...Good Will Hunting: A Protagonist’s Path to Physiological Fulfillment and What That Teaches Viewers About Success Introduction Good Will Hunting is the touching story of a young man’s struggle to transcend his Dickensian childhood, to discover his place in the world, and to achieve intimacy with others. On some levels the story and the plot of Good Will Hunting, conveys a very fundamental messages to the viewer; that we are all products of our environments and made up of the vast experiences in which we live. However, this movie introduces an extremely complex character whose past is tainted by abuse and abandonment and introduces a character that is both genius in his capability but hindered by his inability to face his brutal upbringing. Character development The most compelling character that Will encounters is Sean, Will’s psychiatrist. What makes the character unique is that Sean too comes from Southey, the rough and tumble neighborhood that Will grew up in. Sean has escaped his past by attending Harvard and graduating as an intellectual. However, Sean is also conflicted, as he has suffered after witnessing the slow death of his wife from cancer. In there first meeting, after Will tells Sean that his painting of a boatman in a storm is a metaphor for his own tumultuous existence after the loss of his true love, Sean responds with violent consternation. Will notes that his therapist has not fully recovered from his past something that draws Will closer...
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...Not only does the unfortunate Mr. Nuttel fall victim to the story's joke, but so does the reader. The reader is at first inclined to laugh at Nuttel for being so gullible. However, the reader, too, has been taken in by Saki's story and must come to the realization that he or she is also inclined to believe a well-told and interesting tale. Style “The Open Window” is the story of a deception, perpetrated on an unsuspecting, and constitutionally nervous man, by a young lady whose motivations for lying remain unclear. Structure The most remarkable of Saki’s devices in “The Open Window” is his construction of the story’s narrative. The structure of the story is actually that of a story-within-a-story. The larger “frame” narrative is that of Mr. Nuttel’s arrival at Mrs. Sappleton’s house for the purpose of introducing himself to her. Within this narrative frame is the second story, that told by Mrs. Sappleton’s niece. Symbolism The most important symbol in “The Open Window” is the open window itself. When Mrs. Sappleton’s niece tells Mr. Nuttel the story of the lost hunters, the open window comes to symbolize Mrs. Sappleton’s anguish and heartbreak at the loss of her husband and younger brother. When the truth is later revealed, the open window no longer symbolizes anguish but the very deceit itself. Saki uses the symbol...
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...feel like you've been hit by something moving faster than you can possibly catch. The speaker is stalking his prey like someone who’s truly in love will stalk his loved one. Cummings poem was relevant because it showed how he not only spoke about love as a good thing but the flaws in falling in love also. E.E Cummings was a famous poet who was born on October 14, 1894, in Cambridge, Massachusetts. He went to Harvard University where his father also taught. In his book Tulips and Chimneys published in 1923, he included a collection of his poems including "All in Green my Love went Riding." Cummings poems were known for his nature, sexuality and love. Cummings poem "All in Green my Love went Riding," seems like it's all about deer and hunting, but it is actually a hauntingly heartbreaking poem. "Falling in love, he is really serving this idea, and his experience of what is more deeply human is restricted..." (John, 2003). The poem "All in Green my Love went Riding" begins my presenting his love hunting in green, "the introduction of stags at a green foreshadowing of the metamorphosis by linking both the hunter and the stag with the color green."(Harold, 2003). The poet presented the hunter as a good person just riding on a horse referring back to his first line, "All in green went my love riding on a great horse of gold into the silver dawn" (1923). He then explains a herd of beautiful deer, saying their were 4. "crouched low and smiling" (Cummings,...
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...1) I believe that although there is no dialogue or actors in this film, there is still a discernable narrative that guides the film. The first shots in the film are entirely of naturally occurring landscapes and phenomenon that occur on Earth. Although no dialogue is ever spoken, the music combined with the scenic nature shots create a sort of “build up” to the next element introduced to the film, humans. The narrative throughout Koyaanisqatsi, seems to be a reflection of the increasing impact that sentient life has on a planet. It is interesting, however, to observe which footage Reggio used to depict this mounting involvement of humans and technology into the plot. At first, I thought Reggio was attempting to make a statement about the harmful impact of environmental pollution caused by man. However, as the film progressed, the footage of technology and man seemed to play an indifferent role towards nature. The footage of factories and vivid time-lapse shots of city skylines at night are not portrayed in a negative light but instead in more of a chaotic one. In my interpretation, this chaos of the human impact on nature and the growing complexity of technology are depicted because that is simply how life has become for modern humans. Life is chaotic and the addition of increasingly intelligent beings trying to make order out of chaos will ultimately be futile. In other words, the very attempt at creating order out of chaos is chaotic in and of itself. The footage of nature...
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...families, and the black community as a whole. Beloved documents both slavery's horrifying destruction and survival of the African American people and their culture (Kubitschek 116-7). In Beloved, Morrison develops the story line behind one of the main characters Sethe; a run away slave, a proud and independent woman, and a extremely devoted mother to her children. Though Sethe herself never truly knew her own mother, her motherly instincts are her most noticeable characteristic (Roberson 198-9). With that being said, a particular scene in Beloved forms the entire back drop of the novel. Characters referred to in the novel as the Four Horsemen consist of Schoolteacher, one nephew, one slave catcher, and a sheriff with the sole purpose of hunting down Sethe to return her and her...
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...Copyright © 1999 by Annual Reviews. All rights reserved WHAT IS ANTHROPOLOGICAL ENLIGHTENMENT? Some Lessons of the Twentieth Century Annu. Rev. Anthropol. 1999.28:i-xxiii. Downloaded from www.annualreviews.org by 197.179.183.136 on 11/03/13. For personal use only. Marshall Sahlins Department of Anthropology, University of Chicago, Chicago, Illinois 60637; e-mail: m-sahlins@uchicago.edu Key Words: modernity, indigenization, translocality, culture, development n Abstract A broad reflection on some of the major surprises to anthropological theory occasioned by the history, and in a number of instances the tenacity, of indigenous cultures in the twentieth century. We are not leaving the century with the same ideas that got us there. Contrary to the inherited notions of progressive development, whether of the political left or right, the surviving victims of imperial capitalism neither became all alike nor just like us. Contrary to the “despondency theory” of mid-century, the logical and historical precursor of dependency theory, surviving indigenous peoples aim to take cultural responsibility for what has been done to them. Across large parts of northern North America, even hunters and gatherers live, largely by hunting and gathering. The Eskimo are still there, and they are still Eskimo. Around the world the peoples give the lie to received theoretical oppositions between tradition and change, indigenous culture and modernity, townsmen and tribesmen, and other clichés...
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...PREFACE Adam Jefferson, a divine manifest of Adam Smith's materialism and Thomas Jefferson's idealism, is our troubled modern day hero. He awoke in the middle of his life - broke and lost. A serial entrepreneur, his life was a never-ending quest for material success. At age 38, as Joseph Campbell forewarned humanity, Adam had "climbed the ladder of success, only to realize it was propped up against the wrong wall." Alone, with nothing else to lose, Adam Jefferson climbed down off of the ladder and searched for the wall of his future. This led him on a 100-day odyssey to start the ascent of his new life, an epic journey which called him across the world discussing today's challenges and opportunities with the great minds of our past - Carl Jung, Mary Parker-Follett, Martin Luther King, Jr., Mohandas Gandhi, Albert Einstein, and many others. An act of their collective genius and magical combustion, a psychological and sociological theory for sustainability and success was formed. Like all heroic quests, Adam ended where he had begun. Prior to his expedition, Adam had an unforgettable encounter with one of the great minds of the 20th century. One freezing, early morning on January 17, 2009, Adam Jefferson met the famed Harvard psychologist Lawrence Kohlberg in Cambridge, Massachusetts. They walked the beach in Winthrop for hours, discussing morality and the questions one ponders in the solitude of despair. They exchange woes - "You tell me yours, and I will tell you mine."...
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...The First Eagle – Analysis Adaptations An interesting aspect of Hillerman's fictions is the multi-ethnic, multi-cultural contexts in which they are set with their particular historical imperatives and consequences. The "Big Res" itself although sparsely populated by the standards of large urban enclaves is nevertheless home to a wide mix of Native American tribal entities including Navajo, Apache, Hopi, Ute, Zuni as well as Anglos and Hispanics of various national origins. Add to this cultural diversity such social elements as the disparity of power and wealth between the communities, and the opportunities for friction and conflict are significant. Therefore, a possible focus for discussions of this novel could be to examine the ways in which Hillerman ignores, acknowledges, utilizes, or highlights particular elements of the cultural and economic contexts in the service of his plot, characterization, and themes. Characters Hillerman populates the novel with a rich cast of characters whom he reveals through their speech, their actions, and their thoughts. He also describes their physical appearance so that readers form specific and distinguishing images of them. Jim Chee is portrayed as a "traditional" Navajo who has studied to become a hatathali, a traditional singer who can conduct traditional curing rituals; he is also a universityeducated (University of Arizona) lawman as is his former supervisor, now retired, Joe Leaphorn (Arizona State University). The relationship...
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...****Take note of points 2 and 6**** Title: Good grief: Lord of the Flies as a post-war rewriting of salvation history Author: Marijke van Vuuren 1. Introduction "It is a great pleasure to meet you, Mr Golding," said King Carl XVI Gustaf, presenting William Golding with the Nobel Prize in 1983. "I had to do Lord of the Flies at school" (Monteith, 1986:63). The Swedish king's words may well be echoed by countless people worldwide who have "had to do" Golding's first novel in various English courses. Indeed, this "unpleasant novel about small boys behaving unspeakably on a desert island" (1) may well have been done to death by exhaustive but reductive reading and teaching. Where Lord of the Flies has been read reductively, Original Sin writ large over it, readers have tended to respond to the novel in terms of its doleful view of humanity or its perceived theology. Its initial success reflected post-war pessimism, the loss of what Golding (1988a:163) has called his generation's "liberal and naive belief in the perfectability of man". Although the novel does not groan under a dogmatic burden to the extent that some critics have alleged, it has seemed the prime example of Golding's earlier writing, a tightly structured allegory or fable. … It is not surprising that the Bible's first and last books, on humankind's "origins and end" beyond the horizons of knowledge, turn to symbolic narrative. In Lord of the Flies Golding draws heavily on imagery from Genesis and the Apocalypse...
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...theologians who profess this theology, “deny all forms of traditional ontology and allow for no sovereign and unconditioned Being but only a ‘God’ who at some point in the dialectic wills His own self-annihilation” and that, “man must learn to live without God.”[1] The lack of universal truth in our lives in this 21st century can be directly attributed to the lack of morals and moral values begun in the 19th century; and which took root in the 20th century; and might be the death of man in the 22nd century. In stating that God is dead, it has to be shown that: * Is God dead? * Science and technology can solve the world’s problems * God died as a transcendent God when Christ died * The Bible is narrative (i.e. myth) This review of the God-Is-Dead theology focuses on these four questions. Is God Dead? In an article written in the Chicago Tribune in 1963 it is stated that two men (Thomas Altizer and William Hamilton) experienced the death of God. Upon this statement, a “theology” was born. This is very unusual as both of these men happen to be atheist. This then begs the question, if you are an atheist and profess to not believe in God then, how could you have experienced the death of that which you state does not exist in the first place? Secondly, this is very unusual due to the understanding that atheists had never called...
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...The Things They Carried by Tim O’Brien ENG 1300 W5A2 Andrea Carr South University Online The Things They Carried by Tim O’Brien “The Things They Carried” is one of several short stories written by Tim O’Brien that brilliantly portrays a squad of young American soldiers in the Vietnam War. Each of the short stories builds on the last but in The Things They Carried the author places focus on how immature boys cope and their transformation into young men and responsible leaders. O’Brien is not a character in the story but the fact that he is fluent with military lingo and conveys great passion and a working knowledge of the military suggests that he was a soldier. He tells his war story of soldiers’ experiences with obsession, duty, regret, burden, comradely and maturing. He achieves this by describing every facet of the items they carried with great accuracy and detail. The things they carried as they are depicted in the story represent literal things, emotional things, psychological things and symbolic things all weighing in at different levels of importance. There were physical as well as emotional things they carried on their missions, both were equally burdensome. O’Brien states that during missions many of these items were discarded no regardless of their importance to achieve a higher level of comfort. The author further states that the choppers would effortlessly replace the discarded items. In research conducted by Michael Tavel Clarke he implies...
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...Teach Africa tm World Affairs Council of Houston The Oral Traditions of Africa What are oral traditions? Oral traditions are messages that are transmitted orally from one generation to another. The messages may be passed down through speech or song and may take the form of folktales and fables, epic histories and narrations, proverbs or sayings, and songs. Oral Traditions make it possible for a society to pass knowledge across generations without writing. They help people make sense of the world and are used to teach children and adults about important aspects of their culture. The art of storytelling There is a rich tradition throughout Africa of oral storytelling. Although written history existed for centuries in West Africa, most writing was in Arabic, and the majority of people did not read or write in Arabic. So the transmission of knowledge, history and experience in West Africa was mainly through the oral tradition and performance rather than on written texts. Oral traditions guide social and human morals, giving people a sense of place and purpose. There is often a lesson or a value to instill, and the transmission of wisdom to children is a community responsibility. Parents, grandparents, and relatives take part in the process of passing down the knowledge of culture and history. Storytelling provides entertainment, develops the imagination, and teaches important lessons about everyday life. World Affairs Council of Houston PO Box 920905 Houston, TX 77292-0905 Voice...
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...beholder. Which is a nice way of saying it’s whatever you want it to be. But I don’t believe that. Photo credit: Mark Heard (Creative Commons) Although I don’t have an objective perspective (nobody does), and mine is but one opinion, I believe there is such a thing as good and bad art. Maybe that’s asking too much, for us to label art “good” or “bad,” or maybe that feels too restrictive. That’s fine, I suppose; I don’t want to impose my artistic standards on someone else, nor would I appreciate having it the other way around. But what is not okay is calling something “art” when it’s not — when it is, in fact, something else. Art versus entertainment My friend Stephen pointed out recently, quoting Makoto Fujimura I think, that the difference between art and entertainment is subtle, but important: Entertainment gives you a predictable pleasure… Art leads to transformation. If that’s true, then we may have a problem, because what a lot of people call “art” isn’t changing us. At best, it’s entertaining us, dulling our senses and inebriating us to the realities of the world. Which is not the point. Art is supposed to transform: * It surprises. * It wounds. * It changes. Entertainment makes us feel good. It doesn’t surprise us; it meets our expectations. And that’s why we like entertainment: it coddles us. But the problem with entertainment is it leaves us unchanged. And we so desperately need to be changed, whether we realize it or not. Art, on the other hand, transforms...
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...Nimrod and Abraham: The Fall and Reformation of Human Community In partial fulfillment of: OT 501 - Pentecostal Explorations of the Old Testament Submitted to: Dr. Rickie Dale Moore Church of God Theological Seminary Cleveland, Tennessee Daniel Tomberlin November 20, 2001 COGTS Box # 247 The Hebrew name for Genesis is bƒreÕµ séû tÆ ,_ preferably translated “by way of beginning”1 which is also the overarching theme of the book - the beginnings of the creation of the universe, of humanity and human civilization, and of a covenant people of God. The traditional outline of Genesis is to divide the book into two major sections: Primeval History (chapters 1-11) which is universal in scope and serves to demonstrate the unity of humanity; and Patriarchal History (chapters 12-50) which is particular in scope and serves to present God’s concern for a covenant people. Gordon Wenham offers a similar outline: the origin of the world (chapter 1); the origin of the nations (chapters 2-11); and the origin of Israel (chapters 12-50).2 An outline that better serves the theological themes of Genesis is to present the book in three major sections: generation (chapters 1-2) which reveals God as Creator of the universe and all life therein; degeneration (chapters 3-11), which reveals the fall of the first human family and the continued downward spiral of human civilization; and regeneration (chapters 12-50) in...
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...asked at an interview, and prepare credible, compelling responses. • Employers want people who can do the work, don’t want too much pay and are not risky. • Your likeability is more important than your job qualifications. • Ask the interviewer questions that elicit information you really need about the job. • Imagine yourself in the interviewer’s chair to gain a clear perspective on what attributes they seek. • Don’t think that a job interview is a conversation between equals. First, you have to prove yourself. • Don’t shoot yourself in the foot at the end of the interview by asking the interviewer if they would like to know more about you. Rating (10 is best) Overall 9 Applicability 10 Innovation 6 Style 7 To purchase abstracts, personal subscriptions or corporate solutions, visit our Web site at www.getAbstract.com, send an e-mail to info@getabstract.com, or call us in our U.S. office (1-877-778-6627) or in our Swiss office (+41-41-367-5151). getAbstract is an Internet-based knowledge rating service and publisher of book abstracts. getAbstract maintains complete editorial responsibility for all parts of this abstract. The copyrights of authors and publishers are acknowledged. All rights reserved. No part of this abstract...
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