Healthy Eating Habits in Social Anxiety Disorder

Healthy Eating Habits in Social Anxiety Disorder Social Anxiety Disorder Coping Print Healthy Eating Habits in Social Anxiety Disorder By Arlin Cuncic Arlin Cuncic, MA, is the author of Therapy in Focus: What to Expect from CBT for Social Anxiety Disorder and 7 Weeks to Reduce Anxiety. Learn about our editorial policy Arlin Cuncic Medically reviewed by Medically reviewed by Steven Gans, MD on August 05, 2016 Steven Gans, MD is board-certified in psychiatry and is an active supervisor, teacher, and mentor at Massachusetts General Hospital. Learn about our Medical Review Board Steven Gans, MD Updated on June 24, 2019 Social Anxiety Disorder Overview Symptoms & Diagnosis Causes Treatment Living With In Children Eat healthy foods to combat anxiety. Lew Robertson / Getty Images Healthy eating habits can mean the difference between a day filled with jitters and a day of calm and peace. Below are nine tips for healthy eating to help those with social anxiety disorder (SAD) improve overall wellness, and reduce feelings of anxiety on a daily basis. Eating Better to Reduce Anxiety Eat Small, Regular Meals. When you skip meals, your blood sugar levels drop and you may feel irritable, jittery, and have worsened anxiety. Aim to eat 5 to 6 smaller meals and snacks throughout the day to keep your blood sugar levels from plummeting.Eat Whole Grains/Good Carbohydrates. Replace processed grains (such as white bread and pasta) and simple carbohydrates (such as fruit juices) with complex carbohydrates such as whole grains, fruits, and vegetables. Foods that contain complex carbohydrates, such as brown rice, whole wheat pasta, beans, broccoli, and cabbage take more time for the body to process than simple carbohydrates like sugar, and will lead to fewer ups and downs in serotonin levels in the brain, and may help you feel calmer.Avoid Refined Sugar. Refined sugar, found in sweets, soda pop, and other foods, can affect your bodys metabolism and deplete certain vitamins and minerals. Stay away from obvious sugar sources as well as hidden sugar in packaged and canned foods. Drink Herbal Tea Instead of Coffee. Caffeine can cause an effect similar to the stress response involved in anxiety, so its best when avoided. Caffeine can be found in coffee, tea, soda pop, chocolate, and some medications. Try alternatives such as herbal tea instead of coffee; although it may be hard to give up caffeine at first, in the long run, youll feel better.Limit Alcohol. Alcohol can aggravate feelings of depression (which often coincide with social anxiety) and is best avoided or limited.Take a Multi-Vitamin. Ensure that you receive adequate daily vitamins and minerals by supplementing your diet with a multi-vitamin. Magnesium is a particularly important mineral and can also be found in foods such as nuts (e.g., almonds and cashews), soybeans, and spinach.Watch Artificial Sweetener Consumption. Although it might be tempting to use artificial sweeteners in place of refined sugars, be sure that consumption of these products is not aggravating your social anxiety. If you find yourself feeling particularly anxious after consuming an artificial sweetener, it might be wise to avoid that product.Include Omega-3 Fatty Acids. Increase the consumption of Omega-3 fatty acids by eating nuts, seeds, and cold water fish.Drink Water. Stay hydrated by drinking water throughout the day. Dehydration can lead to lower energy levels which can worsen anxiety. In addition to the above tips, remember to introduce any changes to your diet in a gradual fashion; otherwise, you might find that you quickly return to your old habits. Also be sure to avoid any foods that are known allergens for you, particularly those that worsen your anxiety. Making changes such as those above will help you not only gain control of social anxiety but also improve your general health.

Internship Report of Corporate Credit in Bank - 2405 Words

CHAPTER I INTRODUCTION 1.1 Background Basel Capital accord is a capital adequacy framework developed by the Basel committee. In 1988, the Basel Committee decided to introduce a capital measurement system commonly referred to as the Basel Capital Accord. This system provided for the implementation of a credit risk measurement framework with a minimum capital requirement of 8% on banks Risk Weighted Assets (RWA). The 1988 framework is also known as Basel – I. Since 1988, this framework has been progressively introduced not only in member countries but also virtually in all other countries. The international convergence on capital measurement and capital standard -2004 is popularly known as Basel-II. It is a capital†¦show more content†¦The rationale of Basel II was to reduce the scope for regulatory arbitrage and make regulatory capital requirements more risk-sensitive by incorporating advances made in banks‟ internal risk management practices in calculating regulatory capital requirements. The „International Convergence of Capital Measurement and Capital Standards: A revised Framework‟, known as Basel II, was agreed in 2004 and consisted of three pillars corresponding to minimum regulatory capital requirements in Pillar 1, the supervisory review process in Pillar 2 and market discipline in Pillar 3. 1. First Pillar The first pillar deals with maintenance of regulatory capital calculated for three major components of risk that a bank faces: credit risk, operational risk, and market risk. Other risks are not considered fully quantifiable at this stage. 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Life Changing Moments Of Life Essay - 1878 Words

Throughout my life I have discovered that life can change in instances that I refer to as moments of impact. Recently many moments of impacts have affected my life. There are small day to day little moments that bring me joy and there are big life-changing moments such as building a house for a homeless family in Mexico last summer. The most recent moment of impact that still affects me on a daily basis is my family s latest addition of new family members. On a very sunny day in May, we rescued two pyrenees mixes and named them Theo and Zara. One day earlier this year, my sister and father came home after a long day. I asked them where they went and my sister said, â€Å"Oh, we were just at Petco looking for dogs†. I looked at my father and said, â€Å"Seriously where were both of you?†. He confirmed that they were looking at dogs at pet stores. This was the first that I had heard about getting a dog. Then, without warning, the following day the dog adoption process had suddenly begun. 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Imagery in Macbeth Free Essays

Shakespeare’s Effective use of Imagery to Display Powerful Themes â€Å"Fair is foul and foul is fair: Hover through the fog and filthy air. † (1. 1. We will write a custom essay sample on Imagery in Macbeth or any similar topic only for you Order Now 11-12). This famous chant lies in the opening scene of William Shakespeare’s tragedy Macbeth, providing dark evil imagery to evoke the senses and set a tone for the play. Images are strong sensory techniques that can be used as a basis for much further development in any piece of literature. A black cat, a dark alley and a stormy night are all modern day symbols of mystery and evil doings. Authors often times use these or similar images to embellish the plot by designing a setting or giving the characters more depth. More significantly, images provide a solid ground which gives underpinning to important themes of the writing. William Shakespeare very skillfully uses imagery to support prevalent themes of his drama Macbeth. Poison of the mind, the power of ones thoughts and hypocrisy are all significant themes carried throughout the play by effective use of imagery in reference to serpents, ghostly visions and ill-fitted clothing. Powerful images creep through the tragedy at every scene to construct a venomous atmosphere of false virtue and self-deceit. To start, Shakespeare effectively uses serpent imagery to illustrate the idea that power may act as a virus that poisons the mind and leads to moral and self-destruction. For instance, the power that Macbeth achieves through the violent act of murdering Duncan acts as a disease embedded into his mind that warps and twists his thinking. His only focus now is what evil acts must be done in order to ensure that his crown is safe. He expresses these poisonous thoughts when speaking to his wife about his idea to exterminate those threatening his title â€Å"O, full of scorpions is my mind. † (3. 2. 36). The powerful image of scorpions crawling through his brain, injecting their venomous thoughts effectively demonstrates how power can act as a poison that challenges moral thinking and sets people on a wrath of destruction. By providing a very sinister, wicked image of the diseased mind a common theme of the poison in power is successfully illustrated to the reader. Similarly, Lady Macbeth emphasizes the idea that in order to carry out those actions necessary to maintain such power they must possess poisoned blood â€Å"look like the innocent flower/ But be the serpent under’t. † (1. 5. 64-65). This striking image that compares Macbeth to a serpent enhances the suggestion that his strive to maintain authority has transformed him into a toxic creature with venomous blood. Such compelling imagery gives the reader a sense of his sickly soul, thus further amplifying the idea that supremacy acts as a sickness that infects the mind and disrupts moral judgment. In summary, the use of serpent and poison imagery firmly expresses a central idea of the play; power is a virus that contaminates the mind and leads to moral and self-destruction. In the same way that Shakespeare uses imagery to emphasize the idea of power acting as a virus, he also makes use of images to portray the theme that the physical world (reality) is not always as real as the thoughts in one’s mind. First of all, as Macbeth is preparing the murder of King Duncan his innermost thoughts come to life when his anxiety gives rise to the hallucination of a dagger, the handle pointed to him and the blade aimed at Duncan. In a soliloquy, Macbeth expresses his confusion when he is unable to clutch the blade â€Å"Mine eyes are made the fools o’ the other senses, or else worth all the rest. † (2. 1. 43-45). The vision is so strong to him that Macbeth is unable to determine whether his eyes are incorrect or his other senses (such as the sense of touch) are failing him. The ghostly vision and Macbeth’s heavy belief in what clearly isn’t there illustrates the power in one’s thoughts compared to the reality of the universe, further highlighting a key theme of the play. Furthermore, Macbeth experiences an even more passionate response to illusory thoughts when he believes to see the ghost of Banquo sitting at his place the night of his feast. At the sight of the ghost, Macbeth loses all sense of reality and begins speaking to the ghost amid all of his guests; â€Å"Prithee, sit there! Behold! Look! Lo! How say you? Why, what care I? If thou cans’t nod speak too. † (3. 4. 69-70). Once again, the way Shakespeare depicts the power of these visions to Macbeth through his ghost imagery better reinforces the strength of our internal thoughts. Shakespeare’s use of ghost imagery, and more notably Macbeth’s strong reaction to them, positively expresses the theme of one’s inner thoughts providing a stronger reality than the physical world. In a similar fashion to the way Shakespeare applies ghost imagery to depict an idea of the strength in one’s innermost thoughts, he effectively constructs the lesson that hypocrisy goes against nature and will not work in the long run with his use of clothing imagery. The clothing imagery is used to demonstrate that the persona Macbeth is attempting to possess is not actually his; the moral standards he claims to have as a loyal King do not match with his actions. For example, when Macbeth is given title Thane of Cawdor, he asks Angus â€Å"Why do you dress me in borrow’d robes? † (1. . 108-109), indicating that they are literally not his, they belong to the current Thane of Cawdor. However on a more symbolic level, the image of these borrowed robes demonstrates that Macbeth’s honors do not really belong to him. They have been borrowed, even stolen and he should not possess such a title. Thus, the clothing image helps to emphasize the idea that false virtu e is unjust, further developing a major theme in the drama. Also, the clothing imagery throughout the play aids in revealing this theme by hinting at the idea that Macbeth’s new title does not â€Å"fit† him right. For example, in act 5 when Angus speaks of Macbeth â€Å"Now does he feel his title hang loose about him, like a giant’s robe/ Upon a dwarfish theif. † (5. 2. 20-22), the reader is given a very awkward an obscure image, revealing Macbeth as a small, dishonorable man covered in garments that are unsuited to him. This advances the thought of Macbeth standing as a fraud; his clothing is not tailored to his size just as his personality is not tailored to the position he holds. He does not belong in that position of power, he should not be in that position of power and the obscure image if ill-fitted clothing really proves the idea that this is not right, it is unnatural. In short, Shakespeare’s use of clothing imagery helps to develop a central theme that hypocrisy is against nature, further emphasizing his ability to illustrate prevalent themes through images. Evidently, Shakespeare utilizes a variety of images to effectively illustrate the important themes of Macbeth. His use of poison imagery to display the virus of power, ghostly images to portray strength in one’s innermost thoughts and clothing imagery to demonstrate that hypocrisy goes against nature are all examples of the way Shakespeare employs this technique. This cunning use of words that appear to the senses give the reader a powerful picture to provide further understanding of underlying themes already present in the writing. Such a method of writing has since been used by many other authors to enhance their writing and better depict significant themes. How to cite Imagery in Macbeth, Essay examples

Rawls View Of Ignorance Essay Example For Students

Rawls View Of Ignorance Essay Rawls View of IgnoranceRawls theory of justice revolves around the adaptation of twofundamental principles of justice which would, in turn, guarantee a just andmorally acceptable society. The first principle guarantees the right of eachperson to have the most extensive basic liberty compatible with the liberty ofothers. The second principle states that social and economic positions are to bea) to everyones advantage and b) open to all. A key problem to Rawls is to show how such principles would beuniversally adopted and here the work borders on general ethical issues.Heintroduces a theoretical veil of ignorance in which all the players in thesocial game would be placed in a situation which is called the originalposition. Having only a general knowledge of the facts oflife and society,each player is to abide based on their moral obligation. By denying the playersany specific information about themselves it forces them to adopt a generalizedpoint of view that bears a strong resemblance to the moral point of view. Moral conclusions can be reached without abandoning the prudentialstandpoint of positing,a moral outlook merely by pursuing ones own prudentialreasoning under certain procedural bargaining and knowledge constraints.Rawls proposes that the most reasonable principles of justice for asociety are those that individuals would themselves agree to behind the veil ofignorance, in circumstances in which each is represented as a moral person,endowed with the basic moral powers. What this position supports is that whileeach person has different ends and goals, different backgrounds and talents,each ought to have a fair chance to develop his or her talents and to pursuethose goals fair equality for opportunity. It is not a race or contest wherethe talented or gifted prevail, it should be complete cooperation among all sothat there may be reasonable life for all. What the veil of ignorancebrings out is that we can acceptutilitarianism as a public conception of justice only if we are prepared to letsomeone be subject to conditions we would not be prepared to subject ourselves. However, it is not the responsibility of my actions to ensure the fulfillment ofanother persons goals. These principles create an equal distribution of thepie, if you will, yet it is not attainable unless pursued or strived for. There is no room for idle observation, meaning, that while we all possess equalopportunity as we all are equally moral persons, the choice of what you wish topossess materially as well as intellectually is the discretion and capability ofthe individual. Why should we accept these principles as principles of justice?Primarily, these principles promote equality among all. Each individual has thesame basic liberties and opportunities. Each individual has a moral obligationto accept the existence of every other human being. In doing so, all peoplebecome equal in their position and desires. We are equal in that each has thebasic powers of choice and on acting on a sense of justice. The responsibilityof procedure and growth relies on each and every individual his/her self. Bydoing so we may create a level playing field. Is this a form of purecompetition? It would seem so. Competition in that what is desired must beachieved by one and desired by many perhaps. A benefit of competitivecircumstance is the betterment of all parties involved as they must evolve inorder to surpass one another . Also,in fair equality for opportunity we may eliminate all forms ofdiscrimination and discretion of races, ethnic origin, social standards andreligious intolerance and beliefs. All of these characteristics are a componentof the individual person thus making him/her individual. Justice is onlysuccumbed when the liberties of an individual are affected because of anexternal opinion of these characteristics, and, in the oppression of thesecharacteristics upon another. They are nothing more than components of a people. .u4035caa50717df94d6ed106b7bec07dd , .u4035caa50717df94d6ed106b7bec07dd .postImageUrl , .u4035caa50717df94d6ed106b7bec07dd .centered-text-area { min-height: 80px; position: relative; } .u4035caa50717df94d6ed106b7bec07dd , .u4035caa50717df94d6ed106b7bec07dd:hover , .u4035caa50717df94d6ed106b7bec07dd:visited , .u4035caa50717df94d6ed106b7bec07dd:active { border:0!important; } .u4035caa50717df94d6ed106b7bec07dd .clearfix:after { content: ""; display: table; clear: both; } .u4035caa50717df94d6ed106b7bec07dd { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u4035caa50717df94d6ed106b7bec07dd:active , .u4035caa50717df94d6ed106b7bec07dd:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u4035caa50717df94d6ed106b7bec07dd .centered-text-area { width: 100%; position: relative ; } .u4035caa50717df94d6ed106b7bec07dd .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u4035caa50717df94d6ed106b7bec07dd .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u4035caa50717df94d6ed106b7bec07dd .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u4035caa50717df94d6ed106b7bec07dd:hover .ctaButton { background-color: #34495E!important; } .u4035caa50717df94d6ed106b7bec07dd .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u4035caa50717df94d6ed106b7bec07dd .u4035caa50717df94d6ed106b7bec07dd-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u4035caa50717df94d6ed106b7bec07dd:after { content: ""; display: block; clear: both; } READ: Jordanian democracy EssayWith the veil of ignorance we exempt our responsibility for caring forthat of which we do not know. If we dont see something physically everydayshould it be an not be a concern or an aspect of our own life? If this were so,could it not be possible that some things could be ignored by all? The wordignorance scares me since I am ignorant of many things yet in growth I hope tobecome less ignorant through education. Is it only then that I understandcertain circumstances yet since I am not affected personally than I shouldcontinue to ignore. This, it would seem, would then rely on my moral truth orobligation, yet I will be the one to ultimately decide, this being theresponsibility of all. Can we place that much faith in the moral responsibilityof human kind. It sounds great theoretically yet in practice it almost appearsthat this would create more alienation than is present today.Would we becomethe exact opposite of what is desired, a selfish and careless society? Theremust be caution in placing so much responsibility on moral obligation.

Literature Trivia 1 Flashcard

Literature Trivia 1

Apply the Post-Modernist concepts of intertextuality and pastiche to Shaun of the Dead. The WritePass Journal

Apply the Post-Modernist concepts of intertextuality and pastiche to Shaun of the Dead. Introduction Apply the Post-Modernist concepts of intertextuality and pastiche to Shaun of the Dead. IntroductionREFERENCES:Related Introduction This essay is going to investigate the concepts of intertextuality and pastiche of Shaun of the Dead. To do this, the two concepts will be briefly explained and how, although the film is completely made up of references to different films, it is still wholly original because of this. â€Å"Intertextuality is the shaping of texts meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. The term â€Å"intertextuality† has, itself, been borrowed and transformed many times since it was coined by poststructuralist Julia Kristeva in 1966. As critic William Irwin says, the term â€Å"has come to have almost as many meanings as users, from those faithful to Kristeva’s original vision to those who simply use it as a stylish way of talking about allusion and influence† (Irwin, 228).† â€Å"The literary term pastiche is used in two slightly different ways, and the concept can be found in other arts, not just literature, ranging from architecture to film. In the first sense, a pastiche is a form of homage which is accomplished through imitation. In the second definition, a pastiche is a medley of items which are imitative in origin. The term can be used in a derogatory or complimentary way, depending on the work under discussion. The origins of the word lie in an Italian word meaning medley, a reference to a type of cake or pie which is made from a broad mixture of items. The idea behind either form of pastiche is that it integrates themes, ideas, concepts, and characters which have already been seen and used before. These items are integrated in a new work because the author finds them interesting, compelling, or useful; a pastiche is not plagiarism or outright imitation, but a more complex literary concept.† (Smith, 2011). Shawn of the Dead was a 2004 film written by Simon Pegg and Edgar Wright. It was billed as a ‘British romantic zombie comedy’. The main plot of the film is that a man (Shawn) decides to turn his life around by winning his girlfriend back and fixing the relationship with his mother. Unfortunately he also has to deal with the whole community coming back from the dead to eat the living. Shawn of the dead is jammed packed with references to other films, most of which can be found in the following part of this essay. Firstly, in the opening credits, during the company logo, ‘figment’ by S. Park is playing. This is the same music that was playing during the airport scene in Dawn of the Dead. (Shawn of the Dead is obviously paying homage to Dead of the Dead in the similar film title reference as well). In Day of the Dead a zombie staggers into the screen shot and as a nod to this Shawn of the Dead has a shot of Shawn staggering across the floor after waking up. Pete, Shawn’s flatmate answers his mobile phone with the line, â€Å"Hi Dom.† Peter Serafinowicz (who portrayed Pete in the film) was also in BBC series Spaced (starring Simon Pegg) where he frequently used the same line. As Shaun walks to the corner store, he passes a road sweeper. On the operator’s radio, you can hear a report of how a space probe named Omega 6 entered the atmosphere several days early over the southwest of England and broke apart over a heavily populated area. This ties in with Night of the Living Dead, in which a space probe breaks up in the atmosphere and causes the dead to return to life. Throughout the film we see multiple references to a made up pizza chain called ‘Bub’s Pizza’. This is a reference to the smarter than average zombie Bub from Day of the Dead. One of the stars of Dawn of the Dead (1978), Ken Foree, is referenced in the place where Shawn works: Foree Electric. Shawn walks past a sign for Weston Park. This sign is in Crouch End in London. It is the same place that the BBC series Spaced was set and was also where Simon Pegg resided in 2004. They pay tribute to Ashley J. Williams, who played Bruce Campbell. hero from the Evil Dead Trilogy. This is during the scene when Shawn calls a staff meeting. He mentions that the manager and ‘Ash’ have both phoned in sick. There is an exclusive seafood restaurant called Fulci’s in the film at which Shawn tries to make a reservation for. This is a nod to Lucio Fulci, the famed Italian horror director. Ed, Shawn’s best friend, is known for his hilarious impression of Clyde, the orang-utan from Every Which Way But Loose with Clint Eastwood. The zombie in Shawns back garden, Mary, worked at Landis Supermarket. This is a reference to John Landis who is the director of the horror film An American Werewolf in London. As Shawn and Ed are watching news reports on the television they come across a reporter who speaks the same lines as the reporter in the Night of the Living Dead (1968) There is a poster of a bleeding cartoon schoolgirl in the background of the scene where Shawn and Ed get attacked by the one armed zombie. This is a stylized recreation of a scene from Battle Royale, a Japanese film. At one point, Ed warns Shawns mum over the phone, â€Å"Were coming to get you, Barbara.† This line is a reference to a line from the beginning of George Romeros seminal zombie movie Night of the Living Dead (1968). We hear ‘Zombi’ by Goblin, in the scene where Shawn and Ed try to work out how to rescue Liz and Barbara. This music was featured in Dawn of the Dead. When Shawn and Ed get to the idea of seeking refuge in the Winchester pub, a delighted Ed exclaims, ‘Yeah, boy!’ this is a reference to Public Enemy rapper Flavor Flay. As they are making their way to the Winchester, Shawns mum falls behind and gets attacked by a zombie. She screams for help and Shawn rushes to help her jumping on a small trampoline and using it to propel him through the air. This is the same shot that was used near the end of Sam Raimi’s film, Army of Darkness. It was also a popular mode of transport in the computer game ‘Zombies ate my neighbours’ in which you have to bounce from back garden to back garden in order to kill the suburban zombies. On the way to the Winchester, there is a brief reunion of characters from the television series The Office, when Shaun’s group encounters Yvonne’s group. Lucy Davis (Dianne) and Martin Freeman (Declan) played Dawn and Tim on the popular BBC series, and their relationship was a central plot of the show. Noel calls Ed on the phone and refers to him as Noodle. This is the name of one of the teenagers on Spaced. The Mexican standoff at the Winchester pub is straight out of Reservoir Dogs, with the characters holding broken bottles and corkscrew rather than guns, (with the exception of David who is holding a rifle). Shawn exclaims, ‘Stop pointing that gun at my mum!’ in Reservoir Dogs Chris Penn yells, ‘Stop pointing that gun at my Dad!’ Liz’s friend David’s death scene is almost identical to that of Captain Rhodes in Day of the Dead. In the scene where Shawn and Liz escape from the Winchester’s pub cellar via an elevator platform is a direct tribute to Day of the Dead which also heavily features an elevator platform. The way in which Shawn drops the ‘hand box’ after activating the elevator is done in exactly the same manner used by Bill McDermott (Played by the actor Jarlart Conroy) in the Day of thr Dead. The choreographed pool-cue beating of the zombie in the Winchester pub, which was synchronized to the Queen soundtrack, is a carefully referenced homage to the balletic assault on the homeless man in A Clockwork Orange, (1971) The line. ‘get behind me’,   when they were fighting off the zombies in the pub is a direct take of Han Solos line in Star Wars (1977) Shaun berates Ed for calling the creatures zombies (which they are, of course). This may be referring to the fact that many zombie movies (including Night of the Living Dead (1968) and Resident Evil (2002) never mention the word zombie at all. More likely this is a reference to Danny Boyle director of 28 Days Later (2002) and his insistence that it isnt a zombie movie. When Shaun finds his zombie house mate in the shower he utters the words Join us in a half whispered tone. This is a reference to the first two Evil Dead films where the zombies are always asking Ash (also mentioned in the department store) to join us. The scene in which Shaun and Liz leave the basement via the lift through the hatch into smoke and orange light, turning as they do so, is a direct reference to a scene in Star Wars: Episode V The Empire Strikes Back (1980) when Lando leaves the Millennium Falcon to rescue Luke. Towards the end of the movie when the soldiers arrive to save Shawn and Liz the logo on the side of their trucks read ‘Biohazard’ This is the same name that the Japanese use for the uber popular zombie video game Resident Evil, which is also very heavily featured in Simon Peggs BBC series, Spaced. Liz flicks through the channels and we hear a report refuting the news that the zombie attacks may have been caused by rage infected monkeys. This is a direct reference to the Danny Boyle film 28 days later. When Shawn and Liz are watching television after the zombie attack they come across a zombie game show called ‘fun dead’. In the background the shopping centre music from the Dawn of the Dead can be heard. Finally, the end credits of the film features the song ‘The Gonk’ by H. Chappell. This again is the shopping mall music for the Dawn of the Dead but remixed by Kid Koala. There are many more references of intextuality and pastiche in this film and as Simon Pegg and Edgar Wright have said in interviews that the film has many levels that you have to see to understand. â€Å"Shaun of the Dead.   Like Dawn of the Dead, this film follows what happens in the event of a zombie epidemic.   However, Shaun of the Dead is done in a more light-hearted and comical way.   That raises the question as to whether it is parody or pastiche.   Shaun of the Dead has all the elements of the zombie invasion film.   However, it is handled in a very different way, with comedy.   Shaun of  the  Dead is a classic example  of parody, given Jameson’s definition, â€Å"Now parody capitalizes on the uniqueness of these styles and seizes on their idiosyncrasies and eccentricities to produce an imitation which mocks the original† (1963).   Shaun of  the Dead takes those things  that are specific to almost every zombie film and makes light of it.   The film could be thought of as pastiche, as Jameson writes, â€Å"Pastiche is blank parody, parody that has lost its sense of  humor† (1963).   Since Shaun of the Dead is meant to b e humorous, it cannot be a pastiche.† REFERENCES: Irwin, William. Against Intertextuality. Philosophy and Literature, v28, Number 2, October 2004, pp.  227-242. S.E. Smith. (06 April 2011). In Literature, What is Pastiche?. Available: wisegeek.com/in-literature-what-is-pastiche.htm. Last accessed 13th April 2011. Anon. (2004). Shaun of the Dead Pop Culture References. Available: shaunofthedead.com/plot/pop-culture/. Last accessed 18th April 2011 B, Nick. (2007). What was once for theory is now used for postmodernism. Available: http://ryancallander.wordpress.com/2007/05/03/group-project/. Last accessed 5th April 2011. Apply the post-modernist concepts of intertextuality and pastiche to shaun of the dead. REFERENCES: Apply the post-modernist concepts of intertextuality and pastiche to shaun of the dead. Introduction This essay is going to investigate the concepts of intertextuality and pastiche of Shaun of the Dead. To do this, the two concepts will be briefly explained and how, although the film is completely made up of references to different films, it is still wholly original because of this. â€Å"Intertextuality is the shaping of texts meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. The term â€Å"intertextuality† has, itself, been borrowed and transformed many times since it was coined by poststructuralist Julia Kristeva in 1966. As critic William Irwin says, the term â€Å"has come to have almost as many meanings as users, from those faithful to Kristeva’s original vision to those who simply use it as a stylish way of talking about allusion and influence† (Irwin, 228).† â€Å"The literary term pastiche is used in two slightly different ways, and the concept can be found in other arts, not just literature, ranging from architecture to film. In the first sense, a pastiche is a form of homage which is accomplished through imitation. In the second definition, a pastiche is a medley of items which are imitative in origin. The term can be used in a derogatory or complimentary way, depending on the work under discussion. The origins of the word lie in an Italian word meaning medley, a reference to a type of cake or pie which is made from a broad mixture of items. The idea behind either form of pastiche is that it integrates themes, ideas, concepts, and characters which have already been seen and used before. These items are integrated in a new work because the author finds them interesting, compelling, or useful; a pastiche is not plagiarism or outright imitation, but a more complex literary concept.† (Smith, 2011). Shawn of the Dead was a 2004 film written by Simon Pegg and Edgar Wright. It was billed as a ‘British romantic zombie comedy’. The main plot of the film is that a man (Shawn) decides to turn his life around by winning his girlfriend back and fixing the relationship with his mother. Unfortunately he also has to deal with the whole community coming back from the dead to eat the living. Shawn of the dead is jammed packed with references to other films, most of which can be found in the following part of this essay. Firstly, in the opening credits, during the company logo, ‘figment’ by S. Park is playing. This is the same music that was playing during the airport scene in Dawn of the Dead. (Shawn of the Dead is obviously paying homage to Dead of the Dead in the similar film title reference as well). In Day of the Dead a zombie staggers into the screen shot and as a nod to this Shawn of the Dead has a shot of Shawn staggering across the floor after waking up. Pete, Shawn’s flatmate answers his mobile phone with the line, â€Å"Hi Dom.† Peter Serafinowicz (who portrayed Pete in the film) was also in BBC series Spaced (starring Simon Pegg) where he frequently used the same line. As Shaun walks to the corner store, he passes a road sweeper. On the operator’s radio, you can hear a report of how a space probe named Omega 6 entered the atmosphere several days early over the southwest of England and broke apart over a heavily populated area. This ties in with Night of the Living Dead, in which a space probe breaks up in the atmosphere and causes the dead to return to life. Throughout the film we see multiple references to a made up pizza chain called ‘Bub’s Pizza’. This is a reference to the smarter than average zombie Bub from Day of the Dead. One of the stars of Dawn of the Dead (1978), Ken Foree, is referenced in the place where Shawn works: Foree Electric. Shawn walks past a sign for Weston Park. This sign is in Crouch End in London. It is the same place that the BBC series Spaced was set and was also where Simon Pegg resided in 2004. They pay tribute to Ashley J. Williams, who played Bruce Campbell. hero from the Evil Dead Trilogy. This is during the scene when Shawn calls a staff meeting. He mentions that the manager and ‘Ash’ have both phoned in sick. There is an exclusive seafood restaurant called Fulci’s in the film at which Shawn tries to make a reservation for. This is a nod to Lucio Fulci, the famed Italian horror director. Ed, Shawn’s best friend, is known for his hilarious impression of Clyde, the orang-utan from Every Which Way But Loose with Clint Eastwood. The zombie in Shawns back garden, Mary, worked at Landis Supermarket. This is a reference to John Landis who is the director of the horror film An American Werewolf in London. As Shawn and Ed are watching news reports on the television they come across a reporter who speaks the same lines as the reporter in the Night of the Living Dead (1968) There is a poster of a bleeding cartoon schoolgirl in the background of the scene where Shawn and Ed get attacked by the one armed zombie. This is a stylized recreation of a scene from Battle Royale, a Japanese film. At one point, Ed warns Shawns mum over the phone, â€Å"Were coming to get you, Barbara.† This line is a reference to a line from the beginning of George Romeros seminal zombie movie Night of the Living Dead (1968). We hear ‘Zombi’ by Goblin, in the scene where Shawn and Ed try to work out how to rescue Liz and Barbara. This music was featured in Dawn of the Dead. When Shawn and Ed get to the idea of seeking refuge in the Winchester pub, a delighted Ed exclaims, ‘Yeah, boy!’ this is a reference to Public Enemy rapper Flavor Flay. As they are making their way to the Winchester, Shawns mum falls behind and gets attacked by a zombie. She screams for help and Shawn rushes to help her jumping on a small trampoline and using it to propel him through the air. This is the same shot that was used near the end of Sam Raimi’s film, Army of Darkness. It was also a popular mode of transport in the computer game ‘Zombies ate my neighbours’ in which you have to bounce from back garden to back garden in order to kill the suburban zombies. On the way to the Winchester, there is a brief reunion of characters from the television series The Office, when Shaun’s group encounters Yvonne’s group. Lucy Davis (Dianne) and Martin Freeman (Declan) played Dawn and Tim on the popular BBC series, and their relationship was a central plot of the show. Noel calls Ed on the phone and refers to him as Noodle. This is the name of one of the teenagers on Spaced. The Mexican standoff at the Winchester pub is straight out of Reservoir Dogs, with the characters holding broken bottles and corkscrew rather than guns, (with the exception of David who is holding a rifle). Shawn exclaims, ‘Stop pointing that gun at my mum!’ in Reservoir Dogs Chris Penn yells, ‘Stop pointing that gun at my Dad!’ Liz’s friend David’s death scene is almost identical to that of Captain Rhodes in Day of the Dead. In the scene where Shawn and Liz escape from the Winchester’s pub cellar via an elevator platform is a direct tribute to Day of the Dead which also heavily features an elevator platform. The way in which Shawn drops the ‘hand box’ after activating the elevator is done in exactly the same manner used by Bill McDermott (Played by the actor Jarlart Conroy) in the Day of thr Dead. The choreographed pool-cue beating of the zombie in the Winchester pub, which was synchronized to the Queen soundtrack, is a carefully referenced homage to the balletic assault on the homeless man in A Clockwork Orange, (1971) The line. ‘get behind me’,   when they were fighting off the zombies in the pub is a direct take of Han Solos line in Star Wars (1977) Shaun berates Ed for calling the creatures zombies (which they are, of course). This may be referring to the fact that many zombie movies (including Night of the Living Dead (1968) and Resident Evil (2002) never mention the word zombie at all. More likely this is a reference to Danny Boyle director of 28 Days Later (2002) and his insistence that it isnt a zombie movie. When Shaun finds his zombie house mate in the shower he utters the words Join us in a half whispered tone. This is a reference to the first two Evil Dead films where the zombies are always asking Ash (also mentioned in the department store) to join us. The scene in which Shaun and Liz leave the basement via the lift through the hatch into smoke and orange light, turning as they do so, is a direct reference to a scene in Star Wars: Episode V The Empire Strikes Back (1980) when Lando leaves the Millennium Falcon to rescue Luke. Towards the end of the movie when the soldiers arrive to save Shawn and Liz the logo on the side of their trucks read ‘Biohazard’ This is the same name that the Japanese use for the uber popular zombie video game Resident Evil, which is also very heavily featured in Simon Peggs BBC series, Spaced. Liz flicks through the channels and we hear a report refuting the news that the zombie attacks may have been caused by rage infected monkeys. This is a direct reference to the Danny Boyle film 28 days later. When Shawn and Liz are watching television after the zombie attack they come across a zombie game show called ‘fun dead’. In the background the shopping centre music from the Dawn of the Dead can be heard. Finally, the end credits of the film features the song ‘The Gonk’ by H. Chappell. This again is the shopping mall music for the Dawn of the Dead but remixed by Kid Koala. There are many more references of intextuality and pastiche in this film and as Simon Pegg and Edgar Wright have said in interviews that the film has many levels that you have to see to understand. â€Å"Shaun of the Dead.   Like Dawn of the Dead, this film follows what happens in the event of a zombie epidemic.   However, Shaun of the Dead is done in a more light-hearted and comical way.   That raises the question as to whether it is parody or pastiche.   Shaun of the Dead has all the elements of the zombie invasion film.   However, it is handled in a very different way, with comedy.   Shaun of  the  Dead is a classic example  of parody, given Jameson’s definition, â€Å"Now parody capitalizes on the uniqueness of these styles and seizes on their idiosyncrasies and eccentricities to produce an imitation which mocks the original† (1963).   Shaun of  the Dead takes those things  that are specific to almost every zombie film and makes light of it.   The film could be thought of as pastiche, as Jameson writes, â€Å"Pastiche is blank parody, parody that has lost its sense of  humor† (1963).   Since Shaun of the Dead is meant to b e humorous, it cannot be a pastiche.† REFERENCES: Irwin, William. Against Intertextuality. Philosophy and Literature, v28, Number 2, October 2004, pp.  227-242. S.E. Smith. (06 April 2011). In Literature, What is Pastiche?. Available: wisegeek.com/in-literature-what-is-pastiche.htm. Last accessed 13th April 2011. Anon. (2004). Shaun of the Dead Pop Culture References. Available: shaunofthedead.com/plot/pop-culture/. Last accessed 18th April 2011 B, Nick. (2007). What was once for theory is now used for postmodernism. Available: http://ryancallander.wordpress.com/2007/05/03/group-project/. Last accessed 5th April 2011.