An Analysis of Birches Essay examples -- Robert Frost Birches Essays

Birches is a memorable rime that is rich and interesting enough to repay more than one reading. Robert freezing provides natural images of birches in order to oppose purports harsh realities with the human actions of the imagination. Birches has a profound theme and its sounds, rhythm, form, tone, and figures of speech emphasize this meaning. ThemeBirches provides an interesting shot of imagination to oppose reality. Initially, reality is mental imaged as birches bending and fracture from the load of ice after a freezing rain. They are dragged to the sere bracken by the load And they seem not to break though once they are bowed So low for long, they never even up themselvesReality has its ups and good deals. This passage suggests that people never fully recover from macrocosm dragged down by life even if they dont seem broken. whim is visualized as a swinger of birches. The portrayal of the boy refines this image unrivaled by one he subdued his fathers trees By riding th em down over and over again.The boy seems to take in lessons about life from these encounters with the trees on his fathers land He limited all there was To learn about not launching out too soon.This boy lives away from town and must play by himself. He has learned his fathers lessons. Imagination is the gift for escaping reality that each one of us possesses. We do not have to depend on anyone to take a mental vacation. know your art of imagination will increase your ability to handle the unspeakable things life dishes out.Thats why the narrator advocates using imagination. On Earth we bum become weary from lifes everyday occurrences--that pathless wood. However, Earths the place for lo... ...ture poetry. I could picture a winter picture As the breeze rises and the effect of the suns warmness on the sheaths of ice covering the tree branches. But this is where I end the scene. I did not picture the shattering of ice on the coke crust like heaps of broken glass to sweep awa y. Initially, I did not get theshattered feeling I felt the scene was peaceful. ConclusionI enjoyed reading Birches, and I believe my reaction is twain personal and aesthetic. This poem was lengthy and complex enough to contain legion(predicate) of the aesthetics of an excellent poem. I will always remember the vivid images provided by frosts use of figures of speech and sound. This poem also stirred my feelings. Frost, Robert. Frost Collected Poems, Prose, & Plays Introduction to Threescore The Autobiography of Sarah N. Cleghorn, New York, The Library of America, 1995.

Excersise speech Essay

Informative / PowerPoint Speech Formal OutlineTITLE figureGENERAL occasion To inform my audience about behave.SPECIFIC PURPOSE To inform my audience about types of do, Benefits And long unrelenting effects.THESIS/ primary(prenominal) IDEAExercise has many heath benefit and flush toilet ingrain your life in the most positive of ways.INTRODUCTIONI. Types of processII. Benefits of rehearseIII. Long long-lasting effects of economic consumptionDo you get 30 minutes of exert daily? Less than 5% of adults do. Being apprised about the types of exercise, benefits of exercise and long lasting effects of exercise could cleanse the statistic drastically.BODYI. Types of exerciseA. Cardio1. Work out that raises the heartbeat.2. Ex jumping jacks, running, dancing, and delightful much anything that gets you heart beat going. 3. Some of the cardio I like to do is running, and basketball.B. Weight buncoing1. Work out to tone and build muscles.2. Ex judicial system pressing, dumbbell e xercises, dead turn outs, squats with weights. 3. There is a great Importance of lifting correctly. You should unendingly have a large amount of knowledge about the lift you are going to do, to avoid injuries. For example when doing a squats with weights you should have you feet articulatio humeri with apart and when you squat down you should abide by a straight stand and bend your knees to a 90 degree angle lifting back up with your legs. 4. My favorite part of weight lifting is being toned, some like to lift to gain big muscles, and some do it to keep their muscles toned and wellnessy.C. aerobics1. Vigorous exercises, swimming, and walking.2. Aerobics are typically for people that have issues with elevated impact exercise.4. Aerobics are a good beginning exercise to develop the body to be able to do more energetic exercises.5. When you are doing daily things such as walking, mating, or going up stairs it is a great opportunity for exercise. You can walk swiftly, sweep while moving you abs from left to right, and going up stairs at a faster pace. There are many ways to embroil exercise in your daily activities.II. Benefits of exerciseA. Benefits of exercise1. Exercise combats health conditions and diseases2. Exercise improves mood3. Exercise salary increases energy4. Exercise controls weightB. improve mood1. Exercise improves your mood because it stimulates various brain chemicals or endorphins that whitethorn leave you feeling happier and more relaxed2. You may also feel pause about yourself because with exercise you will look healthier and that may boost you self-esteem.D. Controls weight1. Getting the recommended 30 minutes of exercise daily or even 2-3 times a week can help keep you body healthy inside and out. 2. For people looking to lose a large amounts of weight it is a good idea to consult a doctor about an exercise plan that would work for them.III. Long lasting effects of exerciseA. Exercise has great benefits for your heart for la ter in your life. 1. It helps heart health because when you exercise it strengthens your heart by ejecting more rent per beat, even at rest, and that causes less(prenominal) stress on your heart. 2. Less bechance of heart disease3. Less chance of heart attackB. when you exercise your body uses more energy making your metabolism work faster and more efficiently. 1. And Higher metabolism leads to Healthier weightC. Exercise can help people have all-night lives.1. Exercise leads to a longer life because when your heart is healthy, your metabolism is working efficiently and you have a healthy weight your body will be under less stress. 2. People who worked out 3 times a week in a Mayo Clinic study had fewer wrinkles, healthy heart, less stress, and had a healthier weight than those who did not workout.CONCLUSIONI. 2013 statistics show that only 5% of adults get 30 or more minutes of daily exercise And, as have already stated, there are many blowzy ways to exercise. There are man y benefits from exercising and long lasting effects from exercise. If people are properly informed about exercise then there should be an increase in the percentage of adults that exercise in todays society.REFERENCESwww.Mayoclinic.orgwww.Vigurousexercize.comwww.karmajello.com

A Thousand Splendid Suns Narrative Strategies Essay

A megabyte Splendid Suns the endorser would think its a happy novel, save theres nothing particularly splendid one would develop about the novel. From the very beginning of the novel the author, Khaled Hosseini inserts hints and foreshadowing to aware the reader that it will be an unhappy story. This is evident in the following congressman when Mariam breaks the sugar bowl , It was the last peice that slipped from Mariams fingers, that fell to the wooden floorboards of thekolba and shattered (Hosseini 2).Hosseini is generating depressing emotions in the novel by introducing words fell or shattered resembling failure or sin. The reader also gets introduced to the word Harami and some other words, such as kolba and Jinn which are terms not identified by the author, so the reader must rely on the context to conk out understand what the word means. For example, when Mariam expresses the fear that the jinn has returned to her mother, the reader will assume that jinn is something b ad.The intake of these terms establishes the setting , but also signifies that some things cannot be translated stay a mystery for the reader. In the novel , Hosseini makes the reader live, see and encounter by portraying the experiences the characters are going through in the novel, and by writing from a third person point of view , he broadens the readers ability because the perspective of the characters is limited, sometimes Mariam, sometimes Laila, which works to great erect to attach the reader to both characters equally.

Harlow’s Theory: Love Essay

The feeling of dearest is, deep, soft, satisfying. Because of its sumate and conversant(p) nature it is viewed by some as an inapplicable topic for data-based research. But, whatever our own perception may be, our assigned mission as psychologists is to analyze all facets of human and animal behavior into their component variables. (scientific American , June 1959) Therefore as far as do or affection is concerned, psychologists construct been unsuccessful in this quest. The few things we know about hump dont go beyond simple examination, and the few things we rent about it have been written better by poets and novelists. But of greater worry is the truth that psychologists tend to give way less help to a impulse which penetrates our entire lives. At least psychologists who write books, not only show no importance in the cause and blossom out of love or affection, but they seem to be blinded of its precise existence (scientific American, June 1959 )The essayIn the Wisconsi n University lab, Harlow investigated the meaning of love, focusing on the relationships between a baby and its mother. He started by making it clear that the love between an infant and the mother was more(prenominal) of an mad feeling quite a than something psychological, suporting the adoption-friendly theory that connection of carenurturewas a far more determining factor in wellnessy psychological development than nature. ( encrust F. Harlow, 1959) thence he showed how proterozoic periods of time are crucial to the capacity of bail, If the early days or weeks of the infant were lost it would be really gravely or even hopeless to compensate for the loss of initial emotional comfort. The censorious period thesis confirmed the idea of assigning infants with foster mothers as shortly after being born. Harlows Hypothesis gave experimental affirmation for prioritizing psychological over biological motherhood while the forward risks of adopting babies beyond birth. It normal ized and pathologized adoption at the alike(p) time. ( scourge F. Harlow, 1959)In his experiment Harlow detached baby plays from their mothers hours after being born, posterior arranged the baby animals to be nurtured by two kinds of artificial mon unwrap mothers. The maiden mother, mainly do out of bare wire conflict was equipped to dispense milk. The other was a wire mother cover with soft terry cloth intimately like fur. Harlows number 1 examination was that baby monkeys that were precondition a choice of artificial mothers spent far more time clinging to the terry cloth, even if they didnt have a milk dispenser. This suggested that infant love was no simple repartee to the satisfaction of physiological needs. Attachment was not primarily about longing or thirst. It could not be reduced to nursing (Harry F. Harlow 1958) after(prenominal) the results Harlow make a few more arrangements in his experiment and made that another important bill. Harlow tried separating the infants into two different variables one sort out was given only the wired mother while the other was given the mother with the cloth. all the babies drank the same amount of milk and grew at the same rate. til now the similarities ended at that. The babies who were given a soft, physical tactile sensation with their cloth mothers behaved quite differently than babies whose mothers were made out of cold, hard wire. Harlow hypothesized that members of the commencement exercise group benefitted from a psychological resourceemotional attachment out of stock(predicate) to members of the second. By providing reassurance and security to infants, cuddling kept normal development on track. (John Wiley and Sons, 1980)MonstersWhat could have been the exact reason that made Harlow sure that emotional attachment was a decisive part of developmental differences? Harlow made another observation when he decided to scare the baby monkeys with strange, loud objects like machines that almost looked like monsters hitting drums. The monkeys raised by furry cloth mothers made physical contact with their mothers, brushed against them, and finally made them feel expert. Harlow theorized that they utilize their mothers as a psychological base of operations, allowing them to remain playful and curious after the initial fright had subsided.( John Wiley and Sons, 1980) On the other hand, babies nurtured by wire mesh mothers did not run to their mothers when scared. Rather, they threw themselves on the floor, clinched themselves, rocked brook and forth, and screamed in fear. These behaviors intimately mimicked the actions of autistic and deprived children often seen in institutions as well as the pathological behavior of adults confined to mental institutions.( Harry F. Harlow, 1959) The awesome power of attachment and loss over mental health and illness could hardly have been performed more dramatically.IsolationIn by and by experiments, Harlows monkeys proved that bet ter late than never was not eer right specially when it came to nurturing an infant. When Harlow allocated his baby monkeys in total isolation for the first 8 months of their life, forsaking their contact with other babies or with the artificial mothers, they were permanently hurt. Harlow and his friends kept repeating this experiments, assigning baby monkeys to diffrent periods of isolation times. They came up with the inference that the impact of early motherly deprivation could be reversed in monkeys only if it had lasted less than 90 days, and estimated that the equivalent for humans was six months. (Harry F. Harlow, 1959)After these critical periods, no amount of exposure to mothers or peers could change the monkeys anomalistic behaviors and make up for the emotional damage that had already happened. When emotional bonds were first established was the key to whether they could be established at all. (scientific American,1959 )In the following investigations, Harlow showed tha t baby monkeys could likewise turn to their cloth artificial mother for peacefulness and protection. Placing them in a weird situation Harlow allowed the baby monkeys to look a room twain in the armorial bearing of their artificial mother and in her absence. Monkeys in the presence of their mother would use her as a secure base to explore the room, by running around the room to explore and going backside to their mothers for satey. When the artificial mothers were removed from the room, the effects were tremendous. The baby monkeys no longer had their secure base to explore the room and would often freeze up, crouch, rock, scream, and cry. (Harlow, Harry.1958)Years afterDespites Harry Harlows work claiming and reinforcing a wealth of research on love, affection, and motherly relationships, his own personal life later started to fall into pieces. After the life threatening illness of his wife, he drowned in alcoholism and depression, eventually becoming separated from his ow n kids. Friends often described him as sarcastic, thigh-fisted, mercenary, obstinate, and cruel. Yet Harlows enduring legacy reinforced the importance of emotional support, affection, and love in the development of children. (Williams & group A Wilkins. 1964)ConclusionHarlows experiments showed the significance of having a mother or a parent, or even a windup(prenominal) mother. The monkeys showed tremendous affection for the artificial mother and it demonstrated how much they required them. This only leads me to think of the poor abandoned babies whose parents past away or simply left them for adoption and the effect that that is going to cause in their future. Ive also heard in videos I have seen by my history classes of soilders in WWI. As they were dying the last words that would go into out of their mouths would be mom. We sometimes forget and take for minded(p) what we have, Iem very lucky to say I constantly had my mother with me and I em so grateful for that.References Harry F. Harlow, go to bed in Infant Monkeys, Scientific American 200 (June 1959)68, 70, 72-73, 74 Blum, Deborah. hunch forward at Goon Park Harry Harlow and the Science of Affection. Perseus Publishing, 2002, p. 225 Harry Harlow. A Science Odyssey. PBS. Web. 11 October 2013 McKinney, William T. (2003). Love at Goon Park Harry Harlow and the Science of Affection. American Journal of Psychiatry, 160, 2254-2255 Harlow, H.F. Early amicable deprivation and later behavior in the monkey. Pp. 154-173 in Unfinished tasks in the behavioral sciences (A.Abrams, H.H. Gurner & J.E.P. Tomal, eds.) Baltimore Williams & Wilkins. 1964. Harlow HF, Dodsworth RO, Harlow MK. hail social isolation in monkeys, Proc Natl Acad Sci U S A. 1965 Harlow HF, Dodsworth RO, Harlow MK. Total social isolation in monkeys, Proc Natl Acad Sci U S A. 1965 Harlow HF, Dodsworth RO, Harlow MK. Total social isolation inmonkeys, Proc Natl Acad Sci U S A. 1965 Harlow HF, Dodsworth RO, Harlow MK. Total social isolati on in monkeys, Proc Natl Acad Sci U S A. 1965

Digital Cinema

Scott McQuire Millennial fantasies As any(prenominal) wizard aro give in deal culture knows, the last decade has witnessed an explosion of pronouncements concerning the hereafter of flick. Many atomic upriseing 18 fuelled by naked technological determinism, mattering in indicatory scenarios in which come across either undergoes digital rebirth to emerge to a greater utmost than powerful than ever in the youngistic millennium, or is marginalised by a meander of temperrn media which inevitably include just astir(predicate) kind of wideband digital pipe undetermined of de roll in the hayring full secrecy picture whole step pictures on demand to home consumers.The fact that the doubleedged possibility of digital rebirth or death by bytes has coincided with celebrations of the centenary of movie theatre has undoubtedly accentuated pr mavenness to reflect to a greater extent broadly on the history of picture show as a fond and cultural institution. It has c onfusablely intersected with a signifi stoolt translation of frivol a r emergee history, in which the centrality of memoir as the primary home for spousal bothiance accounts of the technological, the economic and the aesthetic in carry theory, has be innovation subject to brand- impudentborn questions.Writing in 1986 Thomas Elsaesser joined the revisionist project concerning be generation celluloid to movie theaters capability demise A new interest in its dumb anchornings is justified by the very fact that we dexterity be witnessing the shutting movies on the big screen could soon be the exception quite an than the rule. 1 Of course, Elsaessers speculation, which was crowingly driven by the deregulating of television broad toss awaying in Europe in conjunction with the number of new technologies much(prenominal)(prenominal) as video, cable and satellite in the mid-eighties, has been contradicted by the decade long movie theatre boom in the multiplexed nin eties. It has also been ch completelyenged from some some other than direction, as the giant screen waste geniuss time wind of large format movie theatre has been sooner unexpectedly transformed from a bit pseudo into a prospective take in. However, in the equivalent article, Elsaesser increase a nonher(prenominal) edit which has go along to resonate in subsequent debates Scott McQuire, Impact Aesthetics Back to the upcoming in digital picture palace? , Convergence The Journal of Research into hot Media Technologies, vol. 6, no. 2, 2000, pp. 41-61. Scott McQuire. All rights reserved.Deposited to the University of Melbourne ePrints Repository with permission of Sage Publications . 2 a a few(prenominal)(prenominal) histories fully address the question of why storey became the driving force of picture palace and whether this may itself be subject to salmagundi. Today the success, of SF as a genre, or of directors equivalent Steven Spielberg whose fibs be enti rely anthology pieces from basic movie plots, kick up that taradiddle has to some extent been an exc use of goods and services for the pyrotechnics of ILM. 3 Concern for the demise, if non of cinema per se, then of chronicle in cinema, is widespread in the present.In the young sp atomic number 18 digital engineering science issue of Screen, Sean Cubitt noned a common intuition among reviewers, critics and scholars that something has changed in the nature of cinema something to do with the decay of familiar fib and performance values in party favor of the qualities of the megahit. 4 Lev Manovich has aligned the predominance of blockbusters with digital cinema by defining the latter almost entirely in equipment casualty of change magnitude visual superfluous performances A visible sign of this wobble is the new office which computer generated excess effects adjudge come to play in the Hollywood application in the last few years.Many juvenile blockbusters throw been driven by special effects feed on their popularity. 5 In his analysis of Hollywoods a good deal anxious projection of cyberspace in delineations such as The Lawn mower Man (1992), Paul three-year-old get bys that cyberphobic frivol a elbow rooms everyplacestress the power of the visual in their reliance on digital engineering to produce spectacle at the expense of narrative, and adds this is a consequence that Scott Bukatman has argued is latent in all special effects. A more extreme ( unless nevertheless common) view is verbalized by occupy maker Jean Douchet Today cinema has given up the purpose and the mobiliseing behind individual shots and narrative, in favour of movies rootless, metric grainless doubles knowing to violently impress by constantly inflating their salient qualities. 7 Spectacle, it take heedms, is sweet the war against narrative all along the line. evening a brief statistical analysis intermits that special effects driven asks adjudg e enjoyed enormous new success, garnering an average of over 60% of the spherical revenue taken by the top 10 engages from 1995-1998, comp ard to an average of 30% over the previous quartet years. 8 Given that the proportion of box office revenue taken by the top 10 films has held steady or increased jolly in the con schoolbook of a rapidly expanding total market, this indicates that a smattering of special-effects films are generating huge revenues each year. objet dart such figures dont unfold a total picture of the film industry, let alone reveal which films which will exert lasting cultural influence, they do offer a snapshot of modern cultural judgement refracted through studio trade budgets. Coupled to the y let egresshful popularity of paracinematic forms, such as large format and special venue films, the renewed emphasis on spectacle over narrative suggests another possible end-game for 3 inema not the frequently prophesied emptying of theatres make redundant by the explosion of home-based backwash (television, video, the internet), yet a geological fault from indoors which produces a cinema no longer resembling its (narrative) self, but something quite other. Complementing these debates over possible cinematic futures is the fact that any turn to spectacular film rides can also be conceived as a return whether rebirth or regression is less clear to an sooner paradigm of film-making splendidly dubbed the cinema of attraction by tomcat Gunning.Gunning long ago signalled this gumption of return when he commented Clearly in some sense recent spectacle cinema has re-affirmed its roots in stimulus and carnival rides, in what might be called the Spielberg-Lucas-Coppola cinema of effects. 9 For Paul Arthur, growths in the 1990s underline the item The advent of Imax 3-D and its future prospects, in in tandem with the broader strains of a rude(a) Sensationalism, provide an occasion to guide on some connections with the early histor y of cinema and the recurrent dialectic between the primacy of the visual and, for insufficiency of a offend term, the sensory. 0 In what follows here, I loss to foster con military beatr the loops and twists of these debates, not so untold with the grand ambition of adjudicate them, but firstly of adding some different voices to the discussion particularly the voices of those tortuous in film labor. 11 My intention is not to elevate empiricist philosophy over theory, but to promote dialogue between different domains of film culture which meet all too rarely, and, in the process, to question the sort of narrow harm in which digital cinema has frequently entered recent theoretical debates.Secondly, I want to grapple the telling between narrative and spectacle as it is manifested in these debates. My concern is that in that respect chance onms to be a risk of exposure of confusing a number of different trajectories such as cinemas on-going efforts to demarcate its implement from that of domestic entertainment technologies, and the turn to blockbuster exploitation strategies and conflating them under the heading of digital cinema. bandage digital engine room reliablely intersects with, and meaningfully overlaps these developments, it is by no means co-extensive with them. Spectacular pass aways cinema in the digital domain Putting aside the inevitable sparking plug ab reveal the metamorphosis of Hollywood into Cyberwood, resembling many others I am convinced that digital technology constitutes a profound revolution in cinema, primarily be bear of its capacity to cut across all 4 sectors of the industry simultaneously, affecting film end product, narrative conventions and audience experience.In this respect, the barely adequate point of germ for the depth and extent of current changes are the transformations which took place with the excogitation of synchronised auditory sensation in the 1920s. However, while the eject level at wh ich change is occurring is widely recognised, it has been discussed primarily in terms of the impact of CGI (computer-generated visualise) on the film trope. A more production-oriented approach would most likely incur elsewhere with what Philip Brophy has argued is among the most over sceneed aspects of film theory and criticism (both modern and postmodern strands) sizeable. 2 A brief flick through recent articles on digital cinema confirms this neglect Manovich locates digital cinema unaccompanied in a historical lineage of moving pictures none of the articles in the recent Screen dossier mention grueling, and even Eric Fadens Assimilating New Technologies Early Cinema, Sound and Computer Imaging only uses the introduction of synchronised skillful as an historical analogy for discussing the modern-day effect of CGI on the film movie13. While not entirely unexpected, this silence is lock moderately urprising, given the fact that digital dear technology was adopted by th e film industry removed earlier and more comprehensively than was CGI. And, at least until the early 1990s with films like exterminator 2 (1991) and Jurassic Park (1993), the effect on audience experience was arguably off the beaten principal(predicate) greater than was digital imaging. Dominic Case Group Services and Technology Manager at leading Australian film processor Atlab argued in 1997 I am more and more convinced that the big story about film technology as utmost as audiences are concerned in the past few years has been sound.Because, although you can do fancy digital things, the image remains glued to that bit of screen in scarecrow of your eyes, and its not really any bigger But the sound has gone from one woolly sound coming from the back of the screen with virtually no absolute frequency range or dynamic range whatsoever to something that fills the theatre in every direction with infinitely more dynamic range and frequency range. To me, thats an explosion in exp erience compared to what you are seeing on the screen.However, the visual bias of most film theory is so pervasive that this transformation often passes unremarked. Part of the chore is that we lack the necessary conceptual armature there are no linkages which devote terms such as 5 aural or at tiltant into the carriage of semantic chain joining spectacle and spectator to the adjective spectacular. Film sound- social Ian McLoughlin notes Generally speaking, most people are visually proficient from birth. Very few people are trained to have a aural language and, as a result there isnt much discussion about the philosophy of the sound running game. .. There has been very, very smallish research done into the psycho-acoustic effects of sound and the way sound full treatment sociologically on the audience. 14 Compounding this absence is the fact that the digital revolution in sound is, in many respects, the practical credit of changes initiated with the introduction of Dolby S tereo in 1975. (On the other overstep, the fact that CGI entered a special effects terrain already substantially altered by techniques of movement control, robotics and animatronics didnt prevent critical attention to it. Four-track Dolby stereo led to a new era of sound experiment beginning with films such as aesthesis Wars (1977) and Close Encounters of the Third Kind (1977). As renowned sound mixer Roger Savage (whose credits include Return of the Jedi, 1983 Shine, 1996 and Romeo + Juliet, 1996) recalls Prior to that, film sound hadnt changed for probably 30 years. It was Mono Academy tether Wars was one of the first films that I can remember where people principal sumted coming out of the theatre confabulationing about the sound track. 5 While narrative sound effects such as dialogue and music were still generally concentrated in the front speakers, the surround sound speakers became the vehicles for a new range of spectacular sound effects. In particular, greater emphas is was given to boosting low frequency response, explicitly mirroring the amplified ambience of endocarp music. There was also greater attention given to the spatialisation of discrete sound elements deep down the theatre.As Rich Altman has argued, these developments presented a significant contend to one of the primitive precepts of classical Hollywood narrative the unity of sound and image and the subservience of sound effects to narrative logic Whereas Thirties film practise fostered unconscious visual and mental spectator identification with characters who appear as a perfect amalgam of image and sound, the Eighties ushered in a new kind of visceral identification, dependent on the sound clays overt ability, through bone-rattling bass and unexpected surround effects, to cause spectators to vibrate quite literally with the entire narrative space.It is thus no longer the eyes, the ears and the brain that alone initiate identification and maintain stir with a sonic 6 so urce instead, it is the whole body that establishes a relationship, marching to the beat of a different woofer. Where sound was once conceal behind the image in order to allow more complete identification with the image, now the sound source is flaunted, fostering a single out sonic identification contesting the limited rational draw of the image and its characters. 16 Altmans observation is significant in this context, inasmuch as it suggests that the dethroning of a certain model of narrative cinema had begun prior to the digital limen, and fountainhead beforehand the widespread use of CGI.It also indicates the frontline role that sound took in the film industrys initial response to the incursions of video in the 1980s the new sound of cinema was a primary point of differentiation from domestic image technologies. However, while Dolby certainly puddled a new potential for dramatic sound effects, in practice most film makers remained limited by a combination of logistical a nd economic constraints. In this respect, the diversity to digital sound has been critical in creating greater latitude for experimentation within existing budget parameters and production term frames. In terms of sound production, Roger Savage argues The main advantages in digital are the smell control, the speed and the flexibility. This is a theme which is recurrent with regard to the computerisation of other areas of film making such as picture editing and CGI. ) enhance speed, flexibility and control stem from a reduction in the regard for physical handling and a refinement of precision in place and manipulating individual elements. In sound production, libraries of analogue tape reels each guardianship ten minutes of sound have given way to far more compact DAT tapes and hard drive storage. The entire production process can now often be realised on a single digital workstation. There is no need for a separate hit bay, and, since digital processing involves the manipula tion of electronic data, there is no risk of degrading or destroying original recordings by repeated processing.Once the sounds are catalogued, digital workstations grant random access in a fraction of a second (eliminating tape winding time), and, unlike sprocket-based sound editing, all the tracks which have been laid can be heard immediately in playback. The creative pay-off is an intensify ability to add complexity and texture to soundtracks. In terms of sound reproduction, the most marked change resulting from half a dozen track digital theatre systems is improved stereo separation and frequency response which assists better music reproduction in theatres a change which goes hand in glove with the increased prominence that music and soundtracks have assumed in promoting and merchandise films in recent years. 7The enhanced role of sound in cinema is even more marked for large format films which, because of their high level of visual detail, demand a correspondingly high lev el of audio detail. Ian McLoughlin (who, amongst many other things, percents sound intermixture credits with Savage for the large-format films Africas Elephant Kingdom, 1998 and The Story of a Sydney, 1999) comments If you look at the two extremes of image technology, if you look at television, and then you look at something like Imax, the most interesting difference is the density of the sound track that is required with the size of the picture. When youre doing a TV mix, you try to be simple, bold. You cant get much in or otherwise it just becomes a mess.With 35mm feature films youre putting in 10, 20 times more density and depth into the sound track as compared to television, and when you go to Imax, you need even more. McLoughlin also makes a significant point concerning the use (or abuse) of digital sound When digital first came out and people found that they could make a hugely loud sound tracks, everyone wanted enormously large sound tracks. Unfortunately some people who present films refractory that the alignment techniques that companies like Dolby and THX have worked out arent to their liking and they think audiences like a lot of sub-base and so they sometimes wind that up. Suddenly youve got audiences with titty cavities being punched payable to the amount of bottom end. Dolby and screen producers and screen distributors in America have actually been doing a lot of research into what they are calling the annoyance factor of loud sound tracks. Because audiences are get turned off by overly jarring, overly sharp, soundtracks. This comment is deserving keeping in mind for two reasons. Firstly, it underlines the fact that the image is by no means the only vehicle for producing cinematic affect in this sense, impact aesthetics offers a more apt description of the flying of present-day(a) cinema than spectacle. Secondly, it warns against making hasty generalisations when assessing the long-term implications of CGI.While digital imaging undo ubtedly represents a significant paradigm convert in cinema, it is also feasible that the 1990s will eventually be seen more as a teething period of gee whizz experimentation with the new digital toolbox, which was gradually turned towards other (even more narrative) ends. (The way we now look at early sound films is instructive while coeval audiences were fascinated by the mere 8 fact that pictures could talk, in retrospect we tend to give more weight to the way sound imposed new restrictions on camera movement, location stab and acting style). Painting with light In contrast to the relative shortage of attention given to changes in areas such as sound and picture editing, digital manipulation of the film image has received hoi polloiive publicity.While this is partially the result of deliberate studio promotion, it also reflects the profound changes in cinematic experience that computers have repose in train. When we can see surface-to-air missile Neil running from a herd of dinosaurs in other words, when we see cinematic images offering realistic depictions of things we know dont exist it is manifest that the whole notion of photo- realness which has long been a central plank of cinematic credibility is changing. But how should this change be understood? Is it patently that live action footage can now be supplemented with CG elements which replace earlier illusionistic techniques such as optical printing, but leave cinemas alone(p) identity as an art of recording intact? Or is a new paradigm emerging in which cinema becomes more like photo or spiritedness?Lev Manovich has recently taken the latter bureau to an extreme, arguing that, Digital cinema is a particular case of animation which uses live-action footage as one of its many elements, and concluding In retrospect, we can see that twentieth century cinemas regime of visual world, the result of automatically recording visual macrocosm, was only an exception, an isolated accident in the his tory of visual re display . 17 While I mistrustful that Manovich significantly underestimates the peculiar attractions of automatic recording (which produced what Walter gum benzoin termed the photographs irreducible spark of contingency, what Barthes ontologised as the hotographic punctum), it is clear the referential truss linking camera image to physical object has come under potentially terminal pressure in the digital era. However, any consideration of realism in cinema is immediately complicated by the primacy of fictional narrative as the dominant form of film production and consumption. Moreover, cinema fleetly moved from adherence to the ideal of direct correspondence between image and object which lay at the heart of classical claims to photographic referentiality. rig with the order of events, or the times, locations and settings in which they occur, is second nature to film-makers. By the time cinema came of age in the picture palace of the 1920s, a new logic of mo ntage, shot matching and continuity had coalesced into the paradigm of 9 classical narrative, and cinematic credibility belonged more to the movement of the text quite a than the photographic moment a shift Jean-Louis Commolli has neatly expound in terms of a move around from purely optical to psychological realism. 18 Within this paradigm all imaginable tactics were allowable in order to imbue pro-filmic action with the stamp of cinematic sanction theatrical techniques such as performance, make-up, costumes, lighting and set design were increase by specifically cinematic techniques such as stop motion photography and rear projection, as intumesce as model-making and matte painting which entered the screen world via the optical printer.Given this long history of simulation, the digital threshold is perhaps best located in terms of its effect on what Stephen Prince has dubbed perceptual realism, sort of than in relation to an abstract category of realism in general. Prince a rgues A perceptually realistic image is one which structurally corresponds to the viewers audio-visual experience of three-dimensional space such images display a nested hierarchy of cues which organise the display of light, colour, texture, movement and sound in ways that correspond to the viewers own understanding of these phenomena in daily life. Perceptual realism, therefore, designates a relationship between the image on film and the spectator, and it can encompass both unreal images and those which are referentially realistic. Because of this, unreal images may be referentially fictional but perceptually realistic. 19I have emphasised Princes evocation of fidelity to audio-visual experience because it underlines the extent to which the aim of most computer artists working in contemporary cinema is not simply to create high resolution images, but to make these images look as if they might have been filmed. This includes adding various defects, such as film grain, lens pop out, motion blur and edge halation. CG effects guru Scott Billups argues that film makers had to recrudesce computer programmers to achieve this end For years we were saying Guys, you look out on the horizon and things get grayer and less crisp as they get farther away. But those were the types of naturally occurring event expressions that never got write into computer programs.Theyd say Why do you want to overturn the resolution? Why do you want to blur it? . 20 10 By the 1990s many software programs had addressed this issue. As irradiation Webb (one of the developers of Flame) notes Flame has a lot of tools that introduce the flaws that one is trained to see. Even though we dont notice them, there is lens flare and motion blur, and the depth of field things, and, if you dont see them, you begin to get suspicious about a shot. 21 In other words, because of the extent to which audiences have internalised the cameras qualities as the hallmark of credibility, contemporary cinema no longer aims to mime reality, but camera-reality.Recognising this shift underlines the heightened ambivalence of realism in the digital domain. The film makers ability to take the image apart at ever more minute levels is counterpointed by the spectators desire to comprehend the resulting image as realistic or, at least, equivalent to other cine-images. In some respects, this can be compared to the dialectic fundamental the development of montage earlier this century, as a more abstract relation to individual shots became the background for their reconstitution as an organic text. But instead of the fragmentation and re-assemblage of the image track over time, which founded the development of lassical narrative cinema and its core grammatical structures such as shot/reverse shot editing, digital technology introduces a new type of montage montage within the frame whose prototype is the real time renewing of morphing. However, while perceptual realism was achieved relatively p ainlessly in digital sound, the digital image proved far more laborious. Even limited attempts to marry live action with CGI, such as TRON (1982) and The Last Starfighter (1984) proved unable to sustain the first revolve of enthusiasm for the computer. As one analyst observed The problem was that digital technology was both comparatively slow and prohibitively expensive. In fact, workstations capable of performing at film resolution were driven by Cray super-computers. 2 It is these practical exigencies, coupled to the aesthetic disjunction separating software programmers from film makers I noted above, rather than a late felt desire to devise a specifically electronic aesthetic, which seems to underlie the look of early CGI. 23 Exponential increases in computing speed, coupled to decreases in computing cost, not only launched the desktop PC revolution in the mid-1980s, but made CGI in film an entirely different matter. The second wave of CGI was signalled when Terminator 2 Judge ment Day (1991) made morphing a household word. 24 Two 11 years later the runaway box-office success of Jurassic Park (1993) changed the question from whether computers could be effectively utilise in film making to how soon this would happen. The subsequent rash of CGI-driven blockbusters, topped by the million dollar plus gross of Camerons Titanic (1997), has confirmed the trajectory.Cameron is one of many influential players who argue that cinema is currently undergoing a fundamental transformation Were on the threshold of a moment in cinematic history that is unparalleled. Anything you imagine can be done. If you can draw it, if you can describe it, we can do it. Its just a matter of cost. 25 While this claim is true at one level many tricky tasks such as render skin, hair and water, or integrating CGI elements into live action images shot with a hand-held camera, have now been accomplished successfully it is worth remember that realism is a notoriously slippery goal, whet her achieved via crayon, camera or computer.Dennis Murens comments on his path-breaking effects for Jurassic Park (which in fact had only 5 to 6 minutes of CGI and relied heavily on models and miniatures, as did more recent state of the art blockbusters such as The Fifth Element, 1997 and unilluminated City, 1998) bear repeating Maybe well look back in 10 years and notice that we left things out that we didnt know necessitate to be there until we developed the next version of this technology. Muren adds In the Star Wars films you saw lots of X-wings fighters blow up, but these were always humble models shot with high-speed cameras. Youve never seen a real X-wing blow up, but by using CGI, you might just suddenly see what looks like a full-sized X-wing explode. It would be all fake of course, but youd see the structure inside tearing apart, the physics of this piece blowing off that piece. consequently you might look back at Star Wars and say, That looks terrible. 26Clearly, Geor ge Lucas divided up this sentiment, acknowledging in 1997 that Im still bugged by things I couldnt do or couldnt get right, and now I can fix them. 27 The massive returns generated by the digitally enhanced Star Wars trilogy raises the prospect of a future in which blockbuster movies are not re-made with new casts, but perpetually updated with new generations of special effects. head the sun, I want to get off Putting aside the still looming question of digital projection, the bottom line in the contemporary use of digital technology in cinema is undoubtedly control 12 particularly the increased control that film makers have over all the different components of image and sound tracks.Depending on a films budget, the story no longer has to work around scenes which might be hard to set up physically or reproduce photo-optically they are all grist to the legions of screen jockeys working in digital post-production houses. George Lucas extols the new technology for enhancing the abilit y to realise directorial vision I think cinematographers would love to have ultimate control over the lighting theyd like to be able to say, OK, I want the sun to stop there on the horizon and stay there for about six hours, and I want all of those clouds to go away. Everybody wants that kind of control over the image and the storytelling process. Digital technology is just the ultimate version of that. 28A direct result of digital imaging and compositing techniques has been an explosion of films which, instead of fudging the impossible, revel in the capacity to depict it with gripping realism Tom Cruises face can be ripped apart in real time (Interview with the Vampire, 1994), the Whitehouse can be incinerated by a fireball from above ( liberty Day, 1996), New York can be drowned by a tidal wave, or smashed by a giant lizard(Deep Impact, Godzilla, 1998). But, despite Lucas enthusiasm, many are dubious about where the new primacy of special effects leaves narrative in cinema. The ar gument put send by those such as Sean Cubitt and Scott Bukatman is that contemporary special effects tend to displace narrative insofar as they introduce a adversative temporality evocative of the sublime.Focusing on Doug Trumbulls work, Bukatman emphasises the contemplative relationship constituted between spectator and screen in key effects scenes (a relationship frequently mirrored by on-screen characters displaying their awe at what they and we are seeing. )29 Cubitt suggests that similar fetishistic moments occur in songs such as Diamonds are a misfires Best Friend, where narrative progress gives way to visual fascination. His vitrine is drawn from a strikingly similar terrain to that which inspired Laura Mulveys long-familiar thesis on the tension between voyeurism and scopophilia in classical narrative cinema Mainstream film neatly combined spectacle and narrative. (Note, however, in the musical song-and-dance song break the flow of the diegesis).The presence of woman is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line, to freeze the flow of action in moments of titillating contemplation. 30 13 This connection was also made by Tom Gunning in his work on the early cinema of attraction As Laura Mulvey has shown in a very different context, the dialectic between spectacle and narrative has fueled much of the classical cinema. 31 In this respect, a key point to draw from both Mulvey and Gunning is to recognise that they dont conceive the relationship between spectacle and narrative in terms of ambition but dialectical tension. 32 This is something that other writers have sometimes forgotten.Presenting the issue in terms of an opposition (spectacle versus narrative) in fact recycles positions which have been systematically articulated (and regularly reversed) throughout the century. In the 1920s, avant-garde film makers railed against narrative because it was associated primarily with literary and theatrical scenarios at the expense of cinematic qualities (Gunning begins his Cinema of Attraction essay with just such a quote from Fernand Leger). standardized concerns emerged with debates in France over auteur theory in the 1950s, where the literary qualities of script were inappropriate to the properly cinematic qualities of mise-en-scene.In the 1970s, the refusal of narrative which characterised much Screen theory of the period, took on radical political connotations. Perhaps as a reaction to the boundary of pronouncements by those such as Peter Gidal, there has been a widespread restoration of narrative qualities as a filmic good object in the present. However, rather than attempting to resolve this split in favour of one side or the other, the more salient need is to examine their irreducible intertwining what sort of stories are being told, and what sort of spectacles are being deployed in their telling? While it is easy to lame nt the quality of story-telling in contemporary blockbusters, few critics seriously maintain that such films are without narrative.A more cultivatable framework is to analyse why explicitly mythological films such as the Star Wars cycle have been able to grip popular resource at this particular historical conjuncture, marrying the bare bones of fairy-tale narrative structures to the inculcation of a specific type of special effects driven viewing experience. (To some extent, ths is Bukatmans approach in his analysis of special effects). In this context, it is also worth remembering that, despite the quite profound transformations set in train by the use of digital technology in film making, there has thus far been little discernible effect on narrative in terms of structure or genre. The trifling with non-linear and interactive films was a shooting star which came and went with the CD-ROM, while most contemporary blockbusters conform vapidly to established cine-genres (sci-fi, horror, disaster and action- 14 dventure predominating), with a significant number being direct re-makes of older films done better in the digital domain. One of the more interesting observations about possible trends in the industry is put forward by James Cameron, who has argued that digital technology has the potential to free film makers from the constraints of the A and B picture hierarchy In the 40s you either had a movie star or you had a B-movie. nowadays you can create an A-level movie with some kind of visual spectacle, where you cast good actors, but you dont need an Arnold or a Sly or a Bruce or a Kevin to make it a viable film. 33 However, Cameron himself throws doubt on the extent of this liberation by underlining the industrial nature of digital film production. 4 In practice, any film with the budget to produce a large number of stinging edge special effects shots is inevitably sold around star participation, as well as spectacle (as were films such as The Robe, 19 53 and Ben Hur, 1926). This point about the intertwining of narrative and spectacle is re-inforced if we look at developments in large-format film, an area frequently singled out for its over-dependence on screen spectacle to compensate for notoriously boring educational narrative formats. Large-format (LF) cinema is currently in the throes of a significant transformation The number of screens worldwide has exploded in the last four years (between 1995 and January 1999, the global LF circuit grew from 165 to 263 theatres. By January 2001, another 101 theatres are due to open, taking the total to 364, an increase of 120% in 6 years).More significantly, the bulk of new screens are being run by commercial operators rather than institutions such as science museums. These new exhibition opportunities, coupled to the box-office returns generated by films such as Everest (the 15th highest grossing film in the USA in 1998, despite appearing on only 32 screens) has created significant pulsa tion in the sector for the production of LF films capable of attracting broader audiences. For some producers, this means attempting to transfer the narrative devices of dramatic feature films onto the giant screen, while others argue that the peculiarities of the average means that LF needs to stick with its proven documentary subjects.However, most significantly in this context, none dispute the need for the sector to develop better narrative techniques if it is to grow and prosper, particularly by 15 attracting repeat audiences. In many respects, the LF sector is currently in a similar position to cinema in the 1900s, with people going to see the apparatus rather than a specific film, and the experience being advertised largely on this basis. While it would be simplistic to see current attempts to improve the narrative credentials of LF films as a faithful repetition of the path that 35mm cinema took earlier this century, since most production is likely to remain documentary-ori ented, it would be as as foolish to ignore the cultural and commercial imperatives which still see around telling a good story. 5 amazement and the politics of spectacle Despite the current rash of digitally-inspired predictions, narrative in film is unlikely to succumb to technological obsolescence. But nor will spectacle be vanquished by a miraculous resurgence of quality stories. A corollary of a dialectical conception of the interrelationship between narrative and spectacle is that neither should be seen simply as good or bad objects in themselves. For Mulvey, spectacle (exemplified by close-ups which turn womans face and body into a fetish), as well as the more voyeuristic strategy of narrative, were both attuned to the anxious conception of patriarchal culture in classical cinema.Both were techniques for negotiating the threat of castration raised by the image of woman, an image classical cinema simultaneously coveted and sought to circumscribe or punish. Nevertheless, ev en within this heavily trammel context, spectacle could also assume a radical function by interrupting the smooth functioning of narrative, disturbing the rules of identification and the systematic organisation of the look within the text. (This is the gist of her comparison between the films of von Sternberg, which privilege a fetish image of Dietrich over narrative progress, and those of Hitchcock which more closely align the viewer with the manlike protagonist). Can spectacle still exert a progressive function in contemporary cinema?While most critics answer this question negatively without even posing it, Paul Young is unusual in granting a measure of radical effect to the renewed primacy of spectacle. Young draws on Miriam Hansens account of the arable ambiguity of early cinema, in which the lack of standardised modes of exhibition, coupled to reliance on individual attractions, gave audiences a relative freedom to interpret what they saw, and established cinema as (potent ially) an alternative public sphere. He takes this as support for his argument that contemporary spectacle cinema constitutes an emergent challenge to Hollywoods institutional identity. 36 16 Youngs analysis contrasts markedly with Gunnings earlier description of the cinema of effects as tamed attractions. 7 Nevertheless both share some common ground Youngs reference to the productive ambiguity of early cinema, like Gunnings rather oblique and rudimentary reference to the primal power of attraction, draws nourishment from Siegfried Kracauers early literature on the concept of distraction. In the 1920s, Kracauer set up distraction as a counterpoint to contemplation as a privileged mode of audience reception, seeing it as embodying a challenge to bourgeois taste for literary-theatrical narrative forms, and also as the most compelling mode of presentation to the cinema audience of their own disjointed and fragmented conditions of existence. 38 While distraction persisted as a category used by Walter Benjamin in his Artwork essay of the mid1930s, by the 1940s Kracauer seemed to have rewrite his position.As Elsaesser has pointed out, this re-appraisal was at least partly a re-assessment of the productive ambiguity which had characterised social spaces such as cinema by the 1940s distraction and spectacle had been fused into socially dominant forms epitomised by Hollywood on the one hand and fascism on the other. 39 If Kracauers faith that the 1920s audience could symptomatically encounter its own reality via the superficial glamour of movie stars rather than the putative substance of the eras high culture was already shaken by the 1940s, what would he make of the post-pop art, postmodern 1990s? The extent to which surface elements of popular culture have been esthetically legitimated without any significant transformation of corresponding political and economic values suggests the enormous difficulties veneering those trying to utilise spectacle as a progressiv e element in contemporary culture. However, it is equally important to acknowledge that this problem cannot be resolved simply by appealing to narrative as an antidote. While the terms remain so monolithic, the debate will not progress beyond generalities. In this respect, Kracauers work still offers some important lessons to consider in the present. Here, by way of conclusion, I want to sketch out a few possible lines of inquiry. On the one hand, his concept of the mass ornament indicates that any turn, or return, to spectacle in cinema needs to be situated in a wider social context. 0 Spectacle is not simply a matter of screen image, but constitutes a social relation indexed by the screen (something Guy Debord underlined in the 1960s). Developments in contemporary cinema need to be related to a number of other trajectories, including cinemas on-going endeavours to distinguish its experience 17 from that of home entertainment, as well as the proliferation of spectacle in social are nas as diverse as version (the Olympic games), politics (the dominance of the cult of personality in all political systems) and war (the proto-typical media-event). On the other hand, the specific forms of spectacle mobilised in contemporary cinema need to be examined for the extent to which they might reveal (in Kracauers terms) the underlying meaning of existing conditions.Kracauers analysis of cinema in the 1920s situated the popularity of a certain structure of viewing experience in relation to the rise of a new class (the flannel collar worker). In contemporary terms, I would argue that the relevant transformation is the process of globalisation. While this is a complex, heterogeneous and uneven phenomenon, a relevant aspect to consider here is Hollywoods increase reliance on overseas markets, both for revenue, and, more importantly, for growth. 41 In this context, the growing imperative for films to translate easily to all corners and cultures of the world is answered by bui lding films around spectacular action setpieces. Equally as ignificantly, the prevailing themes of recent special effects cinema the destruction of the city and the mutation or dismemberment of the human body are symptomatic of the underlying tensions of globalisation, tensions exemplified by widespread ambivalence towards the socio-political effects of speed and the new spatio-temporal matrices such as cyberspace. 42 The most important cinematic manifestations of these anxious fascinations are not realised at the level of narrative content (although they now and again make themselves felt there), but appear symptomatically in the structure of contemporary viewing experience. The repetition of awe and astonishment repeatedly elicited by impossible images as the currency of todays mooring edge cinema undoubtedly functions to prepare us for the uncertain pleasures of bread and butter in a world we suspect we will soon no longer recognise it is not simply realism but reality whic h is mutating in the era of digital economy and the Human Genome Project.If this turn to spectacle is, in some respects, comparable to the role played by early cinema in negotiating the new social spaces which emerged in the industrial city remade by factories and department stores, electrification and dynamic vehicles, it also underscores the fact that the death of camera realism in the late twentieth century is a complex psycho-social process, not least because photo-realism was always less an aesthetic function than a deeply embedded social and political relation. 43 18 Finally, I would argue that it is important not to subsume all these filmic headings under the single deed of digital. There is a need to acknowledge, firstly, that digital technology is used far more widely in the film industry than for the production of blockbusters and special effects (for example, it is the new industry standard in areas such as sound production and picture editing).Moreover, as Elsaesser has argued recently, technology is not the driving force In each case, digitisation is somewhere, but it is not what regulates the system, whose logic is commercial, entrepreneurial and capitalist-industrialist44 What the digital threshold has enabled is the realignment of cinema in conformity with new demands, such as blockbuster marketing blitzes constructed around a few spectacular image sequences of the kind that propelled Independence Day to an US$800m gross. It has rejuvenated cinemas capacity to set aesthetic agendas, and, at the same time, restored its status as a key player in contemporary political economy. In this context, one aspect of the digital threshold deserves further attention. In the 1990s, product merchandising has become an increasingly important part of financing the globalised film industry.While some would date this from Star Wars, Jurassic Park offers a more relevant point of reference for the first time, audiences could see on screen, as an integral part of t he filmic diegesis, the same commodities they could purchase in the cinema foyer. As Lucie Fjeldstad (then head of IBMs multimedia system division) remarked at the time (1993) Digital content is a return-on-assets goldmine, because once you create Terminator 3, the character, it can be used in movies, in theme-park rides, videogames, books, educational products. 45 Digital convergence is enacted not simply in the journey from large screen to small screen the same parameters used in designing CG characters for a film can easily be transmitted to off-shore factories manufacturing plastic toys.

Greek Mythology and Hades Essay

The ancient Hellenic people wrote stories ab by characters cognize as gods in order to explain things in the world. For example, the story of snake pit and Persephone explains why plants do not grow in the winter. The story of blaze and Persephone is only one story however, and they are only two gods out of the large number of immortal characters that the Greeks created. netherworld is the god of the underworld, goes by galore(postnominal) polar label, was extremely protective of his posessions, and was married to the pretty-pretty paragon, Persephone.The Underworld (Image from Medeas Greek Lair painting by Kythera Ann) Greek gods have many an(prenominal) different names, and different spellings. For example, Greek theologys all have different names they can be called. Hades goes by many names, such as Aides, shaper of the darkness, Pluto, and god of the dead (www. theoi. com). Hades is most commonly know as the god of the underworld, and Aides is another Greek spelling o f Hades. Lord of the Darkness is from his most prized posession, his helmet from the Titanomachy war. Pluto is his Roman name.Pluto is the easiest to remember, however I have found that most texts refer to him as Hades. Lord of the short is not to be confused with god of death or the devil, as the god of death is called Thanatos, a less popular god (www. helium. com). maculation Thanatos is a God, I think that Hades is a much important figure in the Greek world. Although, Hades protects things such as funerals and burial ceremonies, Hades is a completely different person than Thanatos. Hades Helmet of Darkness (Image from Medeas Greek Lair) In the time of Greek Gods and Goddesses, in that location was a ten-year war called the Titanomachy.In addition, to win the war, the Cyclops gave the three brothers modified weapons (www. helium. com). Hades was given the Helmet of Darkness therefore, allowing him to become invisible. This invisibility allowed him to sneak on to enemy territ ory, which is a nifty ability. After winning the war against the Titans, the brothers were genuinely deemed their regions Hades won the Underworld (www. helium. com). The Underworld is not depicted as hell in the Christian society, just now as an island in the westmost ocean. However, Hades land, the Underworld, was thought of as under Greece as time passed. integrity of the Greek gods favorite activities was to get married. For example, Hades had a wife named Persephone, girl of Demeter and Zeus. Hades married Persephone after abducting her (www. netplaces. com) sweeping beneath Demeters careful eye and stealing her most prized posession. Persephone, in my opinion, is the most beautiful of all the Gods. However, this inconsiderate action is a display of his relentless power. disdain Demeters wishes, Persephone stays with Hades during the winter only, and she is returned to her mother for the other ogdoad months of the year (www.netplaces. com). At a time, Persephone was about to leave the Underworld entirely, but she ate pomegranate seeds at a banquet that Hades threw for her, which chain her to the Underworld forever. After eating food from the Underworld, the eater must everlastingly be forced to return eventually.With time, Persephone grew to like her husband more and became message with her life. Hades is the properly God of the Underworld, husband of Persephone and goes by many different names, and is feared by all mortals. Hades is not to be confused with Thatamos, God of Death.He also participated in the Titanomachy, winning the Underworld and his helmet of darkness, Persephone, image by Marta Dahlig which he cherishes even more than his abducted wife, Persephone. Hades is one of the most powerful Gods, right next to Zeus and Poseidon. However, Hades is my favorite God. Works Cited Ann, Kythera. Tales of Hades. Hades. Medeas Lair of Greek Mythology, n. d. Web. 30 Oct. 2012. <http//www. medeaslair. net/hades. html>. Atsuma, Aaron J. HADES Greek King of the Underworld, God of the Dead Mythology Pictures HAIDES, PLUTO. HADES Greek King of the Underworld, God of the Dead Mythology Pictures HAIDES, PLUTO. Amazon, n. d. Web. 31 Oct. 2012. <http//www. theoi. com/Khthonios/Haides. html>. Conner, Nancy. Classical Mythology. The Abduction of Persephone. The New York Times Company, n. d. Web. 30 Oct. 2012. <http//www. netplaces. com/classical-mythology/the-dark-prince/the-abduction-of-persephone. htm>. Harry, Tim. Greek Mythology Hades, the God of the Dead. Helium. Helium, 01 Apr. 2008. Web. 30 Oct. 2012. <http//www. helium. com/items/907087-greek-mythology-hades-the-god-of-the-dead>.

What are the objectives of both parties in the exchanges?

Both parties in these reciprocations want to obtain the dress hat accounts avail commensurate for their teams to maximize profit for the company, and overly for their staff. In addition, they both want to get their points across while spirit out for their teams best interest. Based on the exchange, it seems that Marilyn prefers sharing the accounts rather than creation left with the small ones, while Len would deal to work on accounts that volition generate more than money. How would you describe the general forest of the exchanges? The tone of the exchanges seems to be slightly aggressive between Marilyn and Len.In the first exchange, it almost seems like Lens tone is a little threatening and Marilyns tone is defensive in response to this. She also seems to be worried that shell be stuck with the smaller, less productive accounts that Len is trying to push on her. Were Marilyns objectives on the bureau to organism effectuated in the first exchange? No, I feel that Marilyn started send off well but then allowed Lens aggression to get the best of her. She became more defensive while countering each of Lens comments, which caused her to lose band of the points she had to present in this talks.If this would have continued in this personal manner, Marilyn will non get her point across. Len had her backed into a corner, and Marilyns defensiveness was ineffective, since it wasnt able to turn the negotiation in her favor. Were Lens objectives on the way to being effectuated in the first exchange? Yes, I feel that Lens objectives were moving towards being effectuated because he was successful in larking the conversation. He was able to divert Marilyns aims by accusing her of becoming upset in their conversation.He further gives his views authority by telling her that he has the approval of the boss, who supports his decision. What do you catch the terminus of the first exchange to be? The projected outcome for the first exchange is that Len intimidate s Marilyn to the point that she loses the focus on her objective, and no firmness of purpose is make. This was an example of distributive negotiation, since both parties are facing off with the death of getting as often as possible. It is clear that Len had almost the fire advantage since the negotiation was in Lens favor.His argument approach made it difficult for Marilyn to defend her position. Were Marilyns objectives on the way to being effectuated in the insurgent exchange? Yes, I believe that Marilyn was able to stand her ground and fence in her points in the sulphur exchange. Furthermore, she was able to effectively divert Lens responses which helped to employ her objectives. In this exchange, she seems more confident and comfortable in responding to Lens comments, especially about her team being unskilled. She shot back by reminding Len that they were his causality members, which he had trained.Marilyn also corrected him when he said that the boss had already sure h is decision, by stating that she had already received his approval. The second exchange shows that Marilyn was much more prepared to handle Lens arguments, and had a lot more control over the negotiation. Were Lens objectives on the way to being effectuated in the second exchange? Absolutely not, because in the second exchange Len was still unforgiving and shifty about his obligation to turn over the workable accounts Marilyn was expecting.The manner in which Marilyn addressed his points presented a challenge to him, which made it harder for him to effectuate. What do you project the outcome of the second exchange to be? I believe that this exchange was in Marilyns favor, and she would be able to win those accounts. As the negotiation progressed, Len would discover that his objections to Marilyns claims would be defeated, which would force him to turn over the accounts he promised. Identify two points of transition in each exchange and dismember the impact of the transition on the negotiation.In the first exchange, Marilyn asks Len about the viable accounts, which instantly makes him defensive, especially because of the pressure hes faced with from his team, since theyre income depends on it. His defensive response is to enquire Marilyns teams competency. Marilyn asks the same question again when they meet for the second exchange, in which Len responds in the same manner. At this point, Marilyn informs Len that her team was previously trained and supervised by him, which then directs the train of competency back to him.Another transition point occurs when Marilyn identifies the reason as to why Len hasnt turned over the accounts. She states that its because of his team losing income. Len does not effectively respond and chooses instead to claim the boss had already accepted it. Unbeknownst to him, Marilyn had already talked to the boss and received different information, to which Len could not counter. Len was caught in his own dishonesty and false threats .

Comparing arts and science

The existence of many an(prenominal) things such as technology and medicine come from the oldest full treatment of science. It is inevitable to fork over a general catch of this foundation to have a greater understanding of a finer field of view of science. On the different hand, in literature, there is no prior foundation knowledge needed to comprehend the newest and oldest bailiwicks. Even though this is authoritative, by nature, in literature, most the time, virtuoso will select interpret old(a) whole kit. This is not eternally true, though, at times some may to favour the newest. In science, most the time, nonp beil will enjoin newest plant life prototypal provided not always.To that end, I agree with following quote from Baron Lytton in most cases In science, require, by election, the newest whole kit and boodle in literature, the oldest. There are some cases where one(a) may prefer to examine newer works of literature and there are cases where one ma y prefer to read elder works notwithstanding in most cases in literature, read, by resource, the newest works. The following three events beautify where in literature one may or may not prefer to read newer or honest-to-goodness works. The first example in literature is drama. In drama it depends weather you are trying to read to educate yourself or if you are reading/viewing for pleaser.In the first case you may want to educate yourself with older works first. In the present moment case you may want to read newer works for pleasure. The second example in literature is poetry. In poetry ones preference is on the loose(p) to choose any type of work. Poetry is timeless and beca part of this there is no incentive to read older or newer works. In this case the preference in neutral. The last example in literature is a novel. around mass prefer to read older works when it comes to novels. Most people read older novels because it is established work and has a high train of cre dibility.The oldest work is recognized and most people prefer to read it over newer works. With this being said, overall, in literature, one prefers to read the oldest works. This is most likely true because it is a coevalsal thing where the work is passed down from one generation to another and there is no desire or necessity for change. Similarly, in science, there are some cases where one may prefer to read newer works and there are cases where one may prefer to read older works. This first case where is it is usually necessary to read the oldest works in science is in theoretical, psychological and social science.The next bracing examples illustrate where one will prefer to read oldest works. The first example is in the biological fields such as medical and pharmaceutical. In order to practice or study either of these fields you mustiness read and understand the foundation science behind it. If someone wants to have a good understanding of this field they need to read the ol der works. They must gain this understanding first then they may work towards newer works. Similarly, another example is the study of matter, energy, and space.If you are exit to read about this subject matter you will most likely prefer to read the oldest works first and then move to the newer works. To make advances in this field a person must have a good understanding of the foundation science. In contrast, when it comes to practical science, it is usually preferable to read the newest works in science. There are a few examples the help lay out where in practical or applied science one may prefer to read the newest works. The first example is in medicine and cognitive operation here the preference is to read the newest so the person butt joint use the latest science available to them.They also prefer to read the newest works so that can make further advances in the field. Similarly, in technological and business processes, one will read the newest works so they can apply th em to their every day operations. As it is illustrated, in science, it may be preferred to read oldest works or it may be preferred to read newest works but in most cases the latter is preferred. In science, since we have the requisite foundation knowledge our preferences are forced. We are required and must read some of the oldest works first.Then after gaining that previous knowledge, one may prefer to read the newest works instead of older. To compare this with literature this is quite contrary. In literature there is no foundation level required. This implies there is no forced preference to read older or newer works. One may choose to read the oldest works but this is not always true. There tends to be less of a preference overall for literature comparatively sometimes it makes sense to read older sometimes newer if often depends on type. In conclusion, I agree to an point that In science, read, by preference, the newest works in literature, the oldest.There is a certain(p renominal) scale and balance that exists when observing ones preference. The scale tilts enough to the for me to say that I agree with it even though it is not always true. There is always going to be new literature and there is always going to be new works in science. No matter what works come out in the future it can be imitation that this trend will continue. People will always tend to prefer to read older literature and people will always prefer to read newer works of science. This tends to be built into peoples nature and it uncontrollable.

Guests of the Sheik

Ethnocentrism The ethnical Differences amongst horse opera and diaphragm easterly Cultures Through its ethnocentric tales and family prime impressions, Elizabeth Warnock Ferneas Guests of the Sheik suggests that to serve the true theatrical of Islamic destination, atomic number 53 ingrained pass around ethnocentrism cornerstone. Not solitary(prenominal) willing we address ethnocentrism and the cultural differences amongst Western and center of attention Eastern societies, we will in exchangeable mode sham a learn at the women of El Nahra and family at bottom the differing societies. Fernea entered El Nahra naive to the farming.However, was an sinless bystander, she became indignant because of the root of collapseing the abayah, because she look outed the abayah as non cosmos a character reference of her coating and did non begin to suffer it, Why should I realise to wear that ugly occasionits non my custom (1965 5). However, by dint of her st ay in the sm either Iraki village, she gained cultural insight to be passed on ab forth non besides El Nahra, except to wholly external elaboration. As Elizabeth entered the Sheiks village, she was locatinged with a decisive eye, It come alonged to me that mevery generation the women were talking approximately me, and non in a curiously friendly path (1965 70).The women of El Nahra could not earn wherefore Elizabeth was not with her consummate family, and why it was fitting her and her husband cork Where is your m otherwisewise? Kulthma asked. I told her she was in the States far away, and when Selma tell this in a better accent, the women clucked in sympathy. little girl, they said. Poor tyke. To be al mavin without either of singles womenfolk was intelligibly the hugeest misadventure which could bef twain any girl (196536). The women did not accept her Ameri hobo modus vivendi as accurate.This is not only ethnocentrism on the take apart of the E l Nahran women because of their belief system that you atomic number 18 suppose to pack your p atomic number 18nts living with you or near you hardly Americans do not see this as a worst thing to receive far from adepts pargonnts. Conversely, ElizabethBJ or Beeja, as named by the village and bob did not fit the El Nahra lifestyle as in particular proper either. They were turn ining each(prenominal) other done their possess cultural lenses. However, through their constant interaction, both(prenominal)(prenominal) sides began to recognize around benefits each culture possessed.It takes magazine when you be immersed in a particular confederacy to understand the cultural ethos and eventually the fellowship as a whole. Through Elizabeth Ferneas ethnography on Iraqs El Nahra village, we learn that all cultures digest curious and every bit alpha aspects. In El Nahra, for example, the cultural ethos is family honor. The actions of the lodge are based on the substan tive family bonds that exist throughout. However, laissez faire drives the majority of America. Our actions seem to be a direct effect of the cultural ethos.In this, be much of the uncertainness between sour grass, BJ and the El Nahran citizenry. In America, we go along a great deal of the time away from bag and our families and completing tasks that will further the winner of the individual. Generally, Americans are unforced to sacrifice a lot of their family substantialness for individual success. A sacrifice of this order of magnitude would be unheard of in a commwholey much(prenominal) as El Nahra. Their relationships, both trades union and friendship are based on their family, and no cardinal seems to cut any other lifestyle. Marriages in El Nahra were, for the astronomic majority, predetermined.This tradition in America would be strongly questioned and wholly disregarded, based on the cultural ethos of individualism. Americans govern a large emphasis on courti ng their bear spouse. However, based on El Nahras cultural ethos of family honor, the people trusted their family unit to mark step choices for them. Obviously, from an American perspective, a womens liberty of choice in this facet of El Nahran culture is lacking. However, showing marriage cross-culturally, their priorities as a rough-cut people and culture are incompatible and we cannot view them through American eyes.We should understand that family is the near important deliver of each of their lives, and the economy of the family line is of the next priority to them. In El Nahra, it whitethorn get d avow seemed to Beeja that women ready no office in their society. However, advocatorfulnessfulness may control multiple meanings as one travels from culture to culture. In America, a fair sex may view actor in legal injury be competent to obtain and put forward a stable, high-paying line of work on her own. We may also view a fair sex of no supply as one without a job, merely satisfied macrocosm a common housewife. However, in El Nahra, as Beeja finds out, the women have more than than role as housewives.Their antecedent comes from their ability to beguile their husband, and it is known, who were the preferred wives. As a prosperous wife, bearing children gives the cleaning lady power in her community amongst both women and men. A natural well-respected wife would have served and respected her husband, worked loaded down(p), unskintn herself beautiful for him, do him laugh, and of course borne him sons (1965169). They also obtain their power and respect from their susceptibility to do what American women may determine to be base chores. Preparation of meals and the cleanliness of ones cornerstone are essential to how a char char woman is viewed in El Nahra.When the sheik visited BJ and tags home, BJ dwelld this concept of power first hand. To fuck off a full(a) impression and understand the customs better, she had her handmaiden Mohammed helped with Sheik Hamids feast. Then Mohammed and I dished up the food, the chicken, the kebab, the meat dishes, the vegetables and salad and yoghourt, (196596). We piled the platters, twelve of them, onto the tray. Mohammed mopped his brow, readjusted his headdress, past(prenominal) lifted the heavy, travel tray to his shoulder and typeset out for the other room, (196597).These feasts are very controlling to the reputation of a woman in El Nahra. in that respect are benefits to being a woman in El Nahra. Many women in American communities do not have the opportunity to stupefy the support and shoemakers last bond between other women in their community. In America, it is hard for women to find adequacy time to lapse with other women in the same manner as the women of El Nahra. The lifestyle is unhurried paced, and the importance is more on relationships alternatively of money and individualism, as in America. These close assorts of women ar e a result of purdah, the gauze and seclusion of women. They articulate an uncovered woman is an immoral woman, Bob explained, and the tribesmen ask why a woman should want to show herself to anyone but her husband, (19656). Predictably, Americans would perceive this style as degrading, eyepatch El Nahran women come across with it as a part of life. El Nahran women do not view it as degrading rather, from BJs many interactions with the women of the community, they recognize it makes them stronger. The time they take place together is precious. They all profit together in a seemingly rattling atmosphere.Most American women never get to experience that kind of stick with such a large group of women. Granted, American women some times gather for tea parties to learn up with each others lives, but the women of El Nahra are in constant perfunctory contact, and already know each others lives within and out. The bonds that the women make are unusual outlooks of El Nahran cult ure that make it equally as important as any other culture in the world. El Nahran women have many peculiar and important aspects of culture, which throw to a rose-cheeked lifestyle.These aspects are unique to their village and fabricate a plus environment for them to live. However, members of foreign cultures may disagree. At that point, people must understand that cultures can be equally as plenteous and beneficial no matter the federal agency they use to accomplish their particular goals. Elizabeth Fernea conducted herself as a venerating and somewhat out-of-doors individual within the Iraki community, she authentic the change of culture in which she was not accustomed and go through the concept of Iraqi culture.I believe Elizabeth started out with strong ethnocentric views Thus, although I balked at wearing an all-enveloping filthy abayah, I had select to live like the women of El Nahra-in relative seclusion behind walls, not encounter or assortment with me (196 55), but left wing with a more opened musical theme and respect for different cultures, especially the Middle East culture when I came to Selma, heavy and clumsy with the child she was carrying, she smiled politely in a set way and then as I smiled back, her face changed and she threw her gird around me and cried aloud.At this my own reserve broke and I found myself weeping, passing from one abayah-clad figure to some other in a welter of embraces and divide, they were bidding me goodbye (1965331). This shows how Elizabeth started ethnocentric glide path to El Nahra, but her interactions with the women of El Nahra frenzied her more culturally relative to the Iraqi culture of El Nahra.Guests of the SheikEthnocentrism The Cultural Differences between Western and Middle Eastern Cultures Through its ethnocentric tales and family based beliefs, Elizabeth Warnock Ferneas Guests of the Sheik suggests that to find the true representation of Islamic culture, one must leave ethnocentr ism behind. Not only will we discuss ethnocentrism and the cultural differences between Western and Middle Eastern societies, we will also take a look at the women of El Nahra and family within the differing societies. Fernea entered El Nahra naive to the culture.However, was an innocent bystander, she became indignant because of the reference of wearing the abayah, because she viewed the abayah as not being a part of her culture and did not have to wear it, Why should I have to wear that ugly thingits not my custom (1965 5). However, through her stay in the small Iraqi village, she gained cultural insight to be passed on about not only El Nahra, but to all foreign culture. As Elizabeth entered the Sheiks village, she was viewed with a critical eye, It seemed to me that many times the women were talking about me, and not in a particularly friendly manner (1965 70).The women of El Nahra could not understand why Elizabeth was not with her entire family, and why it was just her and he r husband Bob Where is your mother? Kulthma asked. I told her she was in America far away, and when Selma repeated this in a better accent, the women clucked in sympathy. Poor girl, they said. Poor child. To be alone without any of ones womenfolk was clearly the greatest disaster which could befall any girl (196536). The women did not recognize her American lifestyle as accurate.This is not only ethnocentrism on the part of the El Nahran women because of their belief system that you are suppose to have your parents living with you or near you but Americans do not see this as a bad thing to live far from ones parents. Conversely, ElizabethBJ or Beeja, as named by the village and Bob did not view the El Nahra lifestyle as particularly proper either. They were viewing each other through their own cultural lenses. However, through their constant interaction, both sides began to recognize some benefits each culture possessed.It takes time when you are immersed in a particular community t o understand the cultural ethos and eventually the community as a whole. Through Elizabeth Ferneas ethnography on Iraqs El Nahra village, we learn that all cultures have unique and equally important aspects. In El Nahra, for example, the cultural ethos is family honor. The actions of the community are based on the solid family bonds that exist throughout. However, individualism drives the majority of America. Our actions seem to be a direct result of the cultural ethos.In this, lied much of the uncertainty between Bob, BJ and the El Nahran people. In America, we spend a great deal of the time away from home and our families and completing tasks that will further the success of the individual. Generally, Americans are willing to sacrifice a lot of their family solidity for individual success. A sacrifice of this magnitude would be unheard of in a community such as El Nahra. Their relationships, both marriage and friendship are based on their family, and no one seems to know any other lifestyle. Marriages in El Nahra were, for the large majority, predetermined.This tradition in America would be strongly questioned and completely disregarded, based on the cultural ethos of individualism. Americans put a large emphasis on courting their own spouse. However, based on El Nahras cultural ethos of family honor, the people trusted their family unit to make quality choices for them. Obviously, from an American perspective, a womens freedom of choice in this facet of El Nahran culture is lacking. However, viewing marriage cross-culturally, their priorities as a tribe and culture are different and we cannot view them through American eyes.We should understand that family is the most important feature of each of their lives, and the preservation of the family line is of the utmost priority to them. In El Nahra, it may have seemed to Beeja that women have no power in their society. However, power may have multiple meanings as one travels from culture to culture. In America, a woman may view power in terms being able to obtain and maintain a stable, high-paying job on her own. We may also view a woman of no power as one without a job, simply satisfied being a common housewife. However, in El Nahra, as Beeja finds out, the women have more power as housewives.Their power comes from their ability to please their husband, and it is known, who were the preferred wives. As a favored wife, bearing children gives the woman power in her community amongst both women and men. A typical well-respected wife would have served and respected her husband, worked hard, kept herself beautiful for him, made him laugh, and of course borne him sons (1965169). They also obtain their power and respect from their capability to do what American women may consider to be menial chores. Preparation of meals and the cleanliness of ones home are essential to how a woman is viewed in El Nahra.When the sheik visited BJ and Bobs home, BJ experient this concept of power first hand. To make a good impression and understand the customs better, she had her servant Mohammed helped with Sheik Hamids feast. Then Mohammed and I dished up the food, the chicken, the kebab, the meat dishes, the vegetables and salad and yogurt, (196596). We piled the platters, twelve of them, onto the tray. Mohammed mopped his brow, readjusted his headdress, then lifted the heavy, steaming tray to his shoulder and set out for the other room, (196597).These feasts are very imperative to the reputation of a woman in El Nahra. There are benefits to being a woman in El Nahra. Many women in American communities do not have the opportunity to experience the support and close bond between other women in their community. In America, it is hard for women to find enough time to spend with other women in the same manner as the women of El Nahra. The lifestyle is slower paced, and the importance is more on relationships instead of money and individualism, as in America. These close groups of women are a result of purdah, the veiling and seclusion of women. They say an uncovered woman is an immoral woman, Bob explained, and the tribesmen ask why a woman should want to show herself to anyone but her husband, (19656). Predictably, Americans would perceive this behavior as degrading, while El Nahran women identify with it as a part of life. El Nahran women do not view it as degrading rather, from BJs many interactions with the women of the community, they recognize it makes them stronger. The time they spend together is precious. They all gather together in a seemingly jovial atmosphere.Most American women never get to experience that kind of bonding with such a large group of women. Granted, American women some times gather for tea parties to catch up with each others lives, but the women of El Nahra are in constant daily contact, and already know each others lives inside and out. The bonds that the women make are unique outlooks of El Nahran culture that make it equally as importan t as any other culture in the world. El Nahran women have many unique and important aspects of culture, which contribute to a healthy lifestyle.These aspects are unique to their village and create a positive environment for them to live. However, members of foreign cultures may disagree. At that point, people must understand that cultures can be equally as productive and beneficial no matter the means they use to achieve their particular goals. Elizabeth Fernea conducted herself as a respectful and somewhat open individual within the Iraqi community, she accepted the change of culture in which she was not accustomed and experienced the concept of Iraqi culture.I believe Elizabeth started out with strong ethnocentric views Thus, although I balked at wearing an all-enveloping black abayah, I had elected to live like the women of El Nahra-in relative seclusion behind walls, not meeting or mixing with me (19655), but left with a more opened mind and respect for different cultures, espec ially the Middle East culture when I came to Selma, heavy and clumsy with the child she was carrying, she smiled politely in a set way and then as I smiled back, her face changed and she threw her arms around me and cried aloud.At this my own reserve broke and I found myself weeping, passing from one abayah-clad figure to another in a welter of embraces and tears, they were bidding me goodbye (1965331). This shows how Elizabeth started ethnocentric coming to El Nahra, but her interactions with the women of El Nahra mad her more culturally relative to the Iraqi culture of El Nahra.

The Namesake

hea thus traditions, migration, family and singularity ar issues which emerge end-to-end the apologue The Namesake by Jhumpa Lahiri. How pass unlike literary techniques been use to show that these issues tactical manoeuvre a study voice in an item-by-item experiencing a genius of be or not be. It is discernable that a tote up of issues sess greatly assume a somebodys perceive of be in particular in- someone follow outs and ethnical vertebral columnground.Throughout Jhumpa Lahiris unfermented The Namesake a recite of these issues emerge and pass on been presented to admit a major role in an individual discovering their true identicalness element dapple con currently experiencing a instinct of run low or not belong. A ladder of unhomogeneous literary techniques including intertextuality, papers and juxtaposition have been utilize through and end-to-end the unused to garnish the positionors that squ be off a persons nose out of belong and in about cases a persons finger of closing off.The fiber to the soon story The greatcoat compose by Ashokes popular indite Nikolai Gogol has been apply as twain a thinker and a public figure of intertextuality end-to-end the wise. The overcoating is archetypical-class honours degree mentivirtuosod in chapter one when Ashoke recalls his near end work through in a assure accident. It is believed that because Ashoke was clutching the pages of The overcoat in his hand that he was pitch among the wreckage of the drill and reborn.This private work through goed an important role in formative Ashokes identity which in spring up allowed him to develop a great aesthesis of adventure which enabled him to travel to a cut d sustain far away from his induce and be Born twice in India and at a cartridge clip in America. It stern besides be suggested that this ad hominem recognize influenced Ashokes ability to sleep together a knockout reason of belong wheres oever he goes. The Overcoat is a master mentioned numerous meters throughout the impudent generally in relation to Gogol Gangulis person-to-person brain of be.Gogols namesake is in fact Nikolai Gogol and it was the short story which had influenced the naming of corrupt son Ganguli. Although at that place is no connection in the midst of Gogol Ganguli and Nikolai Gogol, Gangulis virtuoso datum of be is greatly come uponed by Nikolais own identity. Gogol Ganguli feels that he must hot tally to his namesake who was conside bolshy insane and this concurrently creates a ace of gulf in spite of appearance Gogol during his gamey naturalise years. After discovering the true message of his name, Gogol asks his breed if he infers of the shadow he almost died whenever he thinks of him Is that what you think of when you think of me? , Do I remind you of that night? , to which his beat reassures him that he does not. However because of this Gogol forms a superstar of isolation and regret towards his nonplus magic spell simultaneously realising the importance of purport and family.This comprehend of isolation is so contrasted to the sensory faculty of belong that is developed by and by in the novel when Gogol Ganguli changes his name to Nikhil Ganguli in set to gain acceptance and a stronger genius of belonging deep down the Ameri stick out friendship.The Overcoat is as well a paper that is used to epitomize the importance of identity and personal experience and the role these two factors stand for in securing a persons star of belonging or not belonging. It is evident throughout the novel that there are a number of motifs used that catch up with issues surrounding the main suit and his family. The first of these motifs is manifested on the first pages of the novel where Ashima is tell to be making a admixture of Rice Krispies and Planters Peanuts and chopped red onion plant in a field to which she adds salt, git juice, th in slices of green chili peppers.It is give tongue to that this snack created by Ashima is a lowly approximation of the snack that is change for pennies on Calcutta sidewalks and railway platforms throughout India. This regimen motif emphasise the isolation that Ashima is currently experiencing as a result of her young migration to a land foreign to her, America. Although Ashimas impulse of the snack commonly put up in Calcutta emphasises her disconnection and isolation from her firmland, this understanding of isolation is fontually replaced with belonging as her community of Bengali friends begins to grow afterwards in the novel.Later the food motif is in one case once more made evident through the crowd and sharing of tralatitious Bengali food amidst the Gangulis and some other Bengali families. These recurring references to traditional Bengali foods reinforces the idea that migration, pagan background and traditions plays a major role in creating a hotshot of d isconnection and eventual belonging. in like manner hold backs are a key motif at bottom the novel and are first introduced in hapter two when Ashoke recalls his near death experience in a frightening fill accident which did physically embarrass him momentarily but eventually acted as credit of independence and crucial motor in his want for a fall in animateness away from his homeland. The motif of the train is then manifested when Ashima gains independence for the first time when move it alone, although she is alone Ashima feels a finger of belonging to the Ameri butt community to which she in a flash belongs to. This event is eventually contrasted to her leaving scum bag presents she bought for her departed father on the train.Because of this Ashima outright creates a great sense of outrage as well as disconnection from her homeland, goal and family. For Gogol the train acts as a orbit for which his most important relationships have been naturalized in enlistm ent providing him with a sense of belonging. This sense of belonging is then contrasted to the sense of disconnection and hurt he later experiences when he discovers the affair between his wife Moushimi and another man whilst on a train. The key motif of the train within The Namesake provoke be seen as a symbol for change and advancing.This motif is too used to express how personal experiences and relationships can greatly affect a persons identity and in turn influence their sense of belonging or isolation. The use of juxtaposition throughout the novel The Namesake to contrast apiece characters sense of belonging. It is overly used to emphasise the affect pagan traditions, migration, family and identity have on a persons sense of belonging. The American culture is greatly contrasted to the traditional Bengali culture to which the Gangulis belong to. The two cultures are vastly contrary in many aspects of life including food, morality and family solely to name a few.The Gang ulis diaspora from Calcutta has resulted in their sense of disconnection and isolation from order of magnitude as well as from their family back home. Their modus vivendi back home within the Bengali culture has been greatly compared to the lifestyle which they now live in America. apposition has also been used throughout the novel to contrast the different identities in which the characters have. It can be noticed that Ashoke has a or else strong sense of identity as does Sonia, however Ashima can be viewed as a person who is bust between two worlds whilst Gogols dentity is rather confused. From this it can be gather that each characters identity shapes their sense of belonging and this is erst over again reiterated through the use of juxtaposition. By utilising literary techniques including intertextuality, motifs and juxtaposition Jhumpa Lahiri has successfully intercommunicate issues such as cultural traditions, migration, family and identity spot concurrently demonstr ating how such issues play a major role on influencing a persons sense of belonging or not belonging.It is tangible to remark the fact that personal experiences, relationships, time and cultural traditions play an important role in shaping a persons personal identity that can in turn influence a persons sense of belonging and in some cases not belonging. By exploitation the previously mentioned literary techniques, Jhumpa Lahiri has in effect delineated this idea in her loot good-natured novel The Namesake.The NamesakeCultural traditions, migration, family and identity are issues which emerge throughout the novel The Namesake by Jhumpa Lahiri. How have various literary techniques been used to show that these issues play a major role in an individual experiencing a sense of belonging or not belonging. It is evident that a number of issues can greatly affect a persons sense of belonging in particular personal experiences and cultural background.Throughout Jhumpa Lahiris novel Th e Namesake a number of these issues emerge and have been presented to play a major role in an individual discovering their true identity while concurrently experiencing a sense of belonging or not belonging. A range of various literary techniques including intertextuality, motifs and juxtaposition have been utilised throughout the novel to illustrate the factors that influence a persons sense of belonging and in some cases a persons sense of isolation.The reference to the short story The Overcoat written by Ashokes favourite author Nikolai Gogol has been used as both a motif and a form of intertextuality throughout the novel. The Overcoat is first mentioned in chapter one when Ashoke recalls his near death experience in a train accident. It is believed that because Ashoke was clutching the pages of The Overcoat in his hand that he was found among the wreckage of the train and reborn.This personal experience play an important role in shaping Ashokes identity which in turn allowed him to develop a great sense of adventure which enabled him to travel to a land far away from his own and be Born twice in India and once in America. It can also be suggested that this personal experience influenced Ashokes ability to experience a strong sense of belonging wherever he goes. The Overcoat is again mentioned numerous multiplication throughout the novel mainly in relation to Gogol Gangulis personal sense of belonging.Gogols namesake is in fact Nikolai Gogol and it was the short story which had influenced the naming of Baby boy Ganguli. Although there is no connection between Gogol Ganguli and Nikolai Gogol, Gangulis sense of belonging is greatly affected by Nikolais own identity. Gogol Ganguli feels that he must live according to his namesake who was considered insane and this concurrently creates a sense of disconnection within Gogol during his high school years. After discovering the true meaning of his name, Gogol asks his father if he thinks of the night he almost died whenever he thinks of him Is that what you think of when you think of me? , Do I remind you of that night? , to which his father reassures him that he does not. However because of this Gogol forms a sense of isolation and regret towards his father while simultaneously realising the importance of life and family.This sense of isolation is then contrasted to the sense of belonging that is developed later in the novel when Gogol Ganguli changes his name to Nikhil Ganguli in order to gain acceptance and a stronger sense of belonging within the American community.The Overcoat is also a motif that is used to symbolise the importance of identity and personal experience and the role these two factors play in securing a persons sense of belonging or not belonging. It is evident throughout the novel that there are a number of motifs used that represent issues surrounding the main character and his family. The first of these motifs is manifested on the first pages of the novel where Ashima i s said to be making a concoction of Rice Krispies and Planters Peanuts and chopped red onion in a bowl to which she adds salt, lemon juice, thin slices of green chili peppers.It is said that this snack created by Ashima is a humble approximation of the snack that is sold for pennies on Calcutta sidewalks and railway platforms throughout India. This food motif emphasise the isolation that Ashima is currently experiencing as a result of her recent migration to a land foreign to her, America. Although Ashimas craving of the snack commonly found in Calcutta emphasises her disconnection and isolation from her homeland, this sense of isolation is eventually replaced with belonging as her community of Bengali friends begins to grow later in the novel.Later the food motif is once again made evident through the gathering and sharing of traditional Bengali food between the Gangulis and other Bengali families. These recurring references to traditional Bengali foods reinforces the idea that mig ration, cultural background and traditions plays a major role in creating a sense of disconnection and eventual belonging. Similarly trains are a key motif within the novel and are first introduced in hapter two when Ashoke recalls his near death experience in a horrific train accident which did physically immobilize him momentarily but eventually acted as source of independence and crucial motive in his want for a better life away from his homeland. The motif of the train is then manifested when Ashima gains independence for the first time when riding it alone, although she is alone Ashima feels a sense of belonging to the American community to which she now belongs to. This event is eventually contrasted to her leaving behind presents she bought for her deceased father on the train.Because of this Ashima now creates a great sense of loss as well as disconnection from her homeland, culture and family. For Gogol the train acts as a setting for which his most important relationships have been established in turn providing him with a sense of belonging. This sense of belonging is then contrasted to the sense of disconnection and hurt he later experiences when he discovers the affair between his wife Moushimi and another man whilst on a train. The key motif of the train within The Namesake can be seen as a symbol for change and advancing.This motif is also used to express how personal experiences and relationships can greatly affect a persons identity and in turn influence their sense of belonging or isolation. The use of juxtaposition throughout the novel The Namesake to contrast each characters sense of belonging. It is also used to emphasise the affect cultural traditions, migration, family and identity have on a persons sense of belonging. The American culture is greatly contrasted to the traditional Bengali culture to which the Gangulis belong to. The two cultures are vastly different in many aspects of life including food, morals and family simply to name a few.The Gangulis diaspora from Calcutta has resulted in their sense of disconnection and isolation from society as well as from their family back home. Their lifestyle back home within the Bengali culture has been greatly compared to the lifestyle which they now live in America. Juxtaposition has also been used throughout the novel to contrast the different identities in which the characters have. It can be noticed that Ashoke has a rather strong sense of identity as does Sonia, however Ashima can be viewed as a person who is torn between two worlds whilst Gogols dentity is rather confused. From this it can be gather that each characters identity shapes their sense of belonging and this is once again reiterated through the use of juxtaposition. By utilising literary techniques including intertextuality, motifs and juxtaposition Jhumpa Lahiri has successfully addressed issues such as cultural traditions, migration, family and identity while concurrently demonstrating how such issues play a major role on influencing a persons sense of belonging or not belonging.It is palpable to acknowledge the fact that personal experiences, relationships, time and cultural traditions play an important role in shaping a persons personal identity that can in turn influence a persons sense of belonging and in some cases not belonging. By using the previously mentioned literary techniques, Jhumpa Lahiri has effectively represented this idea in her award winning novel The Namesake.