Discourse Analysis Portfolio
Gabriel Bastidas, Lizeth Cordoba
Schizophrenia Emerged After Humans Diverged From Neanderthals
Schizophrenia poses an evolutionary enigma. The disorder has existed throughout recorded human history and persists despite its severe effects on thought and behavior, and its reduced rates of producing offspring. A new study in Biological Psychiatry may help explain why-comparing genetic information of Neanderthals to modern humans, the researchers found evidence for an association between genetic risk for schizophrenia and markers of human evolution. “This study suggests that schizophrenia is a modern development, one that emerged after humans diverged from Neanderthals,” said John Krystal, Editor of Biological Psychiatry. “It suggests that early hominids did not have this disorder.” The cause of schizophrenia remains unknown, but researchers know that genetics play a significant role in the development. According to senior author Ole Andreassen from the University of Oslo in Norway and University of California, San Diego, some think that schizophrenia could be a “side effect” of advantageous gene variants related to the acquisition of human traits, like language and complex cognitive skills that might have increased our propensity to developing psychoses. Along with Andreassen, first authors Saurabh Srinivasan and Francesco Bettella, both from the University of Oslo, and colleagues looked to the genome of Neanderthals, the closest relative of early humans, to pinpoint specific regions of the genome that could provide insight on the origin of schizophrenia in evolutionary history. They analyzed genetic data from recent genome-wide association studies of people with schizophrenia for overlap with Neanderthal genomic information. The analysis tells
researchers the likelihood that specific regions of the genome like the risk loci, underwent positive selection sometime after the divergence of humans and Neanderthals. “Our findings suggest that schizophrenia vulnerability rose after the divergence of modern humans from Neanderthals,” said Andreassen, “and thus support the hypothesis that schizophrenia is a by-product of the complex evolution of the human brain.” (Scientific article)
ANALYSIS Who: Editor Rhiannon Bugno. What: Reporting the results of the research “Genetic Markers of Human Evolution Are Enriched in Schizophrenia”, carried out by Srinivasan et al. The study refers to the discovery of schizophrenia as a side effect of the human genome evolution, which includes human traits like complex cognitive skills. In the words of researcher Andreassen, “schizophrenia is a by-product of the complex evolution of the human brain.” Where: In Elsevier, a digital journal on scientific research. When: On August 15, 2016. How: The editor uses a formal and academic speech, and we can notice this because he uses appropriate words that introduce, transition, and conclude the whole text; he properly cites and quotes authors and researchers from the study. He describes about the study, its methodology and procedure, and summarizes the main facts and results of the investigation as a conclusion. Why: To inform people in the field of neuroscience about the latest discovery of biological psychiatry that involves schizophrenia, being a side effect of human evolution. Retrieved from: https://www.elsevier.com/about/press-releases/research-andjournals/schizophrenia-emerged-after-humans-diverged-from-neanderthals
(Short horror story)
ANALYSIS Who: A person who can be either male or female, and who may or may not be an author. What: Narrating a supernatural thrilling story, which may or may not be based on real experiences. The short horror story is about a person who was laying down and a knocking sound woke him/her up. Surprised, he/she realized that it was not coming from a window as thought, but from a mirror. When: The time when the story was written is unknown. Where: Where the text was written or published is also unknown. How: The writer uses a rather informal or common speech than a literary one to narrate a very short horror story as if it was a real experience anecdote. Why: The reason why the story was written may be entertainment, but it can also be a literary way to share a real frightening experience. Retrieved from: http://justsomething.co/20-terrifying-two-sentence-horror-stories-thatwill-make-you-hold-your-breath/
(Quote)
ANALYSIS Who: Lord Henry talking to Dorian Gray What: Stating that Dorian would always feel affection towards Lord Henry because he is the perfect representation of all the unaccepted behaviors their society rejects. Lord Henry believes that Dorian is afraid of doing such deplorable things and instead he finds comfort in admiring him. When: During dinner. Where: At Lord Henry’s house. How: In a very poetic and formal speech Lord Henry expresses why Dorian is attached to him. Why: To make Dorian see that he is still a fearful person who admires him because of his ability to do wrong yet fascinating things. Retrieved from: https://quotefancy.com/quote/537/Oscar-Wilde-You-will-always-befond-of-me-I-represent-to-you-all-the-sins-you-never-had
Crazy, Stupid, Love.
The corpses of creatively dead rom-coms litter our multiplexes. So it’s a pleasure to come across the sharply funny and touching Crazy, Stupid, Love. It’s a live one with a dream cast that keeps springing playful surprises. Steve Carell, his Office duties behind him, is wonderfully appealing and vulnerable as Cal Weaver, who’d be a 40-year-old virgin if he didn’t marry the first and only woman he’s ever had sex with. That’s Emily (the reliably superb Julianne Moore), and she’s tired of Cal taking her and their kids for granted. So tired that she sleeps with co-worker David Lindhagen (Kevin Bacon) and kicks Cal to the curb. Ryan Gosling scores a comic knockout as Jacob Palmer, a notorious player who takes it on himself to make over uncool Cal and get him laid. Carell makes his transformation amusing and believable. What makes Crazy Stupid Love a cut above is actors who let pain seep into the laughs. Here’s a comedy you really can take to heart. (Movie review)
ANALYSIS Who: Peter Travers What: Criticizing the plot and actors of the movie “Crazy, Stupid, Love.” The author suggests that even though today’s romantic comedies are poorly creative, this movie is the exception in the hands of directors and screenwriters. Not only that, but also the fact that the three main characters of the movie are performed by actors Steve Carell, Julianne Moore, and Ryan Gosling, who do a great job in the pure essence of the film, which is funny and romantic. When: The review was published on July 28th, 2011. Where: In the Rolling Stone magazine. How: The author uses an informal yet structurally accurate speech to give his personal opinion on the plot and actors from the movie. He uses expressions like ‘it’s a pleasure to...’ and words such as ‘wonderfully’, ‘reliably superb’ ‘comic knockout’, and ‘amusing’, to appreciate and express a positive opinion. The use of phrasal verbs and idioms like ‘come across’, ‘take for granted’, ‘get laid’, and ‘seep into’, denote the informality of the author to get the reader familiarized with his text. Despite this, the review is well organized with an introduction, a body, and a conclusion paragraphs, and there are all the transition and linking words necessary that make this a well-written informal article. Why: To inform and give a personal opinion on the movie. Also, as his opinion is positive, and the final sentence suggests it, the author is basically inviting everyone who reads his article, to watch the movie. (“Here’s a comedy you really can take to heart.”) Retrieved from: http://www.rollingstone.com/movies/reviews/crazy-stupid-love20110728
(Advertisement)
ANALYSIS Who: Red Pepper advertising agency, Ekaterinburg, Russia What: Advertising about the dangers of driving while being distracted. The main goal is to make people aware of the possible accidents involving children that might happen if one does not pay attention to the road. When: It might be launched during school holidays to make drivers be careful. Where: Ekaterinburg, Russia How: By using a few words in an image that perfectly portraits what happens when one does not drive carefully. The main words used are “THINK OF BOTH SIDES” which refer to the side in which a school kid could die knocked down by the driver, and the side in which the people inside the car may end dead. In the advertisement they also use a fact (“The number of car accidents involving children increases during school holidays.”) to reinforce the campaign message, and ends by warning people who drive to be extremely careful. The word ‘extremely’ and the exclamation mark at the end denotes informality in the discourse. Why: To show that car accidents with children are an issue that it is trying to be decreased. Retrieved from: http://www.boredpanda.com/powerful-social-advertisements/
Painting the Road Less Traveled | Pastel Painter Darron Lillian
With his bike as his companion and his truck as his studio, pastel painter Darron Lillian traverses the country roads of southeast Wisconsin, looking and then looking again along familiar roadsides. “Roads lead through areas that we see every day,” he says. “We often speed through these places and don’t notice or appreciate where we are. I try to paint the everyday scene that people mostly glance at as they rush to their destination.” Lillian also strives to make his work as honest as possible, drawing on the reality and immediacy of the surrounding landscapes. Even if he has been on the same road many times before, it might suddenly offer something new. “The unusual becomes familiar, and then you need to go back and make it unusual again.” After years of biking and camping in the area, Lillian feels a special connection to the country roads near his home. He’s interested in the inevitable changes to the land that he knows so well—what he calls the “in-between land,” the edges of things between the city and the farmland. He studies where a farm has been torn down and a subdivision has gone up. “Railroad crossings, factories, road barricades, housing developments, street
intersections and neighborhoods are all grist for my mill,” the artist says. “I steer away from what most people accept as beautiful and leave that for others to paint.”
(Art article) ANALYSIS
Who: Betch Williams What: Describing the artistic life of pastel painter Darron Lillian who does not do what regular painters do: Represent natural places which are ‘beautiful’ to the eyes of many people. The artist travels in his bicycle and portraits what attracts his attention, even if it is the same scenario. When: On November 8th, 2016 Where: In the online art magazine www.artistsnetwork.com How: Using a formal speech quoting and citing properly what the artist has said. The author describes how Lillian works as an artist representing with pastels his hometown and its places which may not be appealing to many people. The formality of the discourse can be noticed in the well-organized structure of the text, and when the author uses words and phrases like ‘traverses’, ‘strives’, ‘immediacy’, or ‘elected’. Why: To describe and share the artistic life and point of view of a different artist whose main instruments are pastels. Retrieved from: http://www.artistsnetwork.com/medium/darron-lillian-pastel-landscapes
Terrifying Tales These seventeen stories are guaranteed to keep you awake and shivering with fear. We dare you to read them alone, late at night. The moon is full. The clock strikes twelve. Don’t be afraid. But what’s that sound? Footsteps in the hall? It’s just a dog. That creaking door? Merely the wind blowing. And is that a face at the window? Or is it your imagination? Read these stories at your own risk… but be prepared to be scared out of your wits. (Synopsis)
ANALYSIS Who: Horror writer J.B. Stamper What: Giving the readers of her book a message in which she suggests that the stories inside the book ‘Tales for the Midnight Hour’ are indeed good and frightening. Therefore she recommends that the reader be careful and prepared if he/she is really going to go further the cover of the book. When: The book was published in 1977 Where: It was published by SCHOLASTIC and printed in the U.S.A. The message is written in the back cover of the book ‘Tales for the Midnight Hour’ How: Stamper uses a refined literary speech in this message. The author starts by making sure the reader acknowledges the good quality of the stories within and then uses some narrative phrases such as ‘shivering with fear’, ‘late at night’, ‘the moon is full’, ‘the clock strikes twelve’, and ‘scared out of your wits’ and questions, in order to introduce the reader to a book full of scary stories. Why: Because even though the book is worth reading, it is also too frightening for some people, and therefore they must be warned before buying and opening the book. Retrieved from: Tales for the Midnight Hour, printed book
Perfume: The Story of a Murderer
It's never too late to read a good novel; but if you haven't read Süskind's Perfume yet, now is the time to do so. A combination of breathtaking suspense and unparalleled olfactory prose, this literary debut was one of the greatest worldwide bestsellers in the mid '80s. The eponymous movie, directed by Tom Tykwer, will premiere in a few months. This may be your last chance to apply your personal, unbiased imagination to the story. Perfume is the horrifying tale of an 18th century Parisian orphan, Jean-Baptiste Grenouille, whose primal curse — his unhuman lack of body odor — is paradoxically contrasted by a superhuman sense of smell. While the 'demonic' absence of a personal smell makes him a social outcast, Grenouille's interior world is completely dominated by olfactory perceptions: the boy thinks, dreams, lives in terms of scent. Throughout his childhood, he avidly memorizes the fragrant landscapes surrounding him; in a desperate attempt to regain his own humanity, he becomes obsessed with the idea of creating the most sublime perfume imaginable. As a perfume apprentice, he quickly reveals his uncanny talent for fragrant compositions; but conventional methods will not lead him to his ultimate goal. For his definitive masterpiece, Grenouille resorts to dramatic sacrifices. Perfume is based on proper historical research. Whether the author describes a particular setting (the streets of 18th century Paris, the opulent interior of a Parisian boudoir) or a specific method in perfumery (maceration, enfleurage), everything is described in minute detail, and with great accuracy where possible. Despite it being a fictional work with highly surreal elements, Süskind made sure to get his facts straight. I like that. The author's striking olfactory descriptions are another distinctive trait of this novel: few writers truly master this specialism. You can almost smell the fish market, the tannery, or the perfumed wigs as you turn the pages. The smells described in Perfume are
an integral part of the story; more than that, they represent the main character's relation to lust, love, hate, and redemption. No wonder people were skeptical about a screenplay adaptation. And finally, as with any good book, the plot has a rather surprising twist to it. You know it's the story of a murderer, but you'll have to read it until the last page to appreciate its complexity. So if you haven't done that yet, here's my advice: don't wait for the movie, no matter how good it turns out to be. You'll have plenty of time to watch that later. (Book review)
ANALYSIS
Who: Marcello What: Making a review of the book “perfume” by Süskind. The writer states that the book makes the readers actually feel the story because of the well-made descriptions of locations, scents, and odors. To do so he uses a rather informal discourse and highlights the writing skills of Süskind. He also mentions how the story not only describes the main character’s life choices but also the historical background of the 18th century. He also suggests the audience to read the book to have a firsthand experience of the story before watching the movie which does not capture the whole essence of the book. When: On March 8th, 2006 Where: In the website called “Now Smell This” in http://www.nstperfume.com How: by providing a short summary of the story and details of the author’s writing style. Why: To encourage people to read the book and get involved with the story before watching the movie. Retrieved from: http://www.nstperfume.com/2006/03/08/perfume-books-perfume-thestory-of-a-murderer-by-patrick-suskind/
How to Cook Rice
(Recipe) Say good-bye to sticky rice, undercooked rice, or dry, overcooked rice: With the right technique, cooking rice perfectly is a snap. Follow These Steps. 1. Boil water and add salt. Pour water (for every cup of rice, use 1 3/4 cups of water) into a large saucepan with a tight-fitting lid. Bring to a boil. Mix 1 teaspoon salt into the water. 2. Pour in rice. Add it to the boiling water. 3. Stir once, or just enough to separate the rice. Use a wooden spoon to separate any clumps. Don’t over-stir: That can cause the rice to become sticky. 4. Cover the pot and simmer. Be sure the lid fits tightly on the pot. Turn down the heat to its lowest setting. Let rice simmer for about 18 minutes, then remove from heat and allow the rice to steam in the pot for another 5 minutes. 5. Fluff rice with a fork. Just before serving, gently fluff the rice with a fork to separate the grains. Tip: Don’t uncover the saucepan or stir the rice during cooking. If it’s done before you’re ready to serve it, place a folded towel over the saucepan, replace the lid, and set aside. The towel will absorb excess moisture and condensation, helping prevent overcooked and mushy rice.
ANALYSIS
Who: The editors from the website www.realsimple.com What: Providing a short step-by-step guide on how to cook rice. When: The time in which the article was written is unknown. Where: In the website www.realsimple.com How: Using informal, technical speech. The author(s) introduces the process of cooking rice by using the imperative ‘Say good-bye’ and the expression ‘is a snap’. This is part of the author’s informal speech to get the reader familiarized with the writer and the content. The technical or specialized discourse can be seen in the procedure where the author organizes the information by steps using words like ‘boil’, ‘pour’, ‘stir’, ‘simmer’, and ‘fluff’. Why: To describe the procedure of a cooking process to share with the people interested in learning about the topic, which is cooking rice. Retrieved from: http://www.realsimple.com/food-recipes/cooking-tipstechniques/cooking/cook-rice
The Triple-Filter Test
Acquaintance:
Do you know what I just heard about your friend?
Socrates: Hold on a minute. Before you talk to me about my friend, it might be good idea to take a moment and filter what you’re going to say. That’s why I call it the triple filter test. The first filter is Truth. Have you made absolutely sure that what you are about to tell me is true? Acquaintance:
Well, no, actually I just heard about it and…
Socrates: All right, so you don’t really know if it’s true or not. Now, let’s try the second filter, the filter of Goodness. Is what you are about to tell me about my friend something good? Acquaintance:
Umm, no, on the contrary…
Socrates: So, you want to tell me something bad about my friend, but you’re not certain it’s true. You may still pass the test though, because there’s one filter left—the filter of Usefulness. Is what you want to tell me about my friend going to be useful to me? Acquaintance:
No, not really.
Socrates: Well, if what you want to tell me is neither true, nor good, nor even useful, why tell it to me at all? (Dialogue)
ANALYSIS Who: Philosopher Socrates What: Talking to an acquaintance about a friend of his. The man tries to gossip with Socrates, but he does not allow it. His reasons are three which and he considers them as a three-step filter test: to filter the truth, the goodness, and the usefulness of what is being said about another person. When: The time in which the dialogue was recorded or performed is unknown, though it may oscillate between the years 471 and 399 BC, the lifetime of Socrates. Where: Possibly in the house or the place in which Socrates was, where he could be visited. How: Socrates and his acquaintance use a formal speech in their conversation. The formality of the discourse can be noticed in words such as ‘absolutely’, ‘may’, ‘on the contrary’, ‘certain’, and ‘neither… nor’. In the dialogue, Socrates does not seem to like what the man is trying to do (gossip) and this cannot only be observed in the filter test, but also when he interrupts the man: “Acquaintance: Well, no, actually I just heard about it and-- Socrates: All right, so [...].” Why: Socrates discussed with his acquaintance in order to avoid gossips that may be untrustworthy, bad-intentioned, useless information about someone else. Also, the philosopher may want to teach the man a lesson to stop bad habits.
Retrieved from: http://truegooduseful.blogspot.com.co/