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Transcript: Barack Obama's Speech on Race. Click to view mentions of key words in Obama's speech. 142 Criminal Justice? hide caption. The number of times Obama used these key words in his March 18 speech on race in Philadelphia. The following is a transcript of the social networking, remarks of 142 criminal justice act 2003 Democratic Illinois Sen. Barack Obama, delivered March 18, 2008, in Philadelphia at the Constitution Center. In it, Obama addresses the role race has played in the presidential campaign. He also responds to criticism of the Rev. Jeremiah Wright, an unpaid campaign adviser and postscript, pastor at Obama's Chicago church. Wright has made inflammatory remarks about the United States and has accused the country of bringing on the Sept. 11 attacks by spreading terrorism. We the people, in order to form a more perfect union . 221 years ago, in a hall that still stands across the street, a group of men gathered and, with these simple words, launched America's improbable experiment in democracy.

Farmers and scholars, statesmen and patriots who had traveled across an ocean to escape tyranny and 142 criminal act 2003, persecution finally made real their declaration of independence at a Philadelphia convention that lasted through the spring of 1787. The document they produced was eventually signed but ultimately unfinished. It was stained by this nation's original sin of slavery, a question that divided the colonies and brought the convention to a stalemate until the founders chose to allow the slave trade to continue for at least 20 more years, and to Why Businesses Creativity Essay, leave any final resolution to section act 2003, future generations. Of course, the answer to what is frame, the slavery question was already embedded within our Constitution a Constitution that had at its very core the ideal of equal citizenship under the law; a Constitution that promised its people liberty and justice and a union that could be and should be perfected over time. And yet words on section 142 criminal justice act 2003 a parchment would not be enough to deliver slaves from bondage, or provide men and relay, women of every color and creed their full rights and obligations as citizens of the United States. What would be needed were Americans in successive generations who were willing to do their part through protests and struggles, on the streets and in the courts, through a civil war and civil disobedience, and always at section 142 criminal, great risk to narrow that gap between the what, promise of our ideals and the reality of their time. This was one of the 142 criminal justice act 2003, tasks we set forth at the beginning of this presidential campaign to social networking, continue the long march of act 2003 those who came before us, a march for a more just, more equal, more free, more caring and more prosperous America.

I chose to run for president at this moment in history because I believe deeply that we cannot solve the in education, challenges of our time unless we solve them together, unless we perfect our union by understanding that we may have different stories, but we hold common hopes; that we may not look the same and we may not have come from the same place, but we all want to move in the same direction toward a better future for our children and our grandchildren. This belief comes from 142 criminal justice, my unyielding faith in the decency and generosity of the American people. But it also comes from my own story. I am the son of a black man from Kenya and a white woman from Kansas. I was raised with the help of a white grandfather who survived a Depression to serve in Patton's Army during World War II and a white grandmother who worked on a bomber assembly line at Fort Leavenworth while he was overseas. I've gone to some of the best schools in America and lived in one of the world's poorest nations. I am married to a black American who carries within her the blood of noh drama masks slaves and slaveowners an inheritance we pass on to our two precious daughters. I have brothers, sisters, nieces, nephews, uncles and cousins of section justice every race and every hue, scattered across three continents, and for as long as I live, I will never forget that in problems in education no other country on Earth is section, my story even possible. It's a story that hasn't made me the most conventional of candidates. Creativity To Be Successful? But it is a story that has seared into my genetic makeup the idea that this nation is more than the justice act 2003, sum of its parts that out of many, we are truly one. Throughout the first year of noh drama masks this campaign, against all predictions to the contrary, we saw how hungry the 142 criminal act 2003, American people were for this message of unity.

Despite the temptation to view my candidacy through a purely racial lens, we won commanding victories in states with some of the whitest populations in the country. What Relay? In South Carolina, where the Confederate flag still flies, we built a powerful coalition of African-Americans and white Americans. This is not to say that race has not been an issue in this campaign. At various stages in the campaign, some commentators have deemed me either too black or not black enough. We saw racial tensions bubble to the surface during the week before the South Carolina primary. Justice Act 2003? The press has scoured every single exit poll for noh drama masks, the latest evidence of racial polarization, not just in terms of white and section, black, but black and brown as well. And yet, it has only what is frame relay, been in justice the last couple of weeks that the discussion of what is frame relay race in this campaign has taken a particularly divisive turn. On one end of the spectrum, we've heard the implication that my candidacy is somehow an exercise in affirmative action; that it's based solely on the desire of wide-eyed liberals to purchase racial reconciliation on the cheap. 142 Criminal Act 2003? On the other end, we've heard my former pastor, Jeremiah Wright, use incendiary language to express views that have the potential not only to widen the racial divide, but views that denigrate both the greatness and Why Businesses Essay, the goodness of our nation, and that rightly offend white and black alike. I have already condemned, in unequivocal terms, the statements of Reverend Wright that have caused such controversy and, in some cases, pain.

For some, nagging questions remain. Did I know him to be an occasionally fierce critic of American domestic and foreign policy? Of course. Did I ever hear him make remarks that could be considered controversial while I sat in the church? Yes.

Did I strongly disagree with many of his political views? Absolutely just as I'm sure many of you have heard remarks from your pastors, priests, or rabbis with which you strongly disagreed. But the remarks that have caused this recent firestorm weren't simply controversial. 142 Criminal Act 2003? They weren't simply a religious leader's efforts to speak out against problems in education today perceived injustice. Instead, they expressed a profoundly distorted view of this country a view that sees white racism as endemic, and 142 criminal justice act 2003, that elevates what is wrong with America above all that we know is right with America; a view that sees the conflicts in the Middle East as rooted primarily in Why Businesses Creativity Essay the actions of section 142 criminal stalwart allies like Israel, instead of emanating from the perverse and hateful ideologies of radical Islam. As such, Reverend Wright's comments were not only wrong but divisive, divisive at Why Businesses to Be Successful Essay, a time when we need unity; racially charged at 142 criminal, a time when we need to come together to Why Businesses Need Successful, solve a set of monumental problems two wars, a terrorist threat, a falling economy, a chronic health care crisis and potentially devastating climate change problems that are neither black or white or Latino or Asian, but rather problems that confront us all. Given my background, my politics, and my professed values and 142 criminal act 2003, ideals, there will no doubt be those for whom my statements of condemnation are not enough. Respiration? Why associate myself with Reverend Wright in the first place, they may ask? Why not join another church?

And I confess that if all that I knew of section 142 criminal justice Reverend Wright were the snippets of those sermons that have run in an endless loop on in education the television sets and YouTube, or if Trinity United Church of Christ conformed to the caricatures being peddled by some commentators, there is justice act 2003, no doubt that I would react in noh drama masks much the same way. But the truth is, that isn't all that I know of the man. The man I met more than 20 years ago is a man who helped introduce me to 142 criminal, my Christian faith, a man who spoke to me about our obligations to love one another, to noh drama masks, care for the sick and lift up the section 142 criminal, poor. He is a man who served his country as a United States Marine; who has studied and lectured at some of the finest universities and seminaries in the country, and who for over 30 years has led a church that serves the Why Businesses Need to Be Essay, community by doing God's work here on Earth by housing the homeless, ministering to section justice, the needy, providing day care services and scholarships and prison ministries, and problems in education, reaching out to those suffering from HIV/AIDS. In my first book, Dreams From My Father , I describe the experience of my first service at Trinity: People began to shout, to rise from their seats and clap and cry out, a forceful wind carrying the reverend's voice up into the rafters.

And in that single note hope! I heard something else: At the foot of that cross, inside the 142 criminal, thousands of churches across the noh drama masks, city, I imagined the stories of ordinary black people merging with the stories of section 142 criminal David and Goliath, Moses and Pharaoh, the Christians in the lion's den, Ezekiel's field of dry bones. Those stories of survival and freedom and hope became our stories, my story. The blood that spilled was our blood, the tears our tears, until this black church, on this bright day, seemed once more a vessel carrying the story of a people into problems in education today future generations and into a larger world. Our trials and triumphs became at once unique and act 2003, universal, black and more than black. In chronicling our journey, the stories and songs gave us a meaning to reclaim memories that we didn't need to feel shame about memories that all people might study and cherish, and with which we could start to rebuild. That has been my experience at Trinity. Like other predominantly black churches across the country, Trinity embodies the black community in its entirety the doctor and the welfare mom, the model student and today, the former gang-banger. Like other black churches, Trinity's services are full of raucous laughter and sometimes bawdy humor. They are full of dancing and section, clapping and screaming and shouting that may seem jarring to the untrained ear. The church contains in full the kindness and cruelty, the fierce intelligence and the shocking ignorance, the struggles and respiration in cells, successes, the love and, yes, the bitterness and biases that make up the black experience in section 142 criminal act 2003 America. And this helps explain, perhaps, my relationship with Reverend Wright.

As imperfect as he may be, he has been like family to noh drama masks, me. He strengthened my faith, officiated my wedding, and section, baptized my children. Not once in my conversations with him have I heard him talk about any ethnic group in derogatory terms, or treat whites with whom he interacted with anything but courtesy and respect. Postscript Seamus Heaney? He contains within him the contradictions the good and the bad of the community that he has served diligently for so many years. I can no more disown him than I can disown the section act 2003, black community. I can no more disown him than I can disown my white grandmother a woman who helped raise me, a woman who sacrificed again and again for me, a woman who loves me as much as she loves anything in Why Businesses Creativity to Be this world, but a woman who once confessed her fear of black men who passed her by on the street, and who on more than one occasion has uttered racial or ethnic stereotypes that made me cringe. These people are a part of me. And they are part of America, this country that I love.

Some will see this as an attempt to justify or excuse comments that are simply inexcusable. I can assure you it is section 142 criminal justice act 2003, not. Social Effects? I suppose the politically safe thing to do would be to move on 142 criminal justice from this episode and postscript seamus, just hope that it fades into the woodwork. We can dismiss Reverend Wright as a crank or a demagogue, just as some have dismissed Geraldine Ferraro, in section 142 criminal justice act 2003 the aftermath of her recent statements, as harboring some deep-seated bias. But race is an issue that I believe this nation cannot afford to ignore right now. We would be making the is frame, same mistake that Reverend Wright made in his offending sermons about America to 142 criminal justice, simplify and stereotype and amplify the respiration in cells, negative to the point that it distorts reality. The fact is that the comments that have been made and the issues that have surfaced over the last few weeks reflect the complexities of race in this country that we've never really worked through a part of our union that we have not yet made perfect.

And if we walk away now, if we simply retreat into our respective corners, we will never be able to come together and solve challenges like health care or education or the need to find good jobs for section justice, every American. Understanding this reality requires a reminder of how we arrived at this point. As William Faulkner once wrote, The past isn't dead and buried. In fact, it isn't even past. We do not need to recite here the history of racial injustice in heaney this country. But we do need to section, remind ourselves that so many of the disparities that exist between the African-American community and noh drama masks, the larger American community today can be traced directly to inequalities passed on from an section justice earlier generation that suffered under the brutal legacy of slavery and Jim Crow. Segregated schools were and problems, are inferior schools; we still haven't fixed them, 50 years after Brown v. Board of Education. And the inferior education they provided, then and now, helps explain the pervasive achievement gap between today's black and white students. Legalized discrimination where blacks were prevented, often through violence, from owning property, or loans were not granted to African-American business owners, or black homeowners could not access FHA mortgages, or blacks were excluded from unions or the police force or the fire department meant that black families could not amass any meaningful wealth to bequeath to future generations.

That history helps explain the wealth and income gap between blacks and whites, and the concentrated pockets of poverty that persist in so many of section 142 criminal act 2003 today's urban and rural communities. A lack of economic opportunity among black men, and the shame and frustration that came from not being able to provide for one's family contributed to the erosion of black families a problem that welfare policies for problems, many years may have worsened. Justice? And the lack of basic services in so many urban black neighborhoods parks for kids to play in, police walking the social networking effects, beat, regular garbage pickup, building code enforcement all helped create a cycle of violence, blight and neglect that continues to section 142 criminal, haunt us. This is the reality in which Reverend Wright and other African-Americans of his generation grew up. They came of age in the late '50s and early '60s, a time when segregation was still the noh drama masks, law of the land and opportunity was systematically constricted. What's remarkable is not how many failed in the face of discrimination, but how many men and section 142 criminal justice, women overcame the problems, odds; how many were able to make a way out of no way, for those like me who would come after them. For all those who scratched and clawed their way to get a piece of the American Dream, there were many who didn't make it those who were ultimately defeated, in one way or another, by discrimination. That legacy of defeat was passed on section 142 criminal justice to future generations those young men and, increasingly, young women who we see standing on street corners or languishing in our prisons, without hope or prospects for the future.

Even for those blacks who did make it, questions of race and racism continue to seamus heaney, define their worldview in fundamental ways. For the men and women of Reverend Wright's generation, the memories of humiliation and doubt and fear have not gone away; nor has the anger and the bitterness of those years. That anger may not get expressed in public, in front of white co-workers or white friends. Section 142 Criminal Justice Act 2003? But it does find voice in the barbershop or the in cells, beauty shop or around the kitchen table. At times, that anger is exploited by politicians, to gin up votes along racial lines, or to make up for a politician's own failings. And occasionally it finds voice in the church on Sunday morning, in the pulpit and in the pews. 142 Criminal? The fact that so many people are surprised to hear that anger in some of networking effects Reverend Wright's sermons simply reminds us of the justice act 2003, old truism that the most segregated hour of Why Businesses American life occurs on Sunday morning.

That anger is not always productive; indeed, all too often it distracts attention from solving real problems; it keeps us from squarely facing our own complicity within the African-American community in section act 2003 our condition, and prevents the African-American community from forging the postscript seamus heaney, alliances it needs to bring about real change. But the anger is justice act 2003, real; it is powerful. And to simply wish it away, to condemn it without understanding its roots, only serves to widen the chasm of misunderstanding that exists between the races. In fact, a similar anger exists within segments of the social networking effects, white community. 142 Criminal Act 2003? Most working- and middle-class white Americans don't feel that they have been particularly privileged by their race. Their experience is the what, immigrant experience as far as they're concerned, no one handed them anything. They built it from section 142 criminal, scratch. They've worked hard all their lives, many times only to see their jobs shipped overseas or their pensions dumped after a lifetime of problems in education today labor. They are anxious about their futures, and they feel their dreams slipping away. 142 Criminal Justice Act 2003? And in an era of stagnant wages and seamus heaney, global competition, opportunity comes to be seen as a zero sum game, in which your dreams come at my expense. So when they are told to bus their children to a school across town; when they hear an African-American is getting an advantage in 142 criminal justice landing a good job or a spot in what relay a good college because of an injustice that they themselves never committed; when they're told that their fears about justice act 2003, crime in urban neighborhoods are somehow prejudiced, resentment builds over time.

Like the anger within the black community, these resentments aren't always expressed in polite company. But they have helped shape the political landscape for at least a generation. Anger over welfare and affirmative action helped forge the Reagan Coalition. Politicians routinely exploited fears of crime for their own electoral ends. Talk show hosts and conservative commentators built entire careers unmasking bogus claims of racism while dismissing legitimate discussions of racial injustice and inequality as mere political correctness or reverse racism. Just as black anger often proved counterproductive, so have these white resentments distracted attention from the real culprits of the middle class squeeze a corporate culture rife with inside dealing, questionable accounting practices and short-term greed; a Washington dominated by Why Businesses Need Creativity lobbyists and special interests; economic policies that favor the few over the many. And yet, to section 142 criminal act 2003, wish away the in cells, resentments of white Americans, to label them as misguided or even racist, without recognizing they are grounded in legitimate concerns this too widens the racial divide and blocks the path to section justice act 2003, understanding. This is where we are right now.

It's a racial stalemate we've been stuck in for years. Contrary to what is frame relay, the claims of section 142 criminal act 2003 some of my critics, black and networking, white, I have never been so naive as to believe that we can get beyond our racial divisions in a single election cycle, or with a single candidacy particularly a candidacy as imperfect as my own. But I have asserted a firm conviction a conviction rooted in section 142 criminal my faith in Creativity to Be Successful Essay God and my faith in justice the American people that, working together, we can move beyond some of our old racial wounds, and that in fact we have no choice if we are to continue on the path of a more perfect union. For the African-American community, that path means embracing the Successful Essay, burdens of our past without becoming victims of our past. It means continuing to insist on 142 criminal a full measure of justice in every aspect of American life. But it also means binding our particular grievances for respiration in cells, better health care and better schools and better jobs to the larger aspirations of all Americans: the white woman struggling to 142 criminal justice, break the glass ceiling, the white man who has been laid off, the immigrant trying to feed his family. And it means taking full responsibility for our own lives by demanding more from our fathers, and spending more time with our children, and reading to them, and teaching them that while they may face challenges and discrimination in their own lives, they must never succumb to despair or cynicism; they must always believe that they can write their own destiny. Ironically, this quintessentially American and yes, conservative notion of self-help found frequent expression in Reverend Wright's sermons. But what my former pastor too often failed to understand is that embarking on social networking a program of self-help also requires a belief that society can change.

The profound mistake of Reverend Wright's sermons is not that he spoke about racism in our society. It's that he spoke as if our society was static; as if no progress had been made; as if this country a country that has made it possible for one of his own members to run for 142 criminal, the highest office in the land and postscript seamus heaney, build a coalition of white and black, Latino and section 142 criminal act 2003, Asian, rich and poor, young and old is still irrevocably bound to a tragic past. Need To Be Successful? But what we know what we have seen is that America can change. Act 2003? That is the postscript seamus, true genius of this nation. What we have already achieved gives us hope the audacity to hope for what we can and must achieve tomorrow. In the section justice act 2003, white community, the path to a more perfect union means acknowledging that what ails the African-American community does not just exist in the minds of black people; that the legacy of discrimination and current incidents of discrimination, while less overt than in the past are real and must be addressed, not just with words, but with deeds, by investing in our schools and our communities; by what enforcing our civil rights laws and ensuring fairness in our criminal justice system; by section 142 criminal justice providing this generation with ladders of opportunity that were unavailable for previous generations.

It requires all Americans to respiration in cells, realize that your dreams do not have to come at the expense of my dreams; that investing in the health, welfare and education of section 142 criminal justice black and brown and Successful, white children will ultimately help all of America prosper. In the section 142 criminal act 2003, end, then, what is called for is nothing more and nothing less than what all the world's great religions demand that we do unto others as we would have them do unto us. Let us be our brother's keeper, scripture tells us. Let us be our sister's keeper. Let us find that common stake we all have in seamus one another, and let our politics reflect that spirit as well. For we have a choice in this country. 142 Criminal Act 2003? We can accept a politics that breeds division and conflict and cynicism. We can tackle race only as spectacle as we did in the O.J. What Relay? trial or in section 142 criminal act 2003 the wake of tragedy as we did in the aftermath of Katrina or as fodder for the nightly news. Respiration In Cells? We can play Reverend Wright's sermons on section 142 criminal act 2003 every channel, every day and talk about in cells, them from now until the section act 2003, election, and make the only question in relay this campaign whether or not the American people think that I somehow believe or sympathize with his most offensive words.

We can pounce on some gaffe by section 142 criminal a Hillary supporter as evidence that she's playing the race card, or we can speculate on whether white men will all flock to John McCain in problems in education the general election regardless of his policies. But if we do, I can tell you that in 142 criminal the next election, we'll be talking about some other distraction. And then another one. And then another one. And nothing will change. That is one option. Or, at seamus, this moment, in this election, we can come together and say, Not this time. This time, we want to talk about the crumbling schools that are stealing the future of black children and white children and section 142 criminal justice act 2003, Asian children and Hispanic children and Native American children. This time, we want to reject the cynicism that tells us that these kids can't learn; that those kids who don't look like us are somebody else's problem. Is Frame Relay? The children of America are not those kids, they are our kids, and we will not let them fall behind in a 21st century economy.

Not this time. This time we want to section 142 criminal act 2003, talk about how the lines in the emergency room are filled with whites and blacks and Hispanics who do not have health care, who don't have the power on their own to overcome the special interests in Washington, but who can take them on if we do it together. This time, we want to talk about the shuttered mills that once provided a decent life for men and women of every race, and social effects, the homes for 142 criminal, sale that once belonged to in cells, Americans from every religion, every region, every walk of life. This time, we want to talk about the fact that the real problem is not that someone who doesn't look like you might take your job; it's that the corporation you work for will ship it overseas for nothing more than a profit. This time, we want to talk about the men and women of every color and creed who serve together and fight together and bleed together under the same proud flag. We want to talk about how to 142 criminal, bring them home from a war that should have never been authorized and should have never been waged.

And we want to talk about how we'll show our patriotism by caring for them and their families, and giving them the benefits that they have earned. I would not be running for problems in education, President if I didn't believe with all my heart that this is what the vast majority of Americans want for this country. This union may never be perfect, but generation after generation has shown that it can always be perfected. And today, whenever I find myself feeling doubtful or cynical about this possibility, what gives me the most hope is the next generation the young people whose attitudes and beliefs and openness to change have already made history in this election. There is one story in particularly that I'd like to leave you with today a story I told when I had the great honor of speaking on Dr.

King's birthday at section 142 criminal justice act 2003, his home church, Ebenezer Baptist, in Atlanta. There is a young, 23-year-old white woman named Ashley Baia who organized for our campaign in Florence, S.C. She had been working to organize a mostly African-American community since the beginning of this campaign, and one day she was at a roundtable discussion where everyone went around telling their story and why they were there. And Ashley said that when she was 9 years old, her mother got cancer. Problems In Education Today? And because she had to miss days of work, she was let go and lost her health care. They had to file for bankruptcy, and that's when Ashley decided that she had to do something to section justice act 2003, help her mom. She knew that food was one of their most expensive costs, and so Ashley convinced her mother that what she really liked and really wanted to eat more than anything else was mustard and respiration in cells, relish sandwiches because that was the cheapest way to eat. That's the mind of a 9-year-old. She did this for justice act 2003, a year until her mom got better.

So she told everyone at the roundtable that the reason she joined our campaign was so that she could help the millions of problems in education today other children in the country who want and act 2003, need to help their parents, too. Now, Ashley might have made a different choice. Perhaps somebody told her along the way that the what relay, source of her mother's problems were blacks who were on welfare and too lazy to section justice act 2003, work, or Hispanics who were coming into the country illegally. But she didn't. She sought out allies in her fight against injustice. Anyway, Ashley finishes her story and then goes around the room and social networking, asks everyone else why they're supporting the section 142 criminal, campaign. Today? They all have different stories and 142 criminal justice, different reasons. Many bring up a specific issue. And finally they come to this elderly black man who's been sitting there quietly the Why Businesses to Be Successful Essay, entire time.

And Ashley asks him why he's there. And he does not bring up a specific issue. 142 Criminal Justice Act 2003? He does not say health care or the respiration, economy. He does not say education or the war. He does not say that he was there because of Barack Obama. He simply says to act 2003, everyone in the room, I am here because of effects Ashley. I'm here because of Ashley. By itself, that single moment of recognition between that young white girl and that old black man is not enough. It is section justice act 2003, not enough to give health care to the sick, or jobs to the jobless, or education to our children.

But it is where we start. Noh Drama Masks? It is section 142 criminal justice, where our union grows stronger. And as so many generations have come to realize over the course of the 221 years since a band of noh drama masks patriots signed that document right here in Philadelphia, that is where the perfection begins.

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Essay Writing Novel Titles In Mla 129439. Essay Writing Novel Titles In Mla. Purdue OWL: Writing About Literature 9 Aug 2017 All research papers on literature use MLA format, as it is the universal citation Titles of books , plays, or works published singularly (not Formatting Titles of Texts in MLA Style IVCC Every time you mention the title of a work, even in the title of section 142 criminal justice your own essay , you must apply the proper formatting. On Writing : A Memoir of the noh drama masks, Craft ( book ). Do You Underline Book Titles ? Italicize? Put inside Writer#039;s Digest 29 May 2012 Do you italicize book titles ? Underline them? Put book titles in quotes? Here#039;s the real scoop on how to handle styling book titles in your writing . Dealing with Titles in MLA Format MCCC#039;s Faculty Page The conventions of properly marking a title in MLA style can seem confusing, but the basic Note that sometimes writers encounter titles that do not follow these Databases often capitalize the entire title of an 142 criminal act 2003, article or book , while other types Q. When writing a paper , do I use italics for all titles ? Answers books ; periodicals (journals, magazines, newspapers); films; videos; TV shows A general rule of is frame relay thumb is justice, that within the text of in cells a paper , italicize the title of Do I have to underline or book titles in act 2003 MLA essay ? | Yahoo Poems, essays , short stories , and articles should be in noh drama masks quotations. Source(s): Resent update to the MLA format have taken the 142 criminal justice, use of underlining for a books title unneeded.

This again Write A Book In 24 Hours! Source(s): If you are writing an essay do you underline, use quotation marks or 20 Aug 2012 When typing , book titles in fact, the problems in education, titles of any full-length worksshould always be italicized. Titles of shorter works, such as a poem or short How to Document Chapters in Books Using an MLA Format | The Titles of book chapters are always enclosed in quotation marks. According to section 142 criminal the MLA Handbook for Writers of Research Papers (7th edition), you should How to in cells Reference a Poem Title in an Essay | The Pen and 142 criminal act 2003 The Pad Whether you are writing an essay about is frame, a poet or simply quoting a poem or referring Put quotation marks around the section act 2003, poem#039;s title unless it is heaney, a novel -length epic Cite the poem with a parenthetical citation if you are using MLA or APA format. Marking Titles Writing English Rules 15 Feb 2005 When writing about a short story , do you underline the title of the story or students and writers of scholarly works in the humanities, the MLA Handbook . do you underline, italicize, or put the name of an essay in quotes. Titles of works #8212; The Punctuation Guide. and act 2003 the MLA Handbook for Writers of Research Papers (7th ed.) Titles set in italics Titles in quotation marks Titles set in respiration in cells regular typeBlogs Books Cartoons or Do I italicize the title of a short story ? What about poem titles ? Items 1 8 of 68 Your most pressing and perplexing questions about writing get answered here by justice act 2003, Gotham teacher Brandi Reissenweber. Noh Drama Masks! If you have questions Are newspaper titles italicized in essay writing ? Quora Thus we differentiate between the titles of section novels and journals, say, and the titles . Seamus! Most classroom essays follow the MLA style, and the names of newspapers Writer#039;s Web: Titles : Underline, Italics, or Quotations? When writing about other works, it#039;s hard to decide when to underline (or place in italics) a title and when to place it in double quotations. Note that The Bible, Book of section act 2003 Exodus, or Qu#039;ran do not get underlined in the text of a paper . A specific Writing in the Disciplines: English Guide to MLA Style Here are the guidelines for formatting a paper according to MLA style. longer works, such as books , and put smaller works, such as article titles , in quotations How to postscript seamus heaney Properly Punctuate Titles : When to Use All About Writing 2 Dec 2013 Use italics for titles such as books , novels , magazines, journals, Writing handbooks (Chicago Manual of Style, MLA , APA, and many others) Italics and Underlining: Titles of Works | Grammarly Italics and justice act 2003 underlining are used to emphasize titles of noh drama masks books , poems, short stories , and articles.

This guide will show you how to use these techniques properly. Punctuating Titles Cn Punctuating Titles : When to Use Italics, Underlining, and Quotation Marks. It#039;s easy Title of an Epic Poem or Book -Length Poem. Ex: The 3) Title of an Essay . Title of section act 2003 a Ex: Modern Writers and Their Readers. 4) Title In past editions of MLA , underlining a title and italicizing it were considered synonymous. That is How to is frame Format the Title in MLA 8 EasyBib Blog When citing book titles using the MLA 8 format, always enter the full title , in italics, Weiland, K.M. 142 Criminal! Structuring Your Novel : Essential Keys for Writing an work, such as an Why Businesses Need to Be, essay , chapter, short story , or poem, place the title in quotation marks, Tips on section, Writing an Essay MLA Style English Grammar Rules Usage The MLA essay format meets the standard layout guidelines as set forth by the name, title of the book , publication date, publisher and noh drama masks place of justice act 2003 publication. essay Referencing a Play in respiration in cells an MLA paper Writers Stack Exchange 10 Oct 2011 Also, most of the names of works in the works cited section are italicized, articles and section 142 criminal justice If it comes in only one part (short story , article , etc.) When writing a paper in MLA format, there are a few simple rules you should Italics or quotation marks should be used when indicating the title of another work MLA Format Papers : Step-by-step Instructions for Writing Research MLA Format Papers : Step-by-step Instructions for Writing Research Essays .. Need Creativity To Be Successful! When using MLA format, do you list the section justice act 2003, book title , the title of the social, article or both? MLA FAQs MLA Format Lesley University Library at section 142 criminal Lesley 11 Aug 2017 With that in mind, you can use MLA guidelines to format a citation What if an article title includes a book or other title that should be italicized? Should Book Titles Be Underlined?

UADDit When you write a book title , are you supposed to respiration underline it, italicize it or Underlining is 142 criminal act 2003, ONLY used when you are handwriting a paper . Need Creativity! Currently the correct MLA format is to put a book title in italics if you are writing your How Are the 142 criminal act 2003, Titles of Longer Works Written in MLA Style Examples of longer works are the titles of books or plays, while shorter works When writing titles within the paper , you only need to Need to Be Essay reference the justice, title once. Properly Format Your Titles : Underlines, Italics, and Quotes | Writer#039;s 13 Mar 2008 Should the title of songs, stories, movies, books , screenplays, etc. be in networking effects italics or 4) No quotation marks around titles of your own composition . Do You Use Quotes or Italics for 142 criminal act 2003, Song and Album Titles ? So obviously, when I write about a song or album, I know when to Need Creativity to Be Essay use quotation I had points knocked off of college papers for employing that punctuation, tried I#039;m thinking specifically of short stories and The Collection They Come in or Title of source MLA Style Guide, 8th Edition LibGuides at Indian 18 Jul 2017 This LibGuide reflects the changes to MLA style as directed by the Example of a journal article title which includes the title of a book : Writing Matters: A Handbook for Writing and Research, 2nd ed., McGraw Hill, 2014, pp. Style Guide for section justice act 2003, essays and projects| | Spanish, Portuguese and Latin Style Guide for essays and projects MLA Handbook for effects, Writers of justice act 2003 Research Papers . Titles of in cells articles, essays , short stories , poems and chapters in a book ,

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Engagement and Learning What Is_? Programme. In a dark room, on a large screen, three Indonesian kids in matching purple Adidas tracksuits, wrap-around sunglasses and sun-visors are singing a karaoke version of a song by the 1980s pop group The Smiths. 142 Criminal! It is equally serious and joyous. Why Businesses Need To Be Successful! The piece is part of Phil Collins's work The World Won't Listen. It is a great work of 142 criminal, contemporary art and Phil Collins is an important artist because his work is what is frame relay, richly suggestive of a number of significant questions about national identity, popular culture in a global context, and the role of the mass media in section representing these. Another dark room, another projected scene: an evening view of an obscure rural location. In the effects, near-distance we see an odd elongated piece of architecture: a fragile but imposing shelter, an elaborate cylindrical tent that seems simultaneously out of place and section 142 criminal justice act 2003, yet somehow at home in this natural landscape. What Relay! The images are from French artist Philippe Parreno's curious film The Boy from Mars, and they arise out of his involvement with an 142 criminal justice act 2003 environmental art project in rural Thailand.

Yet, watching these images it is what relay, never quite clear what, or where, it is that we are observing. Collins and Parreno make use of recognisable conventions of visual art from our own and earlier eras ('portraiture' in the former; 'landscape' in the latter). Yet, both seem as interested in an unfolding, many-staged creative process as they are with any finished product or with the possibilities of an accepted art discipline. As such, they practice types of art, that, as the influential curator Nicolas Bourriaud has argued, remain around the edge of justice, any definition drawing on much from what would customarily be considered beyond the 'frame' of art, urging us to consider the place of art in the contemporary world, while offering up images and experiences characterised by uncertainty or disconcerting intensity. 1. The two examples above were both made in the last ten years. Postscript Seamus Heaney! But are they also modern? They were made recently, but being 'modern' means more than merely being up-to-date: it needs to 142 criminal act 2003, look modern too. For example there's a Norwegian painter Odd Nerdrum, who has spent the last 30 years trying to paint like Rembrandt.

He makes work that is recent but it would not be referred to noh drama masks, as modern because it doesn't look like what we expect Modern Art to look like. Instead, it is deliberately old fashioned. So when art historians use the words 'Modern' and 'Modernism' they understand them as meaning something quite specific. (i) When was Modernism? In the sense of 'modern' meaning up to 142 criminal act 2003, date, all art was modern once. The innovative artists of the past have always tried new technologies, new media and new styles. Crucially, these new technologies and new mediums allowed for the possibility of new artistic forms. For example, when Giotto was painting the Scrovegni Chapel in Padua, 1305, his use of fresco (watercolor on effects wet plaster) as a medium was innovative and modern, and it allowed him to section 142 criminal, achieve the integrated aesthetic scheme of the noh drama masks, painting cycle.

Over 500 years later Impressionists like Monet were not only section justice responding to postscript heaney, the challenge of photography and its ability to capture an impression of the world, but also using portable easels and the newly invented, industrially processed, readymade tubes of paint to make pictures outside of the studio in the open air. But, if art has always been modern; does it ever reach a sell-by date? Can it be that what was once modern can cease to be modern? Other art historical periods do not have the same associated problems. So, whilst there may be some disagreement as to the specific dates of the section 142 criminal act 2003, Renaissance, Roccoco, Baroque or Neo-Classicism, it can be agreed that they were periods that had beginnings, middles and ends. Perhaps then, one way to think about effects, modern is as a period of time with a clear beginning, middle and end. Thought about in these terms modern might mean the period of 100 years that began with Manet's painting Djeuner sur l'Herbe, 1863, which was seen as shocking and rejected from the prestigious Salon of fine art, not only because it was 'badly' painted with rough brushstrokes and inaccurate perspective, but also because it showed a contemporary scene of public nudity. This period is often regarded as ending with Pop Art in 142 criminal justice the mid 1960s, when art became increasingly difficult to what relay, distinguish from justice, everyday consumer objects and the output of the mass media.

What this would mean is that art made after this period would be after, or post, modernism. Seamus! This is why you will often hear the art of the last quarter of the twentieth century referred to as 'postmodern'. However, such neat slicing up of the history of art is problematic. The question posed by the cultural critic Raymond Williams When Was Modernism? is a tricky one. On the one hand, art seems to lag behind modernism in other fields. For example modern history is generally seen to have begun around 1500; philosophy with Descartes (who published his Meditations in 1641) or Kant (who published his three Critiques between 1781 and 1790) and the technological boom of the Industrial Revolution in the nineteenth century is 142 criminal justice act 2003, also seen as an origin of modernity. On the heaney, other hand, art historians squabble as to where Modernism began; perhaps with the section 142 criminal justice, Renaissance when artists began to be recognised as 'geniuses' with their own distinct styles, or perhaps with the in education today, Salon des Refuss in Paris in 1863 and section justice, the exhibition of art refused by the academic institutions. As Charles Harrison observed: In writing about art, the term Modernism has only been regularly used with a capital M since the 1960s . Before the '60s the term 'Modernism' was generally used in a vague way, to refer to what it was that made works of art seem 'contemporary' whatever that meant. 2. (ii) How is Modernism?

Another way of thinking about what modern means in postscript seamus art is to think of it as an attitude to making. This uncouples 'Modern' from a specific time and place meaning that art is not necessarily modern merely because it is new. It would also mean that examples from history could be identified as modern in their outlook, such as El Greco, the seventeenth century painter whom Picasso claimed was the originator of Cubism. Section Justice Act 2003! Furthermore, identifying modern as an attitude means that it can be seen as an incomplete project that can be constantly re-engaged with. This is probably what Jackson Pollock had in mind when he made this claim for his own modernist art: My opinion is that new art needs new techniques. And the noh drama masks, modern artists have found new means of making their statements. It seems to me that the modern painter cannot express this age of the section 142 criminal justice act 2003, aeroplane, the atom bomb, the today, radio, in the old forms of the Renaissance or of any other past culture. Each age finds its own technique. 3. Just as the times change, so too must art.

And just as we live in new times, we need a new, modern art to express the age of text messaging, the Internet and global capitalism. The art critic Clement Greenberg offered a slightly different definition of modernism. He claimed that modernist art was art that was about art . What this means is that modernist art takes art itself as its primary subject matter rather than traditional subjects such as landscapes, portraits or historical and religious themes. This does not mean that modernist art cannot include traditional subjects, but rather that this is not what the art is about. Look, for example, at justice act 2003 the William Scott painting Jug. Postscript Seamus! The subject matter is a jug and 142 criminal justice, a bowl. Such still life has been a subject matter for art for hundreds of postscript seamus, years but Scott has treated the section 142 criminal justice act 2003, material in a thoroughly modern way. (iii) Defining Modernism. The definition of heaney, modernist art that emerges is section justice act 2003, thus: that it provides a meaningful expression of, and in cells, gives artistic and aesthetic form to three things: (i) the specific time and act 2003, place where it was made, (ii) the medium that it is made of, and (iii) how it was made.

We can now ask if this definition can be usefully applied to heaney, much of contemporary art. 3 - When, What and justice act 2003, How is contemporary art? (i) Contemporary Whatever That Means. The tricky task of identifying a working definition of 'modern' is accompanied by the equally testing challenge of defining the Need to Be, word 'contemporary'. Indeed, 'recent' might be one easy definition for 'contemporary', allowing us to think of contemporary art as that made within recent memory. Another closely related and very straightforward meaning of 'contemporary', and one that is entirely true to the linguistic sources of the word, is 'with the times' (from the Latin 'con', meaning 'with', plus 'temp' meaning 'time'). As such, to be contemporary is to be alert to the conditions of a particular moment in time, to be moving with the tides of living history. And this sense of the section justice, word is in cells, widely used in understandings of 'contemporary' art.

Back in the 1980s, for instance, curators at the Tate Gallery in justice act 2003 London decided that the art of the past ten years, on a rolling basis, would provide a suitable set of parameters as they made plans to develop a new 'Museum of Contemporary Art'. 4 'Contemporary' art in this regard, comes pretty close to problems, 'modern' art particularly, perhaps, to Jackson Pollock's claim that the art of each age should find its own technique. But Pollock's comment also returns us to how 'modern' can be understood as identifying an section attitude towards making art, an attitude perhaps resulting in seamus a certain type of art. Act 2003! Certainly, a loose sense of what 'contemporary art' is like is often evident in the mainstream media. Coverage of exhibitions such as the annual Turner Prize show, for instance, will often be based on hostile presumptions about the prevailing tendencies in postscript heaney art today, with artists regularly being characterised as pranksters or self-promoting provocateurs rather than masters of a recognisable medium. However accurate such pictures are, it is of course essential to remember the vital role played not just by section act 2003, the media but also by the art market in manufacturing particular versions of a contemporary art 'world' (as has always been the case throughout the history of art), with certain forms of art reaching prominence as a result of their marketability. But cast an eye over art magazines such as Artforum and Frieze expensive colour publications packed with ads promoting the interests of the is frame, commercial art scene and the difficulty of finding stable commonalities across what is celebrated is section act 2003, quite apparent.

Such magazines will often introduce us to much that is overtly 'edgy': radical performance art that claims to question moral norms, for networking, instance; or varieties of justice, activist art that propose creative models of political resistance; or versions of installation and in education, conceptual art that confuse us as to what, and often where, the 'art' actually is. All seem to sit comfortably side-by-side in such publications. Considering such types of widely prevalent art-making, it might seem that the only shared feature is an interest in subverting expectations about 142 criminal justice act 2003, what art can and should be. Such tendencies would, of noh drama masks, course, be true to a legacy of avant-gardism in section 142 criminal the arts, and in our effort to capture something of what is 'contemporary' in art we could choose to prioritise the continuation of a kind of rule-breaking spirit. Yet, many celebrated contemporary art practices frustrate this view.

For a great deal of today's critically acclaimed art is not quite so obviously confrontational or so antagonistic towards older methods or values. Networking! If, for example, a great deal of recent art shows hostility towards principles of section justice act 2003, aesthetic refinement in art, there remains a significant strain of art, highly regarded by 'contemporary' critics, curators and collectors, that is concerned with retrieving, or positively re-imagining, seemingly outdated notions such as craft and beauty. The paintings of William McKeown for instance, make a sophisticated and unorthodox case for beauty in art today, hinting to what is frame, us that this idea is section 142 criminal justice, essential as a way of freeing, and at the same time grounding, our imaginations. Similarly for noh drama masks, Isabel Nolan, 'beauty' is to be found in the vulnerabilities of both commonplace and more complex ways of representing or understanding the world around us: her formally diverse work inventively employs traditional craft techniques in 142 criminal capturing moments from everyday life and ideas from postscript seamus, advanced science. Much that is section justice, well-respected within contemporary art today, therefore, does not correspond to the prejudices of conservative critics. Problems In Education Today! Crucially, combinations of notionally 'opposed' approaches to art can often be found alongside each other in a single exhibition, or even within a single artist's oeuvre or single work. Justice Act 2003! Indeed, commentators on contemporary art have often stressed the diversity of possibilities in art today and definitions and descriptions of contemporary art will often stress the unregulated openness of today, this 'industry', acknowledging its resistance to definition and description. As Linda Weintraub has written, contemporary art embraces the maverick and the traditionalist no topic, no medium, no process, no intention, no professional protocols, and 142 criminal act 2003, no aesthetic principles are exempt from the problems, field of art. 5. Such indications of contemporary art's multiple methodologies are certainly at section 142 criminal justice act 2003 odds with any belief in problems in education today the ongoing refinement of form a principle once central to 'artistic progress'. For the philosopher and section 142 criminal act 2003, critic Arthur Danto, the innovations of art after the noh drama masks, 'modernist' era have therefore brought about, in effect, an 'end' of art.

This does not mean, he argues, an end of people making art, but rather an end of a particular way of understanding art that focused on the constraints of certain disciplines and mediums. Since pop art, Danto suggests, There is no special way works of art have to section 142 criminal act 2003, be. 6 It is this plurality of possibilities which most obviously gives us clues as to what contemporary art 'is' today. Yet how we choose to position ourselves in relation to to Be Successful, this plurality remains one of the most testing questions for those of us hoping to engage with this era's most challenging 'contemporary' art. (ii) Themes in Contemporary Art. Despite the exciting plurality of art today, recognisable constellations have emerged around which art practices and debates have become clustered. Participatory art takes the form of section act 2003, artists working with disparate groups of people from different communities.

This is not only a way of generating works of art, but is also part of the networking, work itself. Here are three examples: Untitled 1992 (Free), a working kitchen in a New York gallery set up by section 142 criminal, artist Rirkrit Tiravanija; Tenantspin, 1999, a TV channel for the elderly residents of a Liverpool housing estate set up by art collective Superflex; and problems in education, Pimp my Irish Banger, 2009, a collaborative art project in justice act 2003 which artist Terry Blake worked with young people from Dublin to paint car doors and bonnets that were later displayed in an outdoor space at social networking effects the National College of Art and Design, Dublin. The art historian Claire Bishop has identified this trend within contemporary art as a 'Social Turn', arguing that while the models of participatory art vary enormously all are linked by a belief in the empowering creativity of collective action and section, shared ideas. To Be Successful! 7 These are forms of art that ask questions about who is involved in the making and experience of justice, art. Today's art often occurs in particular places and is specific to social effects, those places. For example Canadian artist Janet Cardiff's The Missing Voice (case study b), 1999-2000, is a narrative walking tour of East London starting at the Whitechapel Library. Participants are given a portable audio player that guides them on a 45 minute tour of the area through local areas like Spitalfields and act 2003, Brick Lane that are infused with histories of postscript seamus heaney, crime, immigration, deprivation and intrigue.

In The Birdcages of Dublin, 1999, Danny McCarthy placed five birdcages on the front walls of The Fire Station Artists Studios in Buckingham Street, Dublin. Each cage contained a hidden speaker that played sounds McCarthy had made from field recordings taken from sites around Dublin alongside recordings of bird song. Section Justice Act 2003! Both pieces put the participants in an active role of interrogating their environments. In Education! This art asks questions about where the making and experience of art takes place. Many contemporary artists are interested in section act 2003 the moving image. This can involve using movies for in cells, subject matter, but it also means investigating how film and video can alter how we think about art and life. Cinema is section, a culturally potent medium with particular characteristics as a spectacular experience, as a mode of display, and as a way of representing the world. For example in what relay 24 Hour Psycho, 1993, Douglas Gordon slows down and justice act 2003, projects Hitchcock's famously suspenseful chiller so that it takes 24 hours to run. What Is Frame Relay! It is impossible to enjoy the work as we would normally; we enter into a different relationship with the familiar work. Our ideas of the passing of time, narrative, memory, and 142 criminal, even our boredom threshold are challenged by Gordon's re-presentation of the film. Comparatively, a work such as Twelve Angry Films by Jesse Jones, 2006, brings out an aspect of 'participation' in film culture, but through a process of collaborative production (working with community groups) and by creating a dedicated public space for screenings in the form of Why Businesses Creativity to Be Essay, a drive-in cinema.

This art asks questions about how the world is presented to us through different media, under what conditions and with what consequences? Artists today continue to question what they are making art from and come back to section justice act 2003, querying what art's forms mean. In Box (ahhareturnabout), 1977, James Coleman presented a 16mm film on a continuous loop with an problems accompanying soundtrack. The film shows disjointed fragments of a bout between two heavyweight boxers with a soundtrack that combines the section justice, imagined thoughts of one competitor with a low, thumping pulse like a heartbeat. It is a disorientating, profoundly physical experience. The grainy and obscure flicker of the postscript heaney, film, when coupled with the jarring jump cuts, becomes part of the meaning of the work. It suggests how art always struggles with the translation of 142 criminal act 2003, human experience into artistic media. Whilst Coleman addresses media that are becoming obsolete in problems today today's increasingly digital world (film reels, slide projectors), many artists have also returned to one of the oldest artistic mediums painting to continue to ask questions about it.

Elizabeth Peyton, for example, uses images snatched from the justice act 2003, mass media (press photographs, television, etc.). The images are used in social such a way that you would never mistake the pictures for photographs; instead they encourage you to think about what it means to put wet paint on a surface and move it around. This art asks questions about what is employed in the making and experience of art. The above examples offer just a glimpse of the rich variety of art being made today. It can take many forms, address many audiences and raise many questions. It can often be baffling, infuriating and section act 2003, inscrutable.

There is more art now than there has ever been, and in a greater variety. As has always been the case throughout history, a lot of in education today, it might not be to our taste. But the best art, be it from the distant past, the modern age or our contemporary times, opens up new worlds for us; new worlds of thought, of expression and feeling, new worlds of poetic and political possibility. Art in the contemporary world is art of 142 criminal justice, this world: it can be by turns richly distracting and frustrating, thrilling and testing; it is full of communicative difficulties and new possibilities; it brings the challenging effects of today's reality home to us in all their vivid strangeness. It tells us how soon now really is. Francis Halsall Declan Long, 2011. Nicolas Bourriaud, Relational Aesthetics, Dijon: Les Presses du Rel, p. 25. Charles Harrison, Introduction: Modernism, Problems and Methods, The Open University Press, 1983, p. 15. Postscript Seamus! Jackson Pollock in an interview with William Wright, (1950), in Johnson, Ellen H. (ed.), American Artists on Art from 1940 to 1980, Harper Row, 1982. See Tate Glossary, www.tate.org.uk/collections/glossary. Linda Weintraub, Making Contemporary Art: How Today's Artists Think and Work, Thames Hudson, 2003, p. 8. Section 142 Criminal Act 2003! Arthur C. Danto, After the seamus heaney, End of 142 criminal act 2003, Art: Contemporary Art and the Pale of Need Creativity to Be Successful Essay, History, New Jersey: Princeton University Press, 1998, p. 47.

Claire Bishop, 'The Social Turn', in Francis Halsall et al., Rediscovering Aesthetics, Stanford University Press, 2009, p. 239. Irish Museum of Modern Art, Royal Hospital, Kilmainham, Dublin 8, D08 FW31, Ireland.