Undergraduate / "Entrepreneurship" - The Essay about intellectually excitement [5]

Describe an experience that you have had or a concept you have learned about that intellectually excites you. When answering this question, you may want to consider some of the following questions: Why does this topic excite you? How does it impact the way you or others experience the world? What questions do you continue to ponder about it?(500 words limit)

This is the essay I am go to use. Please help me with the style, and the tightness of the sentences. Any critiques and comments are much appreciated! Thank you!

PS: Did I answer the question correctly?

"You used to tell your family that one day you wanted to own your own business. Well, guess what. You've grown up, and now it's time to put your money where your mouth is." As I turned over the page of the Princeton Review Guide to College Majors, and read the first line of "Basics of Entrepreneurship", my pulse started to race. Every single word was like a mallet thumping on my heart; I had never believed in "love at first sight" until now.

"You should read Rich Dad Poor Dad by Robert Kiyosaki and see another person's opinion of their family!" said my mother to me back in the 9th grade. With little passion for reading and a huge amount of curiosity, I borrowed the book from the library and read the introduction.

"Mom! It says this book is for you, the parents."
"I don't have time. Return it then."
But I didn't. Instead, I read it myself.
It was an amazing book. Perhaps because a Japanese family is so much like a Chinese family, the book really spoke to me. Under a huge amount of pressure from both my parents and society, I always felt I would never have the chance to do what I wanted. My future seemed already set even before I was born. My parents raised me with the idea that getting a high paying job was my only option to live. Yet, as other children, I had many dreams. At the age of five, I dreamed of becoming an author; at age eight, I wanted to become an artist, traveling around with only a drawing board; at age nine, I was curious about the influence of religions on human psychological evolution and how they shaped people's values differently throughout time. Although they were all different careers, my interests proved to me that I didn't want just an ordinary job.

"Face your fears and doubts, and new worlds will open to you." Kiyosaki, with his book, changed my attitude towards life, and opened my mind to the broad possibilities. It made all of my dreams seem possible. Along with the possibility of financial freedom, I was also intoxicated with the challenges and the risks that came with a career as an entrepreneur.

Since then, I act more positively, and take all the opportunities that I can. Despite severe stage fright, I learned public speaking; I ran around to the classrooms to make announcements about the clubs that I had founded; I went to business workshops at night and discussed with adults their entrepreneurial experiences to learn their secrets. My life now seems to have a specific purpose and direction that is both practical and, for me, a passion.

I'm never satisfied with the way I am; as a result, I always challenge myself both academically and psychically. Everything is possible, it's just that we don't know completely "how" yet, and this is the question I ponder. I know I will find the answer.

Book Reports / Critical analysis for SAFE AREA GORAZDE [NEW]

I need to write the critical analysis for SAFE AREA GORAZDE for my Rhetoric class, and I really need help for the style and the structure of the paper, which it seems to be lost focus.

All Men Are Brothers? : Metaphor and Foreshadowing in Safe Area Gorazde

Emperor Hirohito once said, "All men are brothers, like the seas throughout the world; so why do winds and waves clash so fiercely everywhere?" In today's society, religion, ethnicity, and social background are just a few factors that are being judged frequently by people. Undeniably, we all focus on others' differences rather than the fact that we are all human beings. As we grow, the focus on differences might become even stronger - and the outcome might escalate to war. As Rasim, who had first-hand experience of the cruelty of the Bosnian war, said in Joe Sacco's graphic novel Safe Area Gorazde, "I was an eye witness." Sacoo illustrates the ironic transition from a peaceful neighborhood to an "inferno" and the conflicts between the Serbs and the Muslims (both internal and external) through an innovated graphic novel, which also becomes a metaphor for the American society.

A question was raised: How can a little political tension lead to this human tragedy? Edin, one of the main characters in Sacco's graphic novel, said, "I didn't make any distinction between Serb, Croat and Muslim children. We were always together - fishing, in forests, on the playground..." (Sacco 18) Yet, not long after, under the influence by Tito's "brotherhood and unity" policy, the Bosnian War (1992-1995) began - in the name of "ethnic nationalism" (20). Bosnia, soon, became a war-field full of women and youth's blood and broken dreams. Ironically, there is no straight answer to Sacco's question. As Edin continues, "We're killed for nothing. Life is worth nothing." (188) The mind of human nature is indeed complicated, which can make people betray their hearts and forget the basic ethics of being a human. Sacco, unlike other journalists, chose graphics instead of traditional journalism to show this sharp transition of the war and the change of human morality. He also uses allusion to the American society - an ethnically and racially diverse country. Although America protects the freedom of religion and the press (the 1st Amendment), and provide an equal opportunity for higher education and work, those are not necessarily enforced. The internment of Japanese American in WWII and the loss of air-travel freedoms for Muslims after 9/11 both show the political power beyond this "peaceful" diverse society.

Sacco's portrayal is indeed "worth a thousand words" - it ties readers' hearts to the reality of this brutal war and the pain and depression of the Bosniaks through "an eye for the human side." The background of the novel changes to black as the setting shifts to the past, which symbolizes the indescribable past and the dehumanization of the war. Rasim recalls, "I was an eye witness . . . They cut their throats . . . First they killed the children . . . And I was an eye witness when a Chetnik cut off the breast of one of the mothers, who was trying to protect her kid." (111) This memory presents the reader with a breathtaking image. Sacco uses repetition of "I was an eye witness" and his black and white drawing style to symbolize the historical struggles of the Muslims, and to set off the death and reality of the "ethnic cleansed." An image on page 115 shows a Chetnik with a face full of blood looking at Rasim, as he is crossing a blood pond, with a strange smile on his face. As the Chetnik's truck passes, a pile of bodies is shown in the back of the truck. We never know what the Chetnik was thinking at that moment, or when he killed the first person. This dehumanizing change from a loyal citizen to a killing machine symbolizes the violence of human nature, which Sacco intends to be a main theme of the book and a reminder to every American citizen.

Combined with different personal stories and several shifts of time, Sacco delivers the images of his own observation and the brutal killing in Gorazde. Riki, a symbol of life and hope, has a huge character image on the page and a dramatic impact on the other residents (both during and after the war). He wants to learn American English, loves Rock'n Roll, and has an American spirit, which ironically reflects American society nowadays. Sacco uses the metaphor of Bosnia for the U.S., of which both have diverse populations, to foreshadow how a mini political tension could change America entirely as racism still remains at the back of people's minds, which the process is also shown in the Safe Area Gorazde.

Safe Area Gorazde, by Joe Sacco, is not as objective as other journalistic novels; however, it connects the readers to the brutal experience and life in Gorazde during the war, and reflects the American society in a compelling form. At the end, he also brings up a question: can you ever live with the Serbs again? Amra answered on the site: "Thank God that we are alive, or some of us . . . we have enough love in our hearts to forgive! But we should not forget! Every one of us moved on . . . Life is going on . . ." (Amra K.) Indeed, we shouldn't forget the history - the war which begins with racial difference and ends in "cultural pluralism". Yet, can we learn from the lesson and apply to the future of America?

Works Cited

Sacco, Joe. Safe Area Gorazde: The War In Eastern Bosnia 1992-95. China, March 2008. Print.
"Gorazde and Foca." Jeb Sharp - Radio Stories. Web. May 12, 2008.

Book Reports / Conventions of the comics genre in Maus (rhetoric paper) [NEW]

Hi! I truly need help for my rhetoric paper. I need to write a 5-6 page paper about Art Spiegelman's use of the conventions of the comics genre in his epic graphic novel, Maus. I need to use at least one comic book besides Maus to complete this assignment. First I need to identify several conventions of the comics genre, and then create an argument that identifies a few conventions of the comics genre and that explains how Art Spiegelman uses them to tell his dark and terrifying family stories. I need to answer these questions in my paper (which I am not sure I answered all of them correctly): why does Spiegelman use those conventions? What is his artistic intention? What advantage do SPECIFIC CONVENTIONS give him in his effort to get his themes across to you? What is he trying to convey to the reader?

Any help is appreciated!!

Maus I vs. Shonen Manga

Conventions of the Comic Genre in Maus I

"The Jews are undoubtedly a race, but they are not human."
- Adolf Hitler

Unlike most of the mainstream comics on the Japanese manga magazine, Weekly Shonen JUMP!, which fill of sinewy and dazzling battles among the hero(s) and the antagonists, Art Spiegelman portrays the horrors of his family history and the internal conflicts using the comic medium - Maus I: A Survivor's Tale: My Father Bleeds History. Although the Holocaust is often brought up in American literature yet the mental illness within the survivors is beyond what a regular text could describe. Comics, on the other hand, offer a visual communication and presentation to the reader. Besides utilizing animalization and visual texture, Spiegelman breaks the text into many panels in various sizes to create a difference between the excruciating past and his conflicts with his father in present.

Conflict between Good and Evil has been considered the most common theme in comics; pursuing a dream also been shown repeatedly in Japanese manga. "I decided long ago that I'm going to be King of the Pirates . . . if I'll have to die fighting for that, then I die. I'm the man who'll become the pirate king and I will" (Oda 73). One Piece has been recognized as the most popular manga in the past decade. Monkey D. Luffy, the protagonist in One Piece, was inspired by a pirate known as "Red Hair" Shank and started his journey when he was twenty - underwent countless obstacles and fought hundreds of battles - to become the Pirate King. Enthusiasm and sentiment are indeed the main elements in Japanese manga. Another classic example from Weekly Shonen JUMP! is Naruto: "My dream is to become the greatest Hokage, that way the whole village will stop disrespecting me and treating me like I'm somebody, somebody important" (Kishimoto 36). Both One Piece and Naruto define the significance of striving, friendship, faith and love for the protagonists to accomplish their dreams. Authors also often use animalization as a symbol to reflect the text to the real world. Chopper, as an example in One Piece, is a reindeer who symbolize innocence and trust. Another characteristic of Japanese manga is visual texture. Japanese cartoonists intend to use less narration and exposition in the dialogue to deliversthe story through the characters and the drawing. They want to keep the storyline as simple and straightforward as possible; and instead of developing a controversial plot, they let the characters' personalities to lead the stories. The panels of the Shnoen manga are also different than American comics. They are relatively huge in order to leave enough differentiation between characters and the background, which also allow the author to shift between different points of view throughout the text. In some cases, in order to create a tense impact to the viewers, mainstream comics on Weekly Shonen JUMP! contain more than five continuous panels without any worlds, but just the action of the characters or the surrounding. However, Art Spiegelman's Maus I is more toward non-mainstream in the comics industry.

Instead of having splendorous battles, Spiegelman uses a simple stroke to depict his artwork yet connects the reader deeply with characters' mental relationship. "If you lock them together in a room with no food for a week . . . then you could see what it is, friends!" (Spiegelman 5). Vladek Spiegelman, Art Spiegelman's father, not only satirizes at the value of friendship at the beginning of the book, but at the same time, he opens an ancient gate of his memory. Maus I: A Survivor's Tale: My Father Bleeds History brutally unclothes the morality of humans and shows a shocking image of how selfish and benefit-oriented men had become as a result of the war. However, in this darkest history, to survive is the only goal for all Jews; and thus, all the other noble sentiments became relatively secondary. Compares to manga, Spiegelman's Maus I has developed a much deeper theme of humanity, both through characterization and the unique comic elements.

The other comic convention Art Spiegelman uses in Maus I is animalization. He portrays Jews as mice, Germen as cats and Poles as pigs to not only show the racial differences in Central Europe, but also use the subconscious in human mind to reflect the dehumanization both during and after the war. The characterization foreshadows Jews have to hide in the dark and struggle for their lives; Germen have the fangs and claws (political power) that Jews scared of; and Poles assist the Germen due to their ignorance. Every Jews, at that time, is doomed to die in front of the shackles of fate - millions become history and the forever pain in their families' hearts. The image of mice, nonetheless, creates a limited light spot in the book. Unlike Shonen manga, which often use light background and thin lines to highlight the characters, Maus I's background is dark and heavy; yet on the other hand, the white of the mice heads light up in the dark and create a dramatic compression between the cats and them. Spiegelman uses the image of animals effectively and creates a serious mood under the medium of comics.

Maus I combines two different primary narrations: one told by Vladek about the process of how Anja and him survived through the World War II and the genocides; the other one is told by Art about the relationship and the conflicts between him and his father. The tone of narration, though, is calm and neutral; the past's vicissitudes, on the other hand, is shivery to the audience's hearts. Every word and line Spiegelman uses is cold and harsh as a bone without any flesh. The texture of the darkness, furthermore, creates an irrespirable mood and reveals the pain and depression in that historical period. Spiegelman alleges, "It was many, many such stories - synagogues burned, Jews beaten with no reason, whole towns pushing out all Jews - each story worse than the other" (Spiegelman, 33). Yet, under the racial cleansing, true love remains between Vladek and Anja. This is indeed the only bright light in the history Spiegelman's father is telling, and it creates warmth beyond the darkness by the use of different lighting and shading. A marriage for profit, stubbornly persists, the pain of losing their child . . . all, no matter how it started or how it ended, deliver an eternal commitment and an unbreakable love between two Jews.

While the setting is in present, the size of the panels is similar and the background is bright. However, it becomes less methodical and more disarrayed while in Vladek's memory. This shifting of time happened frequently throughout the comic and creates a dramatic comparison of Vladek between the two different time periods. Although Japanese manga also uses different types of panel to represent the memory of the character, the past is often more organized as it is the foundation stone for the protagonist to achieve their dreams. In Maus I, on the other hand, is opposite, especially consider Vladek is old and the memory itself is full of pain and chaos. As an image on the bottom left on Page 67 shown, Vladek is humpbacked and wants his son to stay. He is just an old man who needs someone to talk to, yet Art couldn't get along with him. "God DAMN you! You-you murderer! How the hell could you do such a thing!!" (Spiegelman 159). Spiegelman not only bolded the word "damn" but also use double exclamation marks and sharp speech bubble to show his anger toward his father. Indeed, arguments often break out; and he isn't the only one who gets mad by his father's stubbornness, Mala does too. She says on page 43, "You should know it's impossible to argue with your father." A question brings up: How did the war changed Vladek's personality and how did that help him to survive?

Art Spiegelman states more than once in Maus I that many people went to the concentration camp, but none like his father. Yet, this book is not only a personal history; it is a scar of time that burned on everyone's mental body; it just that the outcomes are different from various perspectives. Some people become afraid of the dark, some afraid to shower and some will still hide their food into the gap of the wall. Men are strong, in a way that no matter how many suffering they had experienced, they still desire to live; yet, men are weak, in a way that the shadow of pain will follow them forever. Vladek is the same. Although he has his unique personality, he has the same scar as everyone else. The text is no longer about one or a group of Jew(s), nor the Holocaust, it is the sufferance of human and the change of morality in a cruel world, which all are reflected by one person - Vladek. Spiegelman uses the comparison between the past and present and the expressions of the characters to answer the question about Vladek's internal transition.

Although Art Spiegelman's Maus I: A Survivor's Tale: My Father Bleeds History is more toward non-mainstream comics compares to Japanese manga, but they both share similar comic conventions, such as the theme of Good vs. Evil, animalization, and the usage of visual textures. Spiegelman not only combines novelistic elements into his book, he also utilizes comic conventions as steppingstones to amplify the text and connect to his audiences graphically. The lighting and shading, as examples, create a depressing mood of the Holocaust and the internal conflicts of both himself and his relationship with his father. This nonetheless brings up a question to every viewer: How should we treat the survivors and their psychological trauma after the war?