ࡱ> OQN Dbjbj]q]q 4P??< iiiii}}}}8}$$$$$$$$&I)j$i$-ii4$---!Tii$-$--Vr#@ii6$v}u# R$<$0$#x)-)6$-i6$ /:   CONCLUSIONS MODULE An effective conclusion is a natural extension of the preceding body paragraphs: it is the culmination of the riveting argument, the vein of gold struck after hours of mining, and the measure of your arguments impact upon the subject area. The effective conclusion, then, is not simply a helpful summary at the end of a paper, but rather the triumph of the papers argument. For this reason, you should always consider the role the conclusion plays in the greater context of the paper. Structure of the conclusion Begin with a reminder to the reader of the hoped-for impact of the papers argument on the topic at hand. What was the papers contribution? This should be more than just a restatement of the argument and the thesis. Rather it should echo the thesis, key points of the argument, and then Extend the paper by answering the so what question for why the argument matters. This can be done by considering the following questions: Are there provocative suggestions to make? (e.g. The lesson from these facts is obvious; the State Department ought to do everything possible to promote better relations with X because). What is the significance of my approach or the information I have presented? (e.g. Perhaps, then, Burkes position is difficult to understand because he has failed to define his terms carefully. This possibility deserves consideration) Are there any points that remain undecided? What are the limitations of my argument and the power of that limitation? (e.g. No clear solution exists to the moral problems Conrad considers in Heart of Darkness. Several are suggestedby Marlow, the cannibals, and Kurtz himselfbut for the reasons indicated, none seems adequate. Any such solution lies buried in the hearts impenetrable darkness.) Are there any important concepts that are a natural extension of the argument? (e.g. According to Kozol, Americans should be outraged about the inequities in resources and opportunities to learn that exist when comparing one public school to another. The charter school movementrepresented in the case of North Lawndale College Preparatory High Schoolprovides one way for Americans to begin believing that money can make a difference in public school reform.) You may also end your essay with an allusion or anecdotal reference to something that is not your main subject as a way to show your arguments relevance. If you do so, however, make sure you keep the allusions in control. They must clearly relate to your subject matter and not appear tacked on to your paper. (e.g. I had the good fortune to attend a good public school. In America, being able to attend a good public school should not be a matter left to fortune.) Exercise 1: Read the following essay. The conclusion has some key strengths and weaknesses. In the space provided at the end of the essay, make a list of the steps you would take in an appointment with this client to help him/her write a better conclusion. Leave it to Beaver The first three decades of the twentieth century saw the emergence of new communication technologies and industries that provided the basis for commercial broadcasting. Broadcast media exists as an important medium, as it is able to carry the same information and messages to millions of people every day. Television is capable of producing and distributing ideas, goods, and experience on a huge, universal scale. The 1950s was a unique period in American history as it witnessed the growth of television and the emergence of the middle-class society and the growth of leisure. After the freeze on new station permits, there was a new boom in television as cities were growing in excitement. In all, television started to emerge as a mega-business as it became an advertiser-supported medium. Television also posed as a major social force, and an ever-closer fit between television and society occurred when situation comedies appeared, more notable, the show Leave it to Beaver. Leave it to Beaver was a popular show that both reflected the 1950s culture and the rise of network television. From the mid- to late 1950s a shift took place from live to filmed television and from anthology drama to episodic series. The anthology form did survive to some extent on film, but was soon obscured by filmed episodic series that was preferred by most sponsors. When sponsors like Philco TV Playhouse switched to a Hollywood-produced series, others followed (Barnowu, 166). The genre-based episodic series, with continuity of characters and setting, became dominant during the fifties as live broadcast gave way to industrialized production of programs on film, resulting in a centre shift from New York to Hollywood (Rise). Televisions classic genre, the episodic series, was defined by the imagery of family. Commercial imperatives ordered these changes as television reproduced the values of capitalism. leave it to Beaver, as well as The Adventures of Ozzie and Harriet and Father Knows Best idealized the images of American life by portraying nuclear families and middle-class values. Sponsors to Leave it to Beaver, including General Electric Light bulbs and Purina Dog Chow, preferred fast resolutions to conflicts, and a happy ending for the program was almost guaranteed (Leave). Sponsors preferred the conflict-resolution format that was similar to the way advertisements presented their products (Kellner, 45). Every episode of Leave it to Beaver was well-structured in order to accommodate for commercial interruptions. Therefore, sponsors to Leave it to Beaver literary produced the show themselves and had complete control over the content of the show. Leave it to Beaver was written in order to make their audiences laugh and feel good and sponsors eventually hoped this happiness would generate them to buy their products. All sponsors of the show made it their top priority to eliminate unpleasant programming (Kellner, 44). Leave it to Beaver was created by Joe Connelly and Bob Mosher, who both once worked at the J. Walter Thompson advertising agency in New York. They left the agency in 1942 to devote their time to radio comedy writing. They acquired jobs for the program Amos n Andy during which they refined their abilities to create humorous characters with which audiences could relate to. In 1957, the duo came up with the concept of developing an adult-appealing show about children, thus Leave it to Beaver was born. Unlike other shows of the time, including Father Knows Best and The Adventures of Ozzie and Harriet, the stories would be told through the eyes of the children. The show became a co-owe project in which creators, writers, and producers Connelly and Mosher controlled one half and comedian George Goebels Gomalco Production controlled he other half (Orlick). The family comedy focused on life told through the eyes of young boy, Theodore Beaver Cleaver. He was 7 when the show first premiered October 4, 1957 and a teenager when the show was taken off the air in June 1963. During the time it was aired in October 957, Leave it to Beaver was also competing with the show The Real McCoys. The first season on CBS and the last five on ABC witnessed changes in directors, from Norman Tokar to David Butler, yet Joe Connelly, Bob Mosher, and Dick Conway remained ardent writers for the entire show (Leave). The show started out with Beaver, played by Jerry Mathers, as a rambunctious, dirt-loving boy who always found himself getting into some kind of trouble. His older brother, Wally, played by Tony Dow, was 12 when the show first aired. The boys parents, June and Ward Cleaver, played by Barbara Billingsley and Hugh Beaumont, were portrayed as the nice, middle-class couple in the town of Mayfield (Leave). Ward Cleaver worked outside the home as an accountant while June Cleaver stayed at home as the mother and housewife. Even if their boys got into mischief, they always offered unconditional love and nurture. The 234 episodes allowed for the boys to age and mature naturally, ending with Beaver entering high school and Wally leaving for college. With its down-to-earth writing and simple storylines, it appealed to both adults and children (Orlick). The post-war years resulted in television becoming an integral part of the domestic environment. Advertisements everywhere stressed the importance of owning a television, as it would domestic bliss and prosperity to the home (Spigel, 37). Even today, our most powerful images of traditional families are delivered to us by the TV Land reruns of 1950s sitcoms. Sitcoms such as Leave it to Beaver depicted a hard-working father, a loving mother, and children who followed the rules of society. Even though the stories were seen through the eyes of Beaver, he and his brother were always portrayed as mild-mannered, respectable children who never go themselves caught up in any of the teenage fads or crazes. Even the boys friends were mild-mannered, except for the rebellious Eddie Haskell, yet who always managed to stay respectful towards adults (Cox). The 1950s was a pro-family period in American history. Divorce was almost nonexistent, marriage was highly praised, and the family was hailed as the most basic institution in society. It was thought that the idea of family would ultimately save America from being influence by communism. For this reason, it cam to no surprise that television shows became increasingly dominated by anticommunist cold war programming (Kellner, 46). Furthermore, the good life of the 1950s put emphasis on a world of satisfaction and amusement. The good life in the 1950s made the family the focus of fun and recreation. On television, David Marc commented on how all normal families moved to the suburbs and lived a life of comfort and contentedness. The good life that was portrayed on Leave it to Beaver may have reflected cultural values, but it failed to offer solutions to the discontent and pain that underlined the romanticism of the time (Coontz, 27-28). First, mothers were not as giddy and dotty as June Cleaver. In fact, many women found themselves trapped and discontent with their day to day lives. Women of the time even complained of feeling alone, isolated, and empty. Likewise, men were feeling pressured into fulfilling their role as the breadwinner and prayed for promotions on a day to day basis (Coontz, 32). Of course, sitcoms like Leave it to Beaver failed to address real social issues of the time. Instead, in every episode of Leave it to Beaver the children would learn valuable lessons that their parents would discuss with them. The parents during this time would always remain calm and collected when offering their children advice and warning them to think twice before engaging in a troublesome situation (Cox). He troublesome situations that Beaver found himself caught up in, however, were never extreme and there were offered simple solutions. Lucille Ball from the immensely popular show I Love Lucy, was quoted saying that people could identify with the Ricardos because they had the same problems as everyone else; the only thing that was different was that their problems were exaggerated (Patterns). Indeed, many people felt they could relate to the Ricardos. It was because of this consensus that American families truly believed television could revive domestic life. After the United States had emerged from World War II with the economy virtually unharmed, television played an important part in the boom as advertisements promoted consumption and consumer society. Appliances, cars, and food supplies were marketed on television in order to educate families about how new consumer goods would keep them functioning as up-to-date affluent members of society. It was remarkable tow the boom was affecting every American city and town. For example, by the late 1950s there were over 500 stations with over 85 percent of all homes watching for some five hours every day (Barnouw, 198). The television set was ultimately keeping families at home. This idea of family togetherness, however, was accompanied by repressed anxiety and frustration that did not surface itself in popular television shows of the time (Spigel, 44). Leave it to Beaver for example depicted June Cleaver as a content housewife; Beaver and Wally as well-mannered, respectable children; and Ward Cleaver whose parental authority was never questioned. It was societys aim, and therefore televisions aim, to have its members adhere to the conformity and ideal of family togetherness. Television has drastically changed since the 1950s. First there was the rise of video, VCR, cable, satellite, DVD, and now HD television. As it had been in the 1950s, the television still affects the life styles, commerce, clothing, diet, and music everywhere. Whereas 1950s television broadcast had relatively few quality live dramas and anthology drama series, it really was in the 1980s and later that television aired a wide range of new programming services (Branouw, 495, 539). Now audiences have access to hundreds of channels, ranging from kids shows, multiple new sources, sports, and channels relating to specifically science, war, and women. While Leave it to Beaver was a rather simple show with low-key acting and non-complex subject matter, shows today have left that familiar terrain for more complex content. Of course there are still shows today that are somewhat similar to Leave it to Beaver. The Disney channel offers multiple shows about children and teenagers getting into trouble. Yet with the help and advice of their parents they always succeed in the end. The popular television show Hannah Montana, for example, is about a successful young pop-star who after every episode learns a valuable lesson either about friendship, telling the truth, being a good student, or trying not to let her superstar lifestyle get in the way of her having a normal life. This show, like leave it to Beaver, always leaves the viewer with a satisfactory ending. However, there are other shows that aim to address more complicated issues. The ABC Family series The Secret Life of the American Teenager is a drama that addresses topics such as divorce, violence, death, sexuality, and teen pregnancy. Leave it to Beaver in the 1950s never would have ventured that far into social issues. Since the 1950s, there was a break down in consensus as there emerged very divided channels. Since the 1950s, audiences were able to experience the Cuban Missile Crisis, the Kennedy assassination, and the events on September 11, 2001 as it all played out on television. Television took a turn when it aimed to bring audiences a sense of truth. Television now has fantastic power. Commercials today now incorporate the talents of directors, writers, and actors to sell their products while also providing leverage for religion and social movements (Barnouw, 539). Television has come a long way. First starting out as something mechanical, it moved on to something electronic and now digital. Television is something that most of us carry with us throughout our lives. However, it did not become very popular until the beginning of the 1950s. From there, the need for television has escalated to staggering proportions. Leave it to Beaver is an excellent example of a popular show that reflected the culture of the time, as well as the rise of network television. Type the Steps You Would Take Here:     11.10.11  4  W v w y  *".6&׸׸׸׸׸׸׸׸׈v"h|Qh75>*CJOJQJaJh75>*CJOJQJaJh75CJOJQJ\aJ"h|Qh75CJOJQJ\aJh|Qh7CJOJQJaJh9h7>*CJOJQJaJh7CJOJQJaJhD[kh7CJOJQJaJh75CJOJQJaJ,  ? @ x y  gd7$&d P a$gd7%p"^(+3l9z@BDDDDDDDD dgd7dgd7 $a$gd7gd7&&BBJCKCDDDDDDDDDDDDDDDDı੥Ԗh|Qh7CJOJQJaJh7jh7U%h|Qh7B* CJOJQJaJphph7B* CJOJQJaJphph7CJOJQJaJhD[kh7CJOJQJaJhD[kh76CJOJQJaJDDDDDDDDDD dgd7 21h:p7/ =!"#$% 2 0JP`p2( 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p8XV~8XV~_HmH nH sH tH d`d Normal d1B*CJOJPJQJ^J_HaJmH phsH tH JJ { Heading 1dA$5CJ0\aJ0JJ { Heading 2dA$5CJ$\aJ$JJ { Heading 3dA$5CJ\aJJJ { Heading 4dA$5CJ\aJBB { Heading 5dA$5\JJ { Heading 6dA$5CJ\aJDA D Default Paragraph FontRiR  Table Normal4 l4a (k (No List 4@4 |QHeader  H$PP |Q Header Char!B*CJOJPJQJ^JaJph4 4 |QFooter  H$P!P |Q Footer Char!B*CJOJPJQJ^JaJphB'1B CbComment ReferenceCJaJ<B< Cb Comment TextCJaJ\Q\ CbComment Text Char!B*CJOJPJQJ^JaJphHjABH CbComment Subject5CJ\aJFRqF CbComment Subject Char5\NN Cb Balloon Text dCJOJQJaJ\\ CbBalloon Text Char!B*CJOJPJQJ^JaJphPK![Content_Types].xmlj0 u$Nwc$ans@8JbVKS(.Y$8MVgLYS]"(U֎_o[gv; f>KH|;\XV!]օ Oȥsh]Hg3߶PK!֧6 _rels/.relsj0 }Q%v/C/}(h"O = C?hv=Ʌ%[xp{۵_Pѣ<1H0ORBdJE4b$q_6LR7`0̞O,En7Lib/SeеPK!kytheme/theme/themeManager.xml M @}w7c(EbˮCAǠҟ7՛K Y, e.|,H,lxɴIsQ}#Ր ֵ+!,^$j=GW)E+& 8PK!\theme/theme/theme1.xmlYOoE#F{o'NDuر i-q;N3' G$$DAč*iEP~wq4;{o?g^;N:$BR64Mvsi-@R4Œ mUb V*XX! cyg$w.Q "@oWL8*Bycjđ0蠦r,[LC9VbX*x_yuoBL͐u_. DKfN1엓:+ۥ~`jn[Zp֖zg,tV@bW/Oټl6Ws[R?S֒7 _כ[֪7 _w]ŌShN'^Bxk_[dC]zOլ\K=.:@MgdCf/o\ycB95B24S CEL|gO'sקo>W=n#p̰ZN|ӪV:8z1f؃k;ڇcp7#z8]Y / \{t\}}spķ=ʠoRVL3N(B<|ݥuK>P.EMLhɦM .co;əmr"*0#̡=6Kր0i1;$P0!YݩjbiXJB5IgAФ޲a6{P g֢)҉-Ìq8RmcWyXg/u]6Q_Ê5H Z2PU]Ǽ"GGFbCSOD%,p 6ޚwq̲R_gJS֣9)嗛(:/ak;6j11太x~<:ɮ>O&kNa4dht\?J&l O٠NRpwhpse)tp)af] 27n}mk]\S,+a2g^Az )˙>E G鿰L7)'PK! ѐ'theme/theme/_rels/themeManager.xml.relsM 0wooӺ&݈Э5 6?$Q ,.aic21h:qm@RN;d`o7gK(M&$R(.1r'JЊT8V"AȻHu}|$b{P8g/]QAsم(#L[PK-![Content_Types].xmlPK-!֧6 /_rels/.relsPK-!kytheme/theme/themeManager.xmlPK-!\theme/theme/theme1.xmlPK-! ѐ' theme/theme/_rels/themeManager.xml.relsPK] <P &D#&DD$%'@  @ 0(  B S  ?H0( t[1].doc <<lq@FPWbi%+9@U [ A!G!^%e%h'n'((++M,U,!/(/00=3D3::<<<<<<<<<<<<<<Z[  RWv}88<<<<<<<<<<<<<<::::::::g 9&.bQ`Q5}Dch^`OJQJo(hHh^`OJQJo(hHohp^p`OJQJo(hHh@ ^@ `OJQJo(hHh^`OJQJo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJo(hHohP^P`OJQJo(hHh^`OJQJo(hHh ^ `OJQJo(hHoh ^ `OJQJo(hHhx^x`OJQJo(hHhH^H`OJQJo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJo(hHoh^`OJQJo(hH80^8`0o(. ^`hH. pL^p`LhH. @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PL^P`LhH.5}Dg &.b                  @         7<<<<<<<@<`@UnknownGTimes New Roman5Symbol3 ArialE Century GothicCJ Lucida Grande?1M Courier New;Wingdings"1hf&R#2j 3nn4d=<p 2QX?>{2Dawn Abt-PerkinsIrene Ruiz Dacal    Oh+'0  8 D P \hpx'Dawn Abt-Perkins Normal.dotmIrene Ruiz Dacal7Microsoft Macintosh Word@@@pp☙@:X#2 ՜.+,0 hp|  'j=  Title  !"#$%&'(*+,-./0123456789:;<=?@ABCDEGHIJKLMPRoot Entry F"vR1Table))WordDocument4PSummaryInformation(>DocumentSummaryInformation8FCompObj` F Microsoft Word 97-2004 DocumentNB6WWord.Document.8