...Fanon’s ideas, The Wretched of the Earth I will bring two powerful pieces together to explain colonization. Many of the characters suffer from fear of some sort. Okonkwo who is the novel’s protagonist fears becoming like his lazy, shameful father. “He (Okonkwo) was not afraid of war. He was a man of action, a man of war. Unlike his father he could stand the look of blood. In Umuofia’s latest war he was the first to bring home a human head.”(Page 8) Also, Reputation is extremely important to the men in the novel as well. The ankle bracelets men wear that signify the number of titles they have earned publicly denote personal reputation. Reputation is based on merit; men gain reputation through bravery in battle, skill at wrestling, and hard work as seen through the size of their yam harvest. Reputation earns men positions of power and influence in the community as well as numerous wives. Okonkwo is extremely concerned with reputation because he grew up with a father who was shameful and lazy which I stated before. “For showing matchless courage and prowess on the battlefield, Ezeudu is revered throughout the clan. His reputation garners him great respect.”(Page 35) From these two examples you see that violence is something that is smiled upon in this town and it really makes the type of men you are. As for Okonkwo just to avoid the lifestyle his father lived he believes that violence is the answer. And as for the reputation, in this town again violence seems like the number...
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...Shakespeare’s Hamlet is a classic story of revenge. The theme of revenge is evidenced many times throughout the play. While revenge is a central theme, many critics would agree that the story is more of a character study of the namesake protagonist than a simple revenge tale. The character is more complicated than the theme in itself. The Prince Hamlet is an actor pushed into the role of a reluctant, conflicted, and indecisive avenger. He is an actor who sees himself as such, and cannot take action. “The form, structure and incidental features of revenge are clearly present: the offense which demands vengeance, the avenger, the violent confrontation, the destruction of the guilty” (Austen 1). “Involved a ghost of a murder victim who clamored for revenge and a hero who was prepared to avenge the ghost’s death” (Bell,1). Yet Hamlet is an actor and an intellectual. Two character traits that are obstacles to his bound mission of revenge. Austen states, “Hamlet is a tragic hero who knows that action is required of him, but his purpose is blunted by an inability to act. He is a frustrated actor, whose conception of action does not translate itself into deeds” (1). He also writes, “Urged on by the Ghost of his father, Hamlet at first appears to be resolute: 'thy commandment all alone shall live I Within the book and volume of my brain' (I.v.102-3). Yet even this allusion to books makes us question his resolve, for he has only just vowed to 'wipe away all trivial fond records...
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...The Reality of Rejection An innocent mother and child are killed by a thief for only a laptop and some jewelry. A man is battered in a dark alleyway for the change in his pocket. A fight between a meth abusing teenager and his dad ends in violence. What do these events have in common? They are crimes- reckless acts of malevolence-that no one could ever have any excuse or valid reason for; or could they? In the gothic thriller Frankenstein by Mary Shelley, themes of rejection, morality, and the human experience are explored through the woeful tale of Victor Frankenstein and his monstrous creation. Specifically, a poignant story of a created being experiencing abandonment from his creator-heavily influenced by biblical themes- emerges. This...
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...During the colonial time, as European domain spread physically on the map, they bring their culture and values abroad. While two different cultures coincide, a lot of problems are revealed. Alienation and feminism are two prominent themes during the colonial period. Both problems are revealed through novels Rhys’s Wide Sargasso Sea and Bronte’s Jane Eyre with Rhys’s focus on the cultural and racial difference whereas Bronte’s focus on economic power and moral strength of female. Fanon in the “Wretched of the Earth” says that the only solution for the colonized people is through violence. This radical idea underlies premises which draws from the social norms during the time period. Fanon says “The colonial world is a world cut in two” (38, Fanon). When colonizers come to the colony, they deem their culture better than the indigenous one and their goal is to put their values above the local ones. Hence it draws a clear line between the colonizer and colonized people. Because of the stark dichotomy, there is always tension in the colonies. It is only through the eyes of characters who stand in between the dichotomy and the through the different reaction as they maneuver between different classes that shows the problem during colonization. In Wide Sargasso Sea, Ryes rewrites Bertha Mason in Jane Eyre. Instead of describing her through other people’s eyes, she gives Bertha her own voice; she has a history and goes through different emotions. It is a text which represents the issue...
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...audience. On the contrary, Stephen Chow’s ostentatious special effects, camera work, lighting and sound in Kung Fu Hustle in no way waned to present the same ideas and rivet the audience on to the end of their seats to witness the anticipated metamorphosis of antagonist to protagonist. In Shine, Hicks’ concoction of multiple cinematic techniques effectively portray the idea of the change and the transition from the suppression of the individual to the strength of the individual. Hicks’ use of specific techniques helps the audience learn more about Peters Authoritarian mindset and further develops the oppression felt by David’s character whilst portraying the idea of change. This enables the audience to understand the more complex underlying themes in the film and makes the audience more aware to the specific role of each character in the film and how they are all intertwined with each other at a deeper level. Consequently, it successfully challenges us, the audience, to consider how we might have felt in David’s situation and helps us draw conclusions about the nature of relationships and family dynamics. A scene, in Shine, that Hicks uses cinematic techniques, lighting, music/sound, symbolism and dialogue is scene ten where David has decided to defy his father and accept the scholarship to The Royal Academy of Music in England. The aforementioned techniques augment the audiences’ understanding of the relationship between David and his father Peter. In addition to that, they clearly...
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...1 The Evolution of Music in Film and its Psychological Impact on Audiences By Stuart Fischoff, Ph.D. “I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.” Film composer Bernard Herrmann. Why Is There Music in Film? The general feeling about film is that it is singularly a visual experience. It is not. While we certainly experience film through our eyes, we just as surely experience it through our ears. Especially today, particularly with modern home and theater sound systems offering multi-channel sound and high fidelity. Films are generally fantasies. And fantasies by definition defy logic and reality. They conspire with the imagination. Music works upon the unconscious mind. Consequently, music works well with film because it is an ally of illusion. Music plays upon our emotions. It is generally a non-intellectual communication. The listener does not need to know what the music means, only how it makes him feel. Listeners, then, find the musical experience in film one that is less knowing and more feeling. The onscreen action, of course, provides clues and cues as to how the accompanying music does...
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...Paradise Lost By John Milton The Book note Table of Contents Introduction Cast of Characters Plot Summary An Analysis of Major Characters Satan Adam Eve Chapter Summary and Analysis Book 1 Book 2 Book 3 Book 4 Book 5 and 6 Book 7 Book 8 and 9 Book 10 Book 11 and 12 Symbols and Themes Quotes The Quiz Introduction John Milton was born in London on December 9, 1608. He was the son of a successful Protestant merchant, and was provided with an excellent education that included the opportunity to travel widely throughout Europe. He was fluent in a number of classical as well as modern languages, including Greek, Latin, Hebrew, Aramaic, Spanish, Italian, French and Dutch. In 1625, he began his attendance at Cambridge University with the intention of becoming a clergyman in the Church of England, but was disillusioned by what he considered the arrogance and ignorance of his fellow students. He decided that his true calling was to serve God and his country as an author and poet. Inspired by Roman poets of antiquity, and particularly Virgil, Milton aspired to create a great epic poem in the English language. He considered two other distinctly British topics for his epic—the story of King Arthur and his Knights of the Round Table, and the military exploits of the general Oliver Cromwell—before settling on the Biblical story of Adam and Eve and their fall from God’s grace through disobedience. Milton was politically active throughout his life, and was outspoken...
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...In the U.S.-led “global war on terrorism,” al-Qa`ida and its militant affiliates have come to serve as both symbol and explanatory matrix for a range of disparate militant groups in the Middle East and beyond. Included among these are the Palestinian rejectionist factions and the Lebanese Hizballah, despite the fact that their roots, worldviews, and agendas are inimical to those of al-Qa`ida. This article argues that the scholarly and political effort to lump together diverse resistance groups into a homogenous “terrorist enemy,” ultimately symbolized by Osama Bin Laden, is part and parcel of neocolonial power politics whereby all “native” struggles against established power structures are placed beyond reason and dialogue. The authors contend that while the Palestinian rejectionist factions and the Lebanese Hizballah may be understood as local representations of the anticolonial “third worldist” movement, al-Qa`ida and its affiliates operate within a “neo–third worldist” framework, a dichotomy that entails tactical and strategic differences, both political and military. The article draws on an extensive series of author interviews with leaders and cadres from Hizballah and the Palestinian factions. In response to al-Qa`ida’s 11 September 2001 attacks, the United States declared war not merely against those who had set upon it, but against an open-ended range of “terrorist organizations and those who harbor and support them.”1 Within two weeks of the attacks, U.S. President George...
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...Cultural Action for Freedom Paulo Freire Introduction I think it is important—for my own sake as well as the reader’s—that we try, at the very outset, to clarify some points fundamental to the general understanding of my ideas on education as cultural action for freedom. This is all the more important since one of the basic aims of this work, where the process of adult literacy is discussed, is to show that if our option is for man, education is cultural action for freedom and therefore an act of knowing and not of memorization. This act can never be accounted for in its complex totality by a mechanistic theory, for such a theory does not perceive education in general and adult literacy in particular as an act of knowing. Instead, it reduces the practice of education to a complex of techniques, naively considered to be neutral, by means of which the educational process is standardized in a sterile and bureaucratic operation. This is not a gratuitous assertion. We will later clarify the radical distinction between knowing and memorizing and the reasons why we attach such importance to the adult literacy process. But first, some words about the socio-historical conditioning of the thinking presented here, as well as an explanation of the necessity for critical reflection on such conditioning. From a non-dualistic viewpoint, thought and language, constituting a whole, always refer to the reality of the thinking subject. Authentic thought-language is generated...
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...“Each generation must out of relative obscurity discover its mission, fulfill it, or betray it” - Frantz Fanon, The Wretched of the Earth In cultures all over the world, music can be seen encompassing many aspects of life for many individuals. It is a form of mass communication that speaks directly to society as a cultural form", and often reflects a collection and pattern of personal experiences. Hip-hop or rap, an art form and culture nearly thirty years old originating from The Bronx, New York, has provided a forum for Black and Latino youth to express their respective cultures and speak on a number of issues. Today, Hip-hop is a global phenomenon that appeals to almost all ethnicities and is synthesizing a new culture that goes beyond race, education, and income. Hip-hop has been under continual metamorphosis since its 1970’s inner-city inception. Some of the original artists like Kurtis Blow chose to lament everyday life in the ghettos. Others, Sugar Hill Gang among them, took a more dance inspired approach to the music. But for both these and other artists from the early years of rap through the late 1980’s including KRS-One, Public Enemy, Queen Latifah and LL Cool J, fast beats and socially relevant lyrics were among the primary components of the music. By the 1990’s a new face of rap music emerged. It began with Ice T and later gained popularity with artists such as NWA (Niggaz Wit Attitude) whose first album shocked and titillated the rap world with their...
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...Othello Notes Reputation/Honour Importance of the theme of Reputation / Honour in Othello: The significant theme of reputation and honour is portrayed frequently throughout the novel Othello. Many of the characters in the novel carefully consider the consequences of their thoughts and actions in regards to their reputation and honour, making sure that they appear noble even when their actions are irrational and selfish. Such an example is shown when Iago appears to be simply stating the obvious about Desdemona, instead of manipulating Othello to believe his own fears. Othello is dictated by his desire to live up to his reputation, achieved through years of being a general in Venice. Reputation, used in conjunction with jealousy and trust, provide the key elements which provoke Othello’s mental disintegration shown predominantly by language techniques, into a world of mistrust and assumption. It is logical to assume that Othello’s suicide was a consequence of his need to preserve any traces of reputation left from his dedicated work as a general; from the characteristics portrayed of Othello it is implied that the act of imprisonment would crush Othello – he would no longer be an honourable citizen. In a similar way to Othello’s suicide, Iago’s sudden and unpredicted vow of silence could be assumed to also be a form of self-preservation, manipulating other characters by preventing any more damage to his reputation by not accidentally admitting details of his ignobility. ...
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...The Tragedy of Hamlet, Prince of Denmark ASCII text placed in the public domain by Moby Lexical Tools, 1992. SGML markup by Jon Bosak, 1992-1994. XML version by Jon Bosak, 1996-1999. Simplified XML version by Max Froumentin, 2001. The XML markup in this version is Copyright © 1999 Jon Bosak. This work may freely be distributed on condition that it not be modified or altered in any way. Table of Contents Act 1 .................................... p. 5 Scene 1 .................................... p. 5 Scene 2 .................................... p. 11 Scene 3 .................................... p. 20 Scene 4 .................................... p. 24 Scene 5 .................................... p. 28 Act 2 .................................... p. 36 Scene 1 .................................... p. 36 Scene 2 .................................... p. 40 Act 3 .................................... p. 61 Scene 1 .................................... p. 61 Scene 2 .................................... p. 67 Scene 3 .................................... p. 81 Scene 4 .................................... p. 84 Act 4 .................................... p. 92 Scene 1 .................................... p. 92 Scene 2 .................................... p. 93 Scene 3 .................................... p. 95 Scene 4 .................................... p. 97 Scene 5 .................................... p. 100 Scene 6 .................................... p. 108 Scene 7 ......................
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...HOW TO WRITE ESSAYS Visit our How To website at www.howto.co.uk At www.howto.co.uk you can engage in conversation with some of our authors – all of whom have ‘been there and done that’ in their specialist fields. You can get access to special offers and additional content but, most importantly, you will be able to engage with, and become a part of, a wide and growing community of people just like yourself. At www.howto.co.uk you’ll be able to talk to, and share tips with, people who have similar interests and are facing similar challenges in their lives. People who, just like you, have the desire to change their lives for the better – be it through moving to a new country, starting a new business, growing their own vegetables, or writing a novel. At www.howto.co.uk you’ll find the support and encouragement you need to help make your aspirations a reality. How To Books strives to present authentic, inspiring, practical information in their books. Now, when you buy a title from How To Books, you get even more than words on a page. HOW TO WRITE ESSAYS A step-by-step guide for all levels, with sample essays Don Shiach howtobooks ACKNOWLEDGMENTS The author and publishers are grateful to Nicholas Murray and the Rack Press, Kinnerton, Presteigne, Powys LD8 2PF for permission to reproduce History from Nicholas Murray’s collection ‘The Narrators’. Published by How To Content, A division of How To Books Ltd, Spring Hill House, Spring...
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...of view · The point of view shifts with the narration, from Robert Walton to Victor Frankenstein to Frankenstein’s monster, then back to Walton, with a few digressions in the form of letters from Elizabeth Lavenza and Alphonse Frankenstein. falling action · After the murder of Elizabeth Lavenza, when Victor Frankenstein chases the monster to the northern ice, is rescued by Robert Walton, narrates his story, and dies tense · Past foreshadowing · Ubiquitous—throughout his narrative, Victor uses words such as “fate” and “omen” to hint at the tragedy that has befallen him; additionally, he occasionally pauses in his recounting to collect himself in the face of frightening memories. tone · Gothic, Romantic, emotional, tragic, fatalistic themes · Dangerous knowledge; sublime nature; texts; secrecy; monstrosity motifs · Passive women; abortion symbols ·...
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...Michael Jackson English Michael Joseph Jackson[1][2] (August 29, 1958 – June 25, 2009) was an American singer-songwriter, dancer, businessman and philanthropist. Often referred to by the honorific nickname "King of Pop", or by his initials MJ,[3] Jackson is recognized as the most successful entertainer of all time by Guinness World Records. His contributions to music, dance, and fashion, along with his publicized personal life, made him a global figure in popular culture for over four decades. The eighth child of the Jackson family, he debuted on the professional music scene along with his brothers as a member of The Jackson 5 in 1964, and began his solo career in 1971. In the early 1980s, Jackson became the dominant figure in popular music. The music videos for his songs, including those of "Beat It," "Billie Jean," and "Thriller," were credited with breaking down racial barriers and transforming the medium into an art form and promotional tool. The popularity of these videos helped to bring the then relatively new television channel MTV to fame. With videos such as "Black or White" and "Scream" he continued to innovate the medium throughout the 1990s, as well as forging a reputation as a touring solo artist. Through stage and video performances, Jackson popularized a number of complicated dance techniques, such as the robot, and the moonwalk, to which he gave the name. His distinctive sound and style has influenced numerous hip hop, post-disco, contemporary R&B, pop,...
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