1767-1835), began using the word kultur in a different sense, and one closer to its Latin root, cultivus. They used it to describe the greatest artistic achievements of humans, and the ability to appreciate them. To them kultur was connected with study and self-cultivation. (iii) Since the 1950s the word culture has been used to describe everything humans do and make. In particular it has been used to describe the tools and mechanisms that define and shape individuals in a social environment (fashion, media, cinema, popular music, magazines, etc.). Part Two: What kind of Culture has been Studied in England? And Why? (1) Before the 1950s the STUDY of culture was mainly limited to (ii) above (with a little bit of (i)). But this study changed over time, partly because of changing ideas about what the greatest intellectual and artistic achievements of humans actually were, and partly because of changes in the institutions where those studies were undertaken. (a) Before the 1700s the only culture seriously studied in Western Europe was the literature of Ancient Greece and Ancient Rome (culture ii). Learning Latin was considered to be the most important part of education. (b) In the 1700s serious interest began to be taken in modern and national culture (culture ii). Something significant happened, shortly after 1750 & art and literature ceased to be recreations, and became studies, devoted & to the nurturing and refining of the soul (Roger Scruton, An Intelligent Person s Guide to Modern Culture, 1998). At this time there was published in England: Horace Walpole s Anecdotes of Painting in England (1762-4), Thomas Warton s The History of English Poetry (1774-81), and Charles Burney s A General History of Music (1776-89). In the 1700s, too, serious books about other countries and cultures (culture i, ii, and a bit of iii) began to become popular Englebert Kaempfer s History of Japan (1729) is a good example. Books like this began to make clear what was distinctive about British culture (culture i, ii, and even iii). (c) In the 1800s, as the range of subjects taught in universities increased dramatically, the study of modern and national culture (culture ii) became increasingly common and organised. As you ve learned already, in 1859 University College London became the first university in the world to offer a degree in English Literature. By the early 1900s the study of English Literature had become one of the most popular and fast-developing university subjects. (2) Since the 1950s the study of culture has grown to include culture iii above, and since 1964 the study of culture iii has been specifically called Cultural Studies. By the 1980s Cultural Studies had become the fastest-growing academic subject in the world. Ideas developed within Cultural Studies were by this time being used in the older and more specialised cultural studies (English Literature, Music, History of Art, etc.) Part Three: What Made Cultural Studies Develop? (1) Modern Cultural Studies was developed by a group of young British scholars in the 1950s: Richard Hoggart (1918-2014), Raymond Williams (1921-88), E. P. Thompson (1924-93), and Stuart Hall (1932-2014). They are often called the Founding Fathers of Cultural Studies. Three of them came from working-class families (Hoggart, Williams, Thompson). All of them went to university (on scholarships). Three of them studied English Literature (Hoggart, Williams, Hall). All of them had strong socialist views. All of them taught at adult education institutes (though they later moved to universities). (2) Hoggart, Williams, Thompson and Hall were all impressed and influenced by the methods used by English Literature scholars. These methods included careful readings of the words of a text and careful use of history to place a text in context. What they disliked was the ELITISM of English Literature. They felt that the books studied in English Literature courses were all part of a high culture (culture ii) designed for the upper- and middle-classes and therefore expressed the values of those classes. The books seemed to have little to do with the working classes: in other words, with the majority of people in England. (3) Yet Hoggart, Williams, Thompson and Hall believed that the working classes did have a valuable culture of their own a culture that had never been studied in universities. They began studying this popular culture. (4) In 1964, Richard Hoggart, who had become a Professor of English Literature at the University of Birmingham, founded the Centre for Contemporary Cultural Studies (CCCS) there. This gave Cultural Studies a name and official status of its own and allowed it to develop independently of English Literature. It was the first institution in the world to award degrees in Cultural Studies. Part Four: Del Boy at the Opera House British Cultural Studies has been strongly interested in the relationship between culture and social class. We ll think about this by focusing on an extract from the 1986 Christmas Special of Only Fools and Horses, called A Royal Flush. In this episode Rodney becomes friendly with Victoria (Vicky), the daughter of a Duke. She persuades him to take her to see Carmen at the Royal Opera House. Rodney has never been to an opera, or a theatre before, and he feels very awkward when he gets there. But then his situation suddenly gets much more uncomfortable when Del unexpectedly turns up & Look out for these moments: When Del first arrives he pushes a lady at the bar to make room, then says Alright darling? They reckon it s gonna be a good un tonight. Rodney mistakes Del s date for a kissogram. The following conversation between Vicky and June: Vicky: So you re an opera buff as well, are you June? June: I saw one once on BBC 2. Our telly had gone up the wall, it was the only channel we could get. Del and Rodney mistake the bell announcing the beginning of the performance for the bell announcing the closure of the bar. The following conversation between Del and June: Del: It s a blindin opera, in t it? June: It s alright I suppose. It don t get going, does it? Del: Well no, it s not meant to get going it s culture. You don t come to an opera to enjoy it, you come & cos it s there. June: Oh, I didn t know that. I like Vince Hill. Del: Well yeah, I like Vince Hill. Yeah. Yeah. He s almost culture, but not quite. But almost. The following conversation between Del and Rodney: Del: Rodney, put your arm round her shoulder. Put your arm round her! Rodney: I don t & but Del, this is not the Odeon. Part Five: Cultural Studies After The CCCS In the 1970s and 80s the new style of Cultural Studies began spreading to other countries, especially India, the United States, Canada, Australia, and France. In these new locations some of the emphases changed. While British Cultural Studies had been very concerned with class, in other countries more emphasis was placed on things like race, gender, sexuality, and issues connected with colonization. While in Britain Cultural Studies had been very political (left-wing) and essentially anti-institutional, in some other countries especially the United States it lost these elements, and immediately became a safe academic subject. Since the 1980s the different versions of Cultural Studies have spread and spread along with Western culture. One of the most interesting arguments made against Cultural Studies, in fact, is that it is itself a new kind of colonization. It is one thing to study popular culture. It is quite another to romanticize junk and give it academic respectability. The legitimacy that Cultural Studies provides for infantile Western culture has a detrimental effect on Third World societies. Respectable social scientists in places as distant as Delhi and Taiwan spend their time studying, teaching and defending Western junk at the expense of their own rich cultural heritage. (Ziauddin Sardar and Borin Van Loon, Cultural Studies for Beginners, 1997) YOU ARE YOUR CHOICES: A FINAL THOUGHT LIFE is not just something that you live. It is something that you build, or assemble. As with any building, it is important to choose the right building materials! The most important thing that you can do when you are young is to create a solid and stable foundation on which you can continue to build later in life. This means finding things that will give you pleasure and strength in 20 years time or 40 years time. 5
Can you write me a 1500-1700 word paper (excluding word limits) for me? Please find the below attachment for the instruction and will provide you readings after I hire you.
WEEK 10 THE ENGLISH MUSICAL INTRODUCTION READ THIS CAREFULLY BEFORE THE CLASS This lecture is about one of the most popular and successful branches of English culture: the MUSICAL. The use of the noun musical to refer to a particular kind of theatrical work with songs and dances is quite new (early 1900s). Nevertheless, this kind of theatre first emerged in the late 1600s, when it developed both in alliance with, and in competition with, Italian OPERA. An OPERA is essentially rather like a play, but it is sung (in whole or part). The music is used to develop the story. The music may, for example, emphasize the happiness, the sadness, the violence, or the romance of the story. As individual characters sing, the music helps express the emotions that they are experiencing. A MUSICAL, by contrast, is rather like a play to which bits of music have been added. Before 1970, most of the most important action in a musical was spoken. The songs and choruses sometimes work in the same way as the songs and choruses in an opera; but they are often designed simply to interrupt the story in an enjoyable way. The music is less dramatic and more decorative. Make sure you understand the following words: satire, highwayman, vice, cockney. Part One: How it all began In the late 1500s OPERA was created in Italy, to imitate what Ancient Greek theatre was supposed to have been like. Early opera was based on the idea of recitative, a kind of singing halfway between speech and song. This was broken up with choruses. At this period, English theatre already made some use of music, and many plays included songs and dances. In 1656 The Siege of Rhodes, the first English opera, was performed in London. It was all-sung, like contemporary Italian opera. However English audiences, who were used to mainly spoken theatre, disliked this style of performance. In the 1660s and 70s English writers and composers developed a sort of compromise theatrical work, where all the most important parts would be spoken (by actors), but in which there were also many songs, choruses, and dances (usually sung and danced by specialized performers). This style became very popular. Part Two: Competing with the Italians In the early 1700s Italian operas, sung by Italians, started to be performed in London. These were mostly written by George Frideric Handel (1685-1759). Italian operas generally told stories from ancient Greek and Roman literature, ancient history, or the romance literature of the middle ages. They were performed by highly trained singers and musicians. Italian opera soon became enormously popular with the upper classes in Britain, and became an important part of cultural life in London for the next 200 years. In response to the popularity of Italian opera, English writers and composers continued to develop a kind of music theatre which combined speech and song, and in which actors would now sing. The first great success in this tradition was The Beggar s Opera (1728) by John Gay (1685-1732), which has sometimes been called the first musical. It is a satirical story of an unscrupulous highwayman, Macheath, who spends most of his life seducing women, but who is eventually betrayed by his friends and sentenced to death. It contained no new music, but Gay wrote new words for many popular English tunes that were designed to be easy to sing by actors without professional musical training. One of these tunes is Greensleeves. George Frideric Handel Giulio Cesare (1724) I shall lament my fate, so cruel and so harsh, while I have life in my breast. John Gay The Beggar s Opera (1728) Since Laws were made for every degree, To curb vice in others, as well as me, I wonder we han t better company, Upon Tyburn Tree! But Gold from Law can take out the sting; And if rich men like us were to swing, Twould thin the land, such numbers to string Upon Tyburn Tree! From the 1720s musicals generally told stories set in the modern world that were designed to appeal to the growing middle-class audience. Part Three: The Relationship with Popular Music Since the time of The Beggar s Opera, one of the key questions facing the British (and later the American) musical is: what sort of relationship should the music in a musical have with the popular music of the period in which the musical is created? In the past, many of the most popular songs came from musicals. For example, Home Sweet Home from Henry Bishop s Clari; or, The Maid of Milan (1823) was probably the most popular song of the entire 1800s. More recently, Don t Cry For Me Argentina from Andrew Lloyd Webber s Evita (1976) was another huge international hit. But should a musical simply reproduce the sounds of popular music, or should it aim to offer a higher-level listening experience? Should it be closer to the world of classical music and opera? We ll look at two very different answers to these questions. The most successful British musical in the middle 1900s was Me and My Girl (1937) by Noel Gay (1898-1954). By 29 November 1945 it had reached its 5,000th performance, a world record that would last till the 1990s, when it was finally beaten by Cats. In 1957 it was described as probably the most successful comedy in the history of the British theatre. Gay developed a popular style of music from the music hall entertainments that were mainly popular with the British working class. Me and My Girl tells the story of how a cockney market trader called Bill Snibson is discovered to be the only son of Lord Hareford, an aristocrat. His new relations want him to start acting like a gentleman, and to break up with his cockney girlfriend, Sally Smith & The show became most popular for its working-class dance routine, The Lambeth Walk. Lambeth you ve never seen The skies ain t blue The grass ain t greenIt hasn t got the Mayfair touchBut that don t matter very much.We play a different way,Not like you But a bit more gayWhen we have a bit of fun Oh, Boy!Any time you re Lambeth way,Any evening any day,You ll find us all doin the Lambeth Walk.Ev ry little Lambeth galWith her little Lambeth pal,You ll find us all doin the Lambeth Walk.Everything free and easy,Do as you darn well pleasey,Why don t you make your way there,Go there, stay there,Once you get down Lambeth way,Every evening, every day,You ll find yourself doin the Lambeth Walk. The most successful British musical in the middle 1900s was The Phantom of the Opera (1986) by Andrew Lloyd Webber (1948-). It is the longest-running musical ever in New York and currently the second longest-running in London. Between 2006 and 2014 it was classed as the most financially successful entertainment event ever. The story of The Phantom of the Opera is set in the Paris Opera House in the 1880s, and most of the characters are directly connected to the world of opera. Not surprisingly, then, Lloyd Webber chose to compose this musical in a deliberately operatic style, suggestive of a sort of high culture experience. 2
Can you write me a 1500-1700 word paper (excluding word limits) for me? Please find the below attachment for the instruction and will provide you readings after I hire you.
ENGLISH NURSERY RHYMES INTRODUCTION READ THIS CAREFULLY BEFORE THE CLASS Nursery rhymes (sometimes called Mother Goose rhymes in America) represent the truest form of popular culture, as almost everybody learns them: the most famous 20 or 30 English nursery rhymes are probably known to 98% of the inhabitants of Britain. The term nursery rhyme was first used in the early 1800s to define a particular kind of traditional song for young children. In earlier times, however, these songs were not thought of as especially for children, and the way they have been understood has in fact changed several times. This class will be a cultural history of nursery rhymes, and we will be looking at the way the status and significance of these rhymes has changed over a long period of time. It will also introduce you to several famous English nursery rhymes. Make sure you know the following words: nursery, absurd(ity), folklore, cryptic, tradition(al). Before 1744: Oral Culture Most famous English nursery rhymes are between about 200 and 500 years old, composed between c. 1500 and 1800. We do not know who the original authors were, and in many cases the rhymes were probably developed over a long period of time, with several people contributing ideas. In this early period the rhymes were not published as rhymes, but they are sometimes referred to in plays, satires, and other kinds of writing. These references make it clear that nursery rhymes had a very low cultural status. They were associated with the nonsense and ignorance of lower-class culture. They were not regarded as especially suitable for children: on the contrary, they were often connected with drinking songs and salacious humour. Children were understood as exposed to them by nurses and servants. In Thomas D Urfey s comic play, The Campaigners (1698), for example, a nurse is portrayed speaking to a child: Ah Doddy blesse dat pitty face of myn sylds, and his pitty, pitty hands and his pitty, pitty foots, and all his pitty things, and pat a cake, pat a cake, baker s man, so I will master as I can, and prick it, and prick it, and prick it, and prick it, and prick it, and throw t into the oven. This is the earliest known reference to one of the most famous English nursery rhymes: Pat-a-cake, pat-a-cake, baker s man. Bake me a cake as fast as you can; Pat it and prick it and mark it with B, And put it in the oven for baby and me. In general, the middle class, especially the religious middle class, saw the rhymes as silly at best and bad at worst. Educationalists condemned their influence on children. In his Improvement of the Mind (1741), for example, Isaac Watts (1674-1748), one of the leading writers of books for children at the time, wrote: the dull rhymes that are sung to lull children asleep, or to sooth a forward humour, should be generally forbidden to entertain those children, where a good education is designed. Something more innocent, more solid and profitable, may be invented instead of these fooleries. & Let not nurses or servants be suffered to fill their [children s] minds with silly tales, and with senseless rhymes, many of which are so absurd and ridiculous & 1744-1800: The Transition to Books of Rhymes In 1744 Tommy Thumb s Song Book and a sequel, Tommy Thumb s Pretty Song Book, were published by Mary Cooper, a London publisher: the first books of nursery rhymes. These are complex publications: they claim to be books for children ( fit for the Capacities of Infants ), but at the same time they include a good deal of bad language and illustrations of children behaving badly. Some modern scholars think these books were designed more for adults than for children, and that to some extent they make fun of children. The next collection of nursery rhymes was Mother Goose s Melody, probably put together in the 1760s, but not published until 1781. Interestingly, in this collection the nursery rhymes are all given moral and philosophical notes but these are generally ironic. This suggests that middle-class readers still had an awkward relationship to the traditional rhymes now dignified by being published in a book. Two more collections of nursery rhymes that appeared in the 1700s were clearly intended mainly for adult readers: Joseph Ritson s Gammer Gurton s Garland, or the Nursery Parnassus of 1783 and Noel Turner s Infant Institutes (1797). They show that people were becoming increasingly interested in nursery rhymes as expressions of traditional folklore. 1800-1850: Popularity and Controversy In the period 1800-1850 the cultural status of nursery rhymes was transformed, even though they remained controversial. Many books of nursery rhymes were now published specifically for children. Though some educationalists still criticized them as nonsense that would have a bad effect on children, other educationalists defended them as highly imaginative, and above all as a traditional part of children s education. The most important collector and writer on nursery rhymes at this time, James Orchard Halliwell (1820-89), wrote in 1842: The absurdity and frivolity of a rhyme may naturally be its chief attractions to the very young; and there will be something lost from the imagination of that child, whose parents insist so much on matters of fact, that the cow must be made, in compliance with the rules of their educational code, to jump under instead of over the moon ; while of course the little dog must be considered as barking, not laughing at the circumstance. The rhyme he was referring to is: Hey diddle diddle,The cat and the fiddle,The cow jumped over the moon,The little dog laughed to see such sport,And the dish ran away with the spoon. 1850-1950: The Search for Deeper Meanings By this time, there was almost no opposition to nursery rhymes, which had become a standard part of a child s education all over the English-speaking world. But now that they had a classic cultural status, people began to dispute that they were just fun and nonsensical. The idea developed that they were actually full of cryptic references to real historical events and persons. This approach culminated in The Real Personages of Mother Goose (1930), by the American scholar Katherine Elwes Thomas. The problem with this theory was that in most cases it was impossible to prove a connection, and by the end of this period it was being widely rejected. The actual relationship of the nursery rhymes to historical events if it exists at all is certainly a complex one. A good example is one of the best-known nursery rhymes, The Grand Old Duke of York : Oh, The grand old Duke of York,He had ten thousand men;He marched them up to the top of the hill,And he marched them down again. And when they were up, they were up,And when they were down, they were down,And when they were only half-way up,They were neither up nor down. Since the middle 1800s it has been repeatedly stated that this rhyme refers to Prince Frederick, Duke of York and Albany (1763-1827), the second son of King George III, who was appointed commander of the British army in 1793. In the 1940s, Alfred Burne made a detailed study of Prince Frederick, however, and concluded (i) that the rhyme (in this form) did not exist in Prince Frederick s lifetime and (ii) that there was no event in his [the Prince s] military career that remotely resembles the operation described in the jingle. Moreover, he found a much earlier rhyme, dating back to at least 1594: The King of France went up the hill With twenty thousand men; The King of France came down the hill And never went up again. Burne argued that the more modern rhyme had evolved from the earlier one, and that at some point after 1827 The grand old Duke of York was substituted for The King of France. Since Burne wrote, another 1800s version has been discovered in which it is Napoleon who marches up the hill. Nursery Rhymes Today Nowadays nursery rhymes are still an important part of every child s education, and in general they are regarded simply as good fun, likely to stimulate a child s imagination, and useful for developing a child s interest in language. Modern media have presented them to children in more and more different ways. The best-known nursery rhymes are the truest form of popular culture, because almost everybody knows them. References to them in other contexts can easily be recognized, and they have been featured in novels, films, operas, pop songs, television shows, political satires, advertising, and many other areas of cultural life. 5
Can you write me a 1500-1700 word paper (excluding word limits) for me? Please find the below attachment for the instruction and will provide you readings after I hire you.
WEEK 9 THE ENGLISH UNIVERSITY INTRODUCTION READ THIS CAREFULLY BEFORE THE CLASS This lecture will give you some ideas about higher education in England, and how it is very different from that in Japan. We will start by considering the great difference between the way the Japanese rank universities, and the way the rest of the world ranks them. We will then go on to look at some key differences between universities in Britain and Japan (and especially Doshisha): the nature of the professors, the nature of the learning experience, and the way students are evaluated. In the second part of the lecture, we will be mainly concerned with the history of higher education in Britain, and concentrate in particular on two historically very important universities (both of which I attended as a student): Oxford and University College London. Part One: Standards 1) What is a university for? TO CREATE KNOWLEDGE. 2) How to Become a Professor To become a permanent, full-time professor at Doshisha you need to have published 5 essays. These can be (and often have been) published in Doshisha s own academic bulletins. To become a permanent, full-time professor in most British universities you need to have published a book, or obtained a contract for a book, with an academic publisher or to have equivalent publication. To become a permanent, full-time professor in good American universities you need to have published 2 books with an academic publisher or to have equivalent publication. The standards are much higher! Part Two: Producing Knowledge 1) The Nature of Learning In patterns of study the UK, historically, used to have no continuous assessment but final exams at the end of the year, and particularly at the end of the programme. The US always worked on a semester system with exams at the end of each semester and, except the best universities, no exam at the end of the course. (David VanderLinde, Reflections on Higher Education in the US and the UK, 2001) 2) Main differences between US and British degrees UK degrees are more focused on the practical aspect of the profession as opposed to the US liberal arts education, which requires each student to learn a broader curriculum. For students who have a clear idea of what profession they wish to follow, a specialised British degree is ideal as they are able to concentrate their efforts on the designated subject area from the beginning of the degree. The UK education style is particularly relevant to students who want to concentrate their efforts and energy on a specific subject area or combination of subjects straight out of high school. & Undergraduate students are expected to be proactive, read widely around their subject and to motivate themselves outside of lectures. & The close contact between student and tutor in seminars and tutorials is a particular strength of UK degree courses. ( Across the Pond An American website encouraging American students to study in Britain) The Key Point: To do well in a university like Doshisha, you need to study many different things, and to satisfy the different grading criteria of many different professors. But most of the knowledge does not need to be retained. To do well in a British university, you need to have studied one subject area deeply, and to retain your knowledge until the end of the course, when you are expected to be able to answer general questions: for example, Does Shakespeare represent marriage positively or negatively? Part Three: Institutions 1) Oxford The University of Oxford is the oldest university in the English-speaking world and the second or third oldest surviving university in the world (preceded by the University of Bologna and, possibly, the University of Paris). For its entire history it has been judged one of the world s top universities. The exact beginning of the University of Oxford is mysterious. The earliest reference to higher education at Oxford is in 1096. In the 1100s it developed as a leading centre of learning in Europe, the main rival of Paris. In the 1200s Oxford developed into something like its modern form, with a series of colleges all separately administered but joined together at the university level. In 1209 a group of scholars from Oxford went to Cambridge and created the University of Cambridge. Cambridge developed as Oxford s great rival for over 600 years they were the only universities in England. For a long time the monopoly that Oxford and Cambridge held over higher education in England was unchallenged. But problems started in the 1600s, for religious reasons. In 1581 Oxford introduced a religious test for any student graduating at the university they had to publicly accept the 39 Articles of Faith established by the Church of England. Cambridge followed in 1616, making this a requirement for entering students. Many Protestant Dissenters refused to accept this condition, and in the late 1600s they began setting up Dissenting Academies to offer an alternative education but these academies could not grant degrees. In the 1700s both Oxford and Cambridge seemed to be increasingly old-fashioned. Gradually this led to the idea that there should be other universities. When new universities began to be created in the 1800s this forced Oxford and Cambridge to greatly improve their standards. 2) University College London Unive