Where today a political regime establishes an official culturalpolicy, it is for the sake of demagogy. If kitsch is the officialtendency of culture in Germany, Italy and Russia, it is not becausetheir respective governments are controlled by philistines, butbecause kitsch is the culture of the masses in these countries,as it is everywhere else. The encouragement of kitsch is merelyanother of the inexpensive ways in which totalitarian regimesseek to ingratiate themselves with their subjects. Since theseregimes cannot raise the cultural level of the masses -- evenif they wanted to -- by anything short of a surrender to internationalsocialism, they will flatter the masses by bringing all culturedown to their level. It is for this reason that the avant-gardeis outlawed, and not so much because a superior culture is inherentlya more critical culture. (Whether or not the avant-garde couldpossibly flourish under a totalitarian regime is not pertinentto the question at this point.) As a matter of fact, the maintrouble with avant-garde art and literature, from the point ofview of fascists and Stalinists, is not that they are too critical,but that they are too "innocent," that it is too difficultto inject effective propaganda into them, that kitsch is morepliable to this end. Kitsch keeps a dictator in closer contactwith the "soul" of the people. Should the official culturebe one superior to the general mass-level, there would be a dangerof isolation.
It is a platitude that art becomes caviar to the general whenthe reality it imitates no longer corresponds even roughly tothe reality recognized by the general. Even then, however, theresentment the common man may feel is silenced by the awe in whichhe stands of the patrons of this art. Only when he becomes dissatisfiedwith the social order they administer does he begin to criticizetheir culture. Then the plebian finds courage for the first timeto voice his opinions openly. Every man, from the Tammany aldermanto the Austrian house-painter, finds that he is entitled to hisopinion. Most often this resentment toward culture is to be foundwhere the dissatisfaction with society is a reactionary dissatisfactionwhich expresses itself in revivalism and puritanism, and latestof all, in fascism. Here revolvers and torches begin to be mentionedin the same breath as culture. In the name of godliness or theblood's health, in the name of simple ways and solid virtues,the statue-smashing commences.
Fighting back always entails the possibility of losing. But, with intrusive editors, not fighting back guarantees that you will lose. After engaging in a tug-of-war with one publisher over their editorial fetishes, I simply offered to return the royalty advance and cancel our contract. He accepted. Months went by before I found another publisher—but it was one offering a larger advance and less copy-editing. It didn’t have to turn out that way, of course, but faint heart ne’er won fair lady.
I do not arbitrarily dismiss copy-editors’ suggestions. I usually consider them and find them to be stupid beyond belief. That is hardly surprising. In fact, what is surprising is that anyone would authorize people who are not writers, and who do not know the subject matter, to over-ride people who are writers and who do know the subject matter. Add to this the fact that a book may be written and rewritten over a period of years, while the copy-editor has at most only a few weeks in which to second-guess all the stylistic decisions that were made by the author after far more deliberation.
The editor’s reply expressed great surprise and shock—and, of course, a vote of confidence in the copy-editor. It was impossible to meet my demand, he said. It seemed only fair to reciprocate his candor by pointing out that the manuscript would sit on the shelf gathering dust until he did.
You need a roof (Topic & Thesis), walls to hold up the roof (The Thesis supports), and finally a foundation to support your home (conclusion).
School should start at 10 and end at 5pm
Parents & students 'get out' at the same time.
Better prepared for the work world after school.
Research shows increased school grades & attend.
Staring school later in the day is beneficial
to students and their families.
Restate Body Points
End Essay with "awe"
Restate Body Points
End Essay with "awe"
Did you see that!
You know....about the intro and the conclusion?
Using the sheet provided fill out your Essay Outline from a topic and thesis of your choice.
= One Paragraph
Write an editorial for your school newspaper encouraging students to start the "respect ripple effect." Describe what it could accomplish in your school setting.
Is it the nature itself of avant-garde culture that is aloneresponsible for the danger it finds itself in? Or is that onlya dangerous liability? Are there other, and perhaps more important,factors involved?
Authentic Authenticity Honesty honestly Honesty honestly When Authentic Authenticity Honesty honestly Honesty honestly When Respect essay Twitter
While my brief stint as an editor made me understand the necessity for such people, it provided no blanket excuse for all their behavior. Pointing out unclear passages, or even suggesting a complete reorganization of a manuscript, are legitimate editorial functions. Becoming an unwanted co-author is not. But by far the worst thing that editors do is to unleash those anonymous vandals known as copy-editors.
Finishing the rest of the score was more problematic. Mozart's manuscript contained sketches for the , but nothing at all for the and . Constanze apparently tried to enlist a number of other respected composers but ultimately settled for Franz Süssmayr, a copyist and occasional pupil who happened to have been at the Mozarts' during the composer's final night but for whom Mozart had had little regard - in letters to Constanze that fall, Mozart had called him a blockhead, an ass-licker and a lamp-cleaner and likened his mental acuity to that of a duck in a thunderstorm. The crucial question that has perplexed scholars is how much of the final product qualifies as authentic Mozart.
Then there are those copy-editors who are politically correct. They don’t want you to use words like fireman or businessman or even to say that someone mastered a subject, because these are all words deriving from a male-dominated world instead of being “gender neutral.” And of course you cannot refer to someone’s having welshed on a deal or even say that he has a chink in his armor or that there is a nip in the air, because all of these terms are considered ethnically offensive, at least by politically correct copy-editors.
Of its 14 sections, Mozart had completed in full score the opening (an astounding blend of the old polyphony and dignified repressed emotions of Bach with the forward-looking mournful lyricism of the coming era) and the four vocal parts and bass of the (a stunning double fugue that symbolically fuses a stern, noble subject for "Kyrie eleison" with a more humanized one for "Christe eleison"). To perform them both at a memorial service, Constanze asked Mozart's foremost pupil F. X. Freystädtler to orchestrate the , which he inscribed on Mozart's autograph original (preserved in the Austrian National Library in Vienna). She next gave the score to Joseph Eybler, a close friend who had been with Mozart through much of his final illness and a gifted composer for whom Mozart had written a glowing testimonial and held in high esteem. Mozart had written out the full vocal parts and bass line, together with an outline of the remaining instrumentation, for nearly the entire ( and ), but only the first eight bars of the . Eybler completed these portions but then stopped at the same point as Mozart, possibly due to other commitments, but, according to Eve Badura-Skoda, more likely out of humility and respect for Mozart, whose inspiration and invention he felt unworthy to succeed.
If, through extra-sensory perception or some other miraculous process, a writer could determine in advance the copy-editor’s stylistic preferences and slavishly followed them in his writing, the manuscript would still come back with changes. Making changes is what copy-editors do. An old song from the musical “Showboat” said, “fish gotta swim, birds gotta fly.” Editors gotta edit.