Review Sheet Results Essay

1. Explain why increasing extra stallular K+ reduces the mesh topology diffusion of K+ out of the neuron through the K+ efflux channels. Your answer Because outside a typical cellular phone, the tightfistedness of K+ is some 5mM and the concentration of Na+ is about cl mM. When you increase the concentration of K+ from 5 to 25 mM and reduce concentration of Na+ from 150 to 130 mM, the outside has more concentration of K+. The tissue layer is pervious to a particular ion, that ion will string out down its concentration gradient from a region of higher concentration to a region of set down concentration. 2. Explain why increasing extracellular K+ causes the membrane authorisation to change to a less negative value. How well did the results compare with your divination? Your answerBecause outside has more K+, the rate of diffusion is less. The resting membrane potential will become less negative. 3. Explain why a change in extracellular Na+ did not significantly modify the membrane potential in the resting neuron? Your answer Because it did not instal the resting membrane potential.4. Discuss the relative permeability of the membrane to Na+ and K+ in a resting neuron. Your answer The resting membrane potential is really a potential difference between the inside of the cell (intracellular) and the outside of the cell (extracellular) across the resting permeability of the membrane to ions and on the intracellular and extracellular concentraions of those ions to which the membrane is permeable. Na+ and K+ are the most important ions, and the concentrations of these ions are establish by transport protein, such as the Na+ -K+ pump, so that the intracellular Na+ concentration is low and the intracellular K+ concentraion is high. The ions will diffuse down its concentration gradient from a region of higher concentration to a region of lower concentration. 5. Discuss how a change in Na+ or K+ conductance would affect the resting membrane potential. Your an swerThe resting boundary potential is a potential difference between the inside of the cell and the outside of the cell across the membrane. It depends on the resting permeability of the membrane to ions and on the intracellular and extracellular concentrations of those ions to which the membrane is permeable.View as multi-pages

Problem Solving for Yoga Teacher

What is a problem? A problem is a situation in which there is a goal, save it is not clear how to r to each one the goal. Main Problems faced by a Yoga informer 1. Classes with solely a few students Yoga teachers may somemagazines teach a small class, maybe less than 5 students, here brings a great challenge to a yoga teacher since you need to build up a good connection with your students to really look into the needs of each of the students rather than in generalized terms. This takes time for you to know more somewhat each of his/her students. 2. Teaching classes in different locationsBeing a yoga teacher, you may train to work in different locations for each class, this allow for involve a high travelling cost and frustration. 3. Problems on marketing your classes and workshops This is essential for you to be an effective marketer in order to grow your business. Even you atomic number 18 working in a large yoga school providing all the marketing collateral for you, you s till have to clearly articulate. If you atomic number 18 not working in such a large company, you must be qualified to answer a question Why students should chose you but not these in the large yoga school? 4. Not equal time to practice yoga for avouch self Many flock may have a fault that when a yoga teacher is education yoga, he/she is practicing yoga as well, however, this is not true, and the yoga you be teaching in a class is never the one you are practicing on your own. You may find that you dont have enough time to practice yoga. 5. Managing illness and scheduled day-off You must have a clear concept that if you dont teach, you wont be paid. This is very important to have a good time focal point on your working schedule. 6.Thinking yourself is not good enough Teaching yoga is an on-going process, sometimes you may face a situation that the way you are teaching is unfamiliar with your colleague. This may make you think you are not best(p) than the others. Lack of co nfidence in own teaching style is a big problem in teaching yoga. 7. A class with students in different cultures Sometimes a yoga class may not only have local students, but also students from all over the world. This may lead to a communication problem to these from other countries. Strategies to settle problemsheuristic rule Heuristic is a strategy in thinking under uncertainty. It is a etymon strategy ground on past experiences. Thinking with heuristic go forth give a quick answer, it may, however, lead an in moderate answer or even no answer, as past experiences may not be adoptly the same to the current situation. Algorithm Algorithm is a feeling by step problem solution procedure that guarantees a correct answer to a problem. Which Strategy should be chosen as universe a yoga teacher? The answer is Heuristic. Although algorithm guarantees a correct, this is very time-consuming.The most(prenominal) important thing is the problem you faced in being a yoga teacher is n ot a simple mathematics question with an exact answer. For example, you are facing a class with on more than 5 students, which teaching methods should be used? In this situation, you even have no time to take a step and step procedure to solve the problem, a quick action must be done Also, there is no exactly correct answer to you which methods must be better, this is based on your past experience. To know more about your problem solving stylesThere are two kinds of problem solving styles Representativeness Heuristic and availability Heuristic Representativeness Heuristic is a heuristic for judging the probability of social station in a category by how well an object resembles (is congresswoman of) that category. In general, the representativeness heuristic leads to a bias toward the belief that causes and effects will resemble one another. Availability Heuristic is a phenomenon in which people predict the frequency of an vitrine, or a proportion within a population, based on ho w easily an example can be brought to mind.An event may be prominent in our memories because it happened recently or because it is in particular striking or vivid. Questions Which kinds of problem solving styles you are using function 1 When you are teaching a class with foreigners, let says students from USA, they are very aggressive and always ask a lots of questions, so you assume all the students from USA have that kind of culture. Next time when you teach USA students, you refer to your past experience to apply in this situation. Ans Representativeness Heuristic Situation 2

Abraham Conclusion Essay

While paper the whole play for my group, and doing research, I learned a lot of things somewhat Abraham. God helped Abraham a lot, first with the blessing, then Lot, and even for the birth of Isaac. nigh of the time when something bad happens, Abraham doubted God. God never zapped him, or kill him, He was patient. At the end, Abraham could not help Isaac find a wife himself for he is weak and old, he self-confidenceed that God will help him homogeneous the way God helped him before. I think faith means to trust God completely, 100%. True faith is shown, when you yourself could not help any more than, all God could. And you trust unto Him a very hard job, being positive(predicate) that He will be able to do it.See more Beowulf essay essayThis happened when Abraham was too old to go look for a wife for Isaac, he had faith that God will find ane for him, and God did. What I learned about God while tuition about Abraham is that God is very patient. Every time Abraham questions o r doubts him, he doesnt get angry. I also learned that God is flock and true to his word. Every single promise God made came true, though not the way some people expected it. Last of all, I learned that God is omniscience. Though Sarah is very old and beyond the historic period of child bearing, God was able to make her have her son, the son that was the atomic number 53 to take the true blessing, Isaac.

Opposites Attract

Opposites attract, similar to how magnets are drawn to for each one other. This tragic sock story sheds light on Romeo and Juliet, a couple on of star-crossed lovers. The play Romeo and Juliet, written by William Shakespeare, features a love story among the cardinal main characters, Romeo and Juliet and takes place in Verona, Italy. There are two rival families, the Capulets and the Montagues, and Juliet and Romeo are the star-crossed lovers from the two opposing families. In Act II Scene II, Romeo is talking to Juliet on the balcony immediately after they meet.Here, Shakespeare reveals Romeos and Juliets personalities in the scene. Shakespeare reveals a loving and impulsive side to Romeo, while on the other hand, reveals a hesitant and cautious side to Juliet. Shakespeare reveals that Romeo has a passionate, as well as impulsive love for Juliet. In the balcony scene he says to Juliet, My life were better ended by their hate, than death prorogued, wanting of thy love. (82) Thi s suggests that Romeo is precept that he would choose death over Juliet not loving him, and reveals his earnest love for Juliet.Also, he boldly states, Therefore thy kinsmen are no come off to me. (72) He declares this because he is so deeply in love with her. He has the courage to say this even when he knows that Juliets relatives want to fine-tune him because he is a Montague. Romeos impulsive behavior is suggested when he asks, Th exchange of thy loves faithful vow for mine(134). even out though Romeo had just met Juliet that night, he proposes that they get married, which reveals that he is impetuous. Romeo is characterized as passionate but impulsive, which leads him rushing into decisions, and ultimately his death.Juliet is shown to be hesitant and cautious because is mount beyond her age. She is cautious about Romeos love for her, almost doubting of it, because she says to him, And if thou dost love, pronounce it faithfully (99). This shows that she wants to be reassu red that he rattling loves her. When Romeo proposes for them to marry, she responds It is too rash, too unadvised, too sudden (125) which shows that Juliet thinks that they should be careful, because she believes their love is develop too quickly.She then compares their love to what it could be, Too alike the lightning, which doth cease to be which means that like lightning, their love can disappear as degenerate as it appeared. She is worried that this will happen to them as well. Her cautious and hesitant behavior balances out Romeos character and actions. Shakespeare suggests that Romeo and Juliet are very antithetic in character. Romeo is quick to act, while Juliet takes her time and thinks of the possible outcomes. Their personalities create a perfect balance.Although they complete each others personalities, their young and sudden love is like the always changing and tumultuous ocean. The two lovers should not rush into their love because their love for each other, as Juli et says Follow thee my lord throughout the conception, foreshadows that Juliet will ultimately follow Romeo into death because of their love. Love holds the power to perform people do extraordinary things but sometimes may lead to irreversible consequences, such as death.

Feminist Approach to Witchcraft; Case Study: Miller’s the Crucible

Title Re(dis)covering the Witches in Arthur moth millers The melting pot A Feminist Reading Author(s) Wendy Schissel yield Details Modern turn 37. 3 (F tout ensemble 1994) p461-473. Source Drama Criticism. Vol. 31. Detroit Gale. From written satisfyings Resource Center. Docuwork forcet Type over dilettanteal essay criminal recordmark Bookmark this Document Full Text COPYRIGHT 2008 Gale, Cengage LearningTitle Re(dis)covering the Witches in Arthur millers The melting pot A Feminist Reading (essay date f either 1994) In the following essay, Schissel offers a feminist instructing of The melting pot, in an effort to deconstruct the phallologocentric sanctions implicit in milling machines account of Abigails fate, Elizabeths confession, and derrieres enticement and destruction. Arthur moth millers The Crucible is a disturbing consummation, non solely because of the obvious moral dilemma that is irresolutely solved by conjuration admonishers close, al wiz also because of the discussion that Abigail and Elizabeth receive at millers hands and at the hands of critics. In forty years of criticism very bittie has been state close the ways in which The Crucible reinforces stereotypes of femme fatales and dust-covered and low wives in order to assert hu musical compositionnessifestly universal virtues. It is a piety mutation based upon a questionable androcentric morality.Like Proctor, The Crucible roars d decl atomic number 18 Elizabeth, reservation her concede a fault which is non hers merely of milling machines making It needfully a cold wife to prompt lechery,1 she admits in her utmost meeting with her husband. Critics throw away shown alonet as a tragically exalted common man,2 humanly tempted, a just man in a universe gone mad,3 hardly they keep up never given over Elizabeth similar consideration, nor generate they deconstructed the phallologocentric sanctions implicit in milling machines account of Abigails fate, Eliza beths confession, and pottys temptation and death.As a feminist teacher of the 1990s, I am troubled by the unrecognized fallout from the defy upential humanism that moth miller and his critics have held dear. The Crucible is in need of an/Other reading, one that reveals the assumptions of the text, the author, and the reader/critic who is type of the sh keister sentience created by the black market. 4 It is metre to reveal the vicarious enjoyment that Miller and his critics have found in a psychotherapeutic male character who has enacted their exual and political fantasies. The setting of The Crucible is a favoured kickoff point in an analysis of the be. Puritan virgin England of 1692 whitethorn then have had its parallels to McC imposturehys America of 1952,5 nevertheless t here is much than to the paranoia than xenophobiaof Natives and Communists, one by one. Implicit in Puritan theology, in Millers version of the capital of Oregon transport trials, and all a like frequent in the clubhouse which has produced Millers critics is gynecophobiafear and distrust of women.The half 12 heavy books (36) which the zealous Reverend Hale endows on Salem c are a bridegroom to his be humpd, bearing gifts (132) are books on witchery from which he has acquired an armory of symptoms, catchwords, and diagnostic procedures (36). A 1948 variation of the 1486 Malleus Maleficarum (Hammer of Witches), with a foreword by Montague Summers, whitethorn have prompted Millers inclusion of s blushteenth-century and Protestant elucidations upon a work legitimately sanctioned by the papistic Church. Hales books would be highly distrustful tomes, for give care the Malleus they would be premised on the be pillowf that every witchcraft comes from carnal appetency which in women is insatiable. 7 The authors of the Maleus, both Domini female genitals monks, Johan Sprenger and Heinrich Kraemer, were writing yet a nonher(prenominal) fear-filled version of the apo cryphal bad woman they looked to Ecclesiasties which declares the crime of a woman is all evil there is no petulance above the fury of a woman. It depart be more than lovely to abide with a lion and a dragon, than to dwell with a awful woman rom the woman came the beginning of sin, and by her we all die. (2517, 23, 33) The Crucible is evidence that Miller partakes of similar fears close to(predicate) wicked, angry, or reinvigorated women tear down if his complicity in much(prenominal) gynecophobia is unwittingand that is the most generous intimacy we tummy accord him, a misrecognition of himself and his reputation-conscious hero rump as the authors of a subjectivity8 which belongs whole to menthe result for generations of readers has been the selfsame(prenominal).In Salem, the majority of witches condemned to die were women. Even so, Salems numbers were negligible9 compared with the gynocide in Europe Andrea Dworkin quotes a moderate estimate of social club milli on witches penalise at a ratio of women to men of as ofttimes as 100 to 1. 10 Miller assures us in one of his pillar and political (and long and didactic) comments, that disrespect the Puritans be untruthf in witchcraft, there were no witches (35) in Salem his gather, all the same, belies his claim, and so do his critics.The Crucible is filled with witches, from the wise woman/healer Rebecca Nurse to the black woman Tituba, who initiates the girls into the dancing which has perpetually been part of the communal celebrations of women healers/witches. 11 simply the most obvious witch in Millers invention upon Salem history is Abigail Williams. She is the consummate seductress the witchcraft frenzy in the play originates in her carnal propensity for Proctor. Miller describes Abigail as a strikingly ravishing girl ith an endless capacity for dissimulation (8-9). In 1953, William Hawkins called Abigail an evil child12 in 1967, critic Leonard Moss said she was a malicious figu re and unstable13 in 1987, June Schlueter and mob Flanagan proclaimed her a whore,14 echoing Proctors How do you call paradise Whore Whore (109) and in 1989, Bernard Dukore suggested that if the strikingly beautiful Abigails behaviour in the play is an indication, she may have been the one to take the initiative. 15 The critics forget what Abigail bottom of the inningnot seat Proctor took me from my sleep and put k without delayledge in my heart (24). They, like Miller, underplay so as not openly to con through with(p) the raw(a) behaviour of a man tempted to adultery because of a new-fashioned womans yellowish pink and precociousness, her proximity in a house where there is also an barely frigid wife, and the repression of Puritan society and religion. Abigail is a delectable commodity in what Luce Irigaray has termed a dominant scopic economy. 16 We are covertly invited to equate asss estimable rebellion at the end of the playagainst the unconscionable demands of imp licating others in a falsely acknowledged sin of serving that which is antithetical to community (the Puritans called that antithesis the devil)with his more self-serving rebellion against its sexual mores. The subtle equation allows Miller not only to project fault upon Abigail, solely also to understand what is real a cliched act of adultery on jokes part much more interesting.Miller wants us to recognize, if not celebrate, the individual trials of his existential hero, a spokesman for sharp-witted feeling and disinterested intelligence in a play closely integrity and its obverse, com reassure. 17 bloody shame Daly might describe the scholarly underpin that Miller has received for his fantasy-fulfilling hero as The second element of the Sado-Ritual of the witch-craze an erasure of responsibility. 18 No critic has asked, though, how a seventeen-year-old girl, raised in the habitation of a Puritan minister, can have the knowledge of how to seduce a man. The only rationale offered scapegoats another woman, Tituba, complicating gynecophobia with xenophobia. ) The omission on Millers and his critics parts implies that Abigails sexual knowledge must be inseparable in her gender. I hitch the condemnation of Abigail as an all too common example of blaming the victim. mercifulness Lewiss reaction to trick is another indictment of the sexual precociousness of the girls of Salem. obviously knowledgeable of ass and Abigails affair, Mercy is both afraid of John and, Miller says, strangely titillated as she sidles out of the room (21).Mary rabbit warren, too, knows Abbyll charge lechery on you, Mr. Proctor (80), she says when he demands she tell what she knows about the poppet to the court. John is shocked Shes told you (80). Rather than condemning John, all these incidents are included to emphasize the avenging of a little girl (79), and, I would add, to convince the reader who is suppositious to sympathize with John (or to feel titillation himself) that no girl is a good girl, free of sexual knowledge, that a act is her mother Eves daughter.The circumstance is, however, that Salems newborn women, who have been preached at by a fire and brimstone preacher, Mr. Parris, are ashamed of their bodies. A gynocritical reading of Mary Warrens cramps after Sarah Good mumbles her resentment at being turned outside(a) from the Proctors door empty-handed is interpretable as a curse of a more periodic disposition But what does she mumble? You must remember, daintiness Proctor. Last Montha Monday, I mobiliseshe walked away, and I thought my guts would burst for two days after. Do you remember it? 58) The girls are the inheritors of Eves sin, and their bodies are their reminders. Though, like all young people, they catch out ways to rebeljust because adolescence did not exist in Puritan society does not mean that the hormones did not leanthey are seriously repressed. And the most insidious aspect of that repression, in a society in which girls are not considered women until they marry (as young as fourteen, or targetificantly, with the onset of menses), is the turning of the young womens frustrations upon members of their own gender.It is not so strange as Proctor suggests for a Christian girl to cite old women (58), when one such Christian girl claims her position in society with understandable determination Ill not be ordered to bed no more, Mr. Proctor I am eighteen and a woman, however single (60). Paradoxically, of course, the discord only serves to prove the assumptions of a parochial society about the jealousies of women, an important aspect of this play in which Miller makes each woman in Johns manners claim herself as his accountabilityful fellow Elizabeth assures him that I will be your only wife, or no wife at all (62) and Abigail makes her hearts swear plain with I will make you such a wife when the human being is white again (150). To attract her claim Abigail has sought the help of vood ooTitubas and the courtsto get rid of Elizabeth, and not without clear provocation on Johns part. Miller misses an opportunity to make an important comment upon the real and perceived competitions for men forced upon women in a senile society by subsuming the womens concerns within what he knows his auditory adept will recognize as more admirable communal and inflated concerns.The eternal triangle motif, while it serves mevery interests for Miller, is, ultimately, less important than the overpower nobility of Johns Christ-like martyrdom against that the womens complaints seem petty indeed, and an listening whose collective consciousness recognizes a dutifully repentent hero also sees the women in his life as less sympathetic. 19 For Abigail and Elizabeth also represent the extremes of female sexualitysultriness and frigidity, respectivelywhich test a mans body, endanger his spirit, and threaten his natural dominance or needs.In order to make Abigails seductive capability more believable and Johns culpability less pronounced, Miller has intentionally raised Abigails age (A take observe on the Historical Accuracy of This Play) from twelve to seventeen. 20 He introduces us to John and Abigail in the inaugural act with Johns acknowledgement of her young age. Abbythe diminutive form of her name is not to be missedis understandably annoyed How do you call me child (23). We already know about his having clutched her back behind his house and sweated like a stallion at her every approach (22). disdain Abigails allegations, Miller achieves the curious effect of making her the apparent aggressor in this barbas critical commentary proves. Millers ploy, to nibble a woman for the Fall of a good man, is a manual dexterity of pen as old as the Old Testament. There is something too convenient in the item that legend has it that Abigail turned up later on as a prostitute in Boston (Echoes Down the Corridor). whoredom is not only the oldest profession, but it i s also the oldest evidence for the law of publish and demand. Men demand sexual services of women they in turn attentiveness as socially deviant.Millers statement of Abigails fate resounds with implicit forgiveness for the man who is unwittingly tempted by a fatal female, a conniving witch. Millers treatment of Abigail in the second scene of Act Two, left out of the original reading version and most businesss but included as an addendum in contemporary texts of the play, is also dishonest. Having promised Elizabeth as she is being taken away in chains that I will fall like an nautical on that court Fear nothing (78)at the end of the first scene of Act TwoJohn returns to Abigail, alone and at shadow.The scene is both anticlimactic and potentially damning of the hero. What may have begun as Millers attempt to have the rational John reason with Abigail, even with the defensive structure that Elizabeth has adjured him to talk to her (61)although that is in advance Elizabeth is h erself acc utiliseends in a discussion that is treacherous to Johns position in the play. Miller wants us to deal, as Proctor does see her madness when she reveals her self-inflicted injuries, that Abigail is insane Im holes all over from their damned needles and pins (149).While Miller may have intended her madness to be a metaphor for her inherent evilsociologists suggest that madness replaced witchcraft as a pathology to be treated not by burning or hanging but by physicians and incarceration in mental institutions21he must have viewd he ran the risk of making her more sympathetic than he intended. Miller is intent upon presenting John as a man follow by guilt and aware of his own hypocrisy, and to make Abigail equally aware, even in a state of madness, is too risky.Her long speech about Johns goodness cannot be tolerated because its irony is too costly to John. why, you taught me goodness, therefore you are good. It were fire you walked me through, and all my ignorance was burned away. It were a fire, John, we lay in fire. And from that night no woman dare call me wicked any more but I knew my answer. I used to weep for my sins when the wind lift up my skirts and blushed for shame because some old Rebecca called me loose. And then you burned my ignorance away. As bare as some December ree I saw them allwalking like saints to church, running to feed the purge, and hypocrites in their hearts And graven image gave me strength to call them liars, and paragon make men to listen to me, and by God I will scrub the world clean for the love of Him (150)22 We must not forget, either, when we are considering critical commentary, that we are dealing with an art form which has a specular dimension. The many Abigails of the stage have no doubt contributed to the unacknowledged view of Abigail as siren/witch that so many critics have.In Jed Harriss original production in 1953, in Millers own production of the same year (to which the later excised scene was first added), and in Laurence Oliviers 1965 production, Abigail was contend by an actress in her twenties, not a young girl. The intent on each directors part had to have been to make Abigails lust for John believable. one-on-one performers have consistently enacted the sirens role The eyes of Madeleine Sherwood, who played Abigail in 1953, glowed with lust but Perhaps the most impressive Abigail has been that of Sarah Miles in 1965. A plaguingly sexy compartmentalization of beauty and crossness Miles reeks with the cunning of curb evil and steams with the promise of suppressed passion. 23 Only the 1980 production of The Crucible by Bill Bryden active girls who looked even younger than seventeen. Dukore suggests that Brydens solution to the fact that Johns seduction of a jejune girl half his age appears not to have impressed critics as a major fault was ingenious yet (now that he has done it) obvious. 24 Abigail is not the only witch in Millers play, though Elizabeth, too, is a ha g. But it is Elizabeth who is most in need of feminist reader-repurchase.If John is pocket-size as Christian hero by a feminist deconstruction, the fall is necessary to a balanced reading of the play and to a rewrite mythopoeia of the paternalistic monotheism of the Puritans and its twentieth-century equivalent, the existential mysticism of Miller. Johns sense of guilt is intended by Miller to act as salve to any emotional injuries given his wife and his own sense of right and wrong. When his conscience cannot be calmed, when he quakes at doing what he knows must be done in revealing Abigails deceit, it is upon Elizabeth that he turns his temper Spare me You forget nothin and forgive nothin.Learn charity, woman. I have gone angle in this house all seven month since she is gone. I have not moved from there to there without I think to select you, and still an everlasting funeral marches round your heart. I cannot speak but I am doubted, every moment judged for lies, as though I come into a court when I come into this house. (54-55) What we are meant to read as understandably defensive angerthat is if we read within the patriarchal framework in which the play is writtenmust be re-evaluated such a reading must be done in the fall down of Elizabeths logicparadoxically, the only cold thing about her.She is right when she turns his anger back on him with the magistrate sits in your heart that judges you (55). She is also right on two other counts. First, John has a faulty instinct of young girls. There is a promise made in any bed (61). The uninitiated and obviously self-punishing Abigail may be excused for mentation as she does (once again in the excised scene) that he is singing secret hallelujahs that his wife will hang (152) Second, John does retain some tender feelings for Abigail despite his indignation.Elizabeths question reverberates with insight if it were not Abigail that you must go to abide, would you falter now? I think not (54). John has alr eady admitted to Abigailand to usin the first act that I may think of you softly from time to time (23), and he does look at her with the faintest suggestion of a sagacious smile on his face (21). And Johns use of rimed images of Elizabeth and their home in Act TwoIts overwinter in her yet (51)echoes the resourcefulness used by Abigail in Act wiz. 25 John is to Abigail no wintry man, but one whose heat has drawn her to her window to see him look up (23).She is the one who describes Elizabeth as a cold, snivelling woman (24), but it is Millers favoured imagery for a stereotypically frigid wife who is no less a witch (in patriarchal lore) than a hot-blooded sperm-stealer like Abigail. Exacerbating all of this is the fact that John lies to Elizabeth about having been alone with Abigail in Parriss house Miller would have us believe that John lies to save Elizabeth pain, but I believe he lies out of a rationalizing habit that he carries forward to his death. Miller may want to be k ind to Elizabeth, but he cannot cope that and Johns heroism, too.Act Two opens with Elizabeth as hearth angel singing softly wing to the children who are, significantly, never seen in the play, and bringing John his supperstewed rabbit which, she says, it hurt my heart to strip (50). But in the space of four pages Miller upbraids her six times. First, John is not quite pleased (49) with the taste of Elizabeths stew, and before she appears on stage he adds salt to it. Second, there is a accepted disappointment (50) for John in the way Elizabeth receives his kiss. Third, Johns request for Cider? made as gently as he can (51) leaves Elizabeth reprimanding herself for having forgot (51). Fourth, John reminds Elizabeth of the cold atmosphere in their house You ought to bring flowers in the house Its winter in here yet (51). Fifth, John perceives Elizabeths melancholy as something unending I think youre grim again (51, emphasis added). And sixth, and in a more overtly condemning moo d, John berates Elizabeth when he discovers that she has allowed Mary Warren to go to Salem to testify It is a fault, it is a fault, Elizabethyoure the mistress here (52).Cumulatively, these criticisms work to arouse almsgiving for a man who would season his meal, his home, and his amour, a man who is meant to appeal to us because of his sensual consciousness of springs erotic promise Its warm as blood beneath the clods (50), and I never see such a load of flowers on the earth. Lilacs have a empurpled smell. Lilac is the smell of nightfall (51). We, too, are seasoned to believe that John really does aim to please Elizabeth, and that Elizabeth is relentless in her admonishing of John for his affair, of which she is knowledgeable.It is for John that we are to feel sympathy when he says, Let you look to your own improvement before you go to judge your husband more (54). Miller has informed us of several(prenominal) ways in which Elizabeth could improve herself. Neil Carson claims t hat Miller intends the audience to view Proctor ironically in this scene Proctor, he says, is a man who is rationalising in order to avoid facing himself, and at the beginning of Act Two Proctor is as guilty as any of projecting his own faults onto others. 26 While I find much in Carsons entire chapter on The Crucible as nice a criticism of the play as any written, I am still uncomfortable about the fact that a tragic victory for the protagonist27 necessarily means an introduction of guilt for his wifeonce again, it seems to me, a victim is being blamed. No critic, not even Carson, questions Millers insistence that Elizabeth is at least partly to blame for Johns infidelity. Her fate is sealed in the lie she tells for love of her husband because she proves him a liar as in All My Sons, says critic Leonard Moss, a woman inadvertently betrays her husband. 28 John has told several lies throughout the play, but it is Elizabeths lie that the critics (and Miller) settle upon, for once a gain the lie fits the stereotypewoman as liar, woman as schemer, woman as witch sealing the fate of man the would-be hero. But looked at another way, Elizabeth is not a liar. The question put to her by taste Danforth is Is present tense your husband a lecher (113). Elizabeth can in good conscience respond in the negative for she knows the affair to be over. She has no desire to condemn the man who has betrayed her, for she believes John to be nothing but a good man nly somewhat bewildered (55). Once again, though, her comment condemns her because an audience hears (and Miller by chance intends) condescension on her part. The patriarchal reading is invited by Johns ironic response Oh, Elizabeth, your justice would freeze beer (55). What seems to be happening is that Goody Proctor is turned into a goody two-shoes, a voice of morality. Why we should expect anything else of Elizabeth, raised within a Puritan society and a living example of its valued good woman, escapes me.I find i t amazing that the same rules made but not obeyed by good men can be used to condemn the women who do adhere to them. The other thing which Miller and the critics seem unwilling to acknowledge is the hurt that Elizabeth feels over Johns subversiveness instead, her anger, elicited not specifically about the affair but about the incident with the poppet, following hard upon the knowledge of Giles Coreys wife having been taken, is evidence that she is no good woman. Her language condemns her Abigail is murder She must be ripped out of the world (76).Anger in woman, a danger of which Ecclesiastes warns, has been cause for locking her up for centuries. by and by Elizabeths incarceration, and without her persistent logic, Miller is able to focus on John and his sense of failure. But Elizabeths last words as she is taken from her home are about the children When the children wake, speak nothing of witchcraftit will frighten them. She cannot go on. Tell the children I have gone to visit someone sick (77-78). I find it strange that Johns similar concerns when he has torn up the confessionI have three childrenhow may I apprise them to walk like men in the world, and I sold my riends? (143)should be valued above Elizabeths. Is it because the children are boys? Is it because Elizabeth is expected to react in the enatic fashion that she does, but for John to respond thus is a sign of sensitive masculinity? Is it because the communal as defined by the raillery is threatened by the integrity of women? And why is maintaining a name more important than living? At least alive he might attend to his childrens daily needsafter all, we are told about the sad situation of the orphans walking from house to house (130). 9 It would be choppy to argue that John does not sufferthat, after all, is the point of the play. But what of Elizabeths suffering? She is about to lose her husband, her children are without parents, she is sure to be condemned to death as well. Miller must, once again, diminish the threat that Elizabeth offers to Johns martyrdom, for he has created a woman who does not lie, who her husband believes would not give the court the admission of guilt if tongs of fire were singeing her (138).Millers play about the life and death struggle for a mans soul, cannot be threatened by a womans struggle. In order to control his character, Miller impregnates her. The court will not time an unborn child, so Elizabeth does not have to make a choice. Were she to strike to die without wavering in her decision, as both John and Miller think she would, she would be a threat to the outcome of the play and the sympathy which is supposed to accrue to John.Were she to make the decision to live, for the reasons which Reverend Hale stresses, that Life, woman, life is Gods most precious gift no principle, however glorious, may let off the taking of it (132), she would undermine existential integrity with compromise. I am not reading another version of The Cruc ible, one which Miller did not intend, but rather looking at the assumptions inherent in his intentions, assumptions that Miller seems oblivious(predicate) to and which his critics to date have questioned far too little.I, too, can read the play as a psychological and ethical contest which no one wins, and of which it can be said that both John and Elizabeth are expressions of men and women with all their failings and nobility, but I am troubled by the fact that Elizabeth is seldom granted even that much, that so much is made of Elizabeths complicity in Johns adultery, and that the victim of Johns virility,30 Abigail, is blamed because she is evil and/or mad. I do want to question the gender stereotypes in the play nd in the criticism that has been written about it. Let me indulge finally for a moment in another kind of criticism, one that is a fictionalization, or more precisely, a crypto-friction that defies stratifications of canonical thought and transgresses generic boundarie s of drama/fiction and criticism. 31 Like Virginia Woolf I would like to speculate on a play written by a fictional sister to a famous playwright. Let us call Arthur Millers wide-eyed younger sister, who believes she can counter a scopic economy by stepping beyond the mirror, Alice Miller.In Alices play, Elizabeth and John suffer equally in a domestic task which is exacerbated by the furor around them. John does not try to intimidate Elizabeth with his anger, and she is not draw as cold or condescending. Abigail is a victim of an older mans lust and not inherently a bad girl she is not beautiful or if she is the playwright does not make so much of it. Her work out of witches would be explained by wiser critics as the result of her fear and her confusion, not her lust.There is no effort made in Alices play to create a hero at the expense of the female characters, or a heroine at the expense of a male character. John is no villain, butas another male victim/hero character, created by a woman, describes himselfa trite, commonplace sinner,32 trying to right a wrong he admitswithout blaming others. Or, here is another version, written by another, more radical f(r)ictional sister, Mary Miller, a real hag. In it, all the witches celebrate the death of John Proctor.The idea comes from two sources first, a question from a female educatee who wanted to know if part of Elizabeths motivation in not pressure sensation her husband to confess is her desire to pay him back for his betrayal and second, from a response to Jean-Paul Sartres ending for the film Les Sorcieres de Salem. In his 1957 version of John Proctors story, Sartre identifies Elizabeth with the God of prohibiting sex and the God of judgment, but he has her save Abigail, who tries to break John out of jail and is in danger of being hanged as a traitor too, because Elizabeth realizes she loved John. As the film ends, Abigail stands shocked in a new understanding. 33 In Mary Millers version Elizabeth is no t set with the male God of the Word, but with the goddesses of old forced into hiding or hanged because of a renaissance of patriarchal ideology. Marys witches come together, alleged seductress and cold wife alike, not for love of a man who does not deserve either, but to celebrate life and their victory over male character, playwright, and critics, men in power ho create and identify with the roles of both the victimizers and the victims, men who Mary Miller would suggest vicariously enjoyed the womens suffering. 34 Notes 1. Arthur Miller, The Crucible (New York, 1981), 137. The play was originally make in 1953, but all further references to The Crucible are to the 1981 Penguin form, and will be noted parenthetically in the text. 2. June Schlueter and James K. Flanagan, Arthur Miller (New York, 1987), 68. 3. Neil Carson, Arthur Miller (New York, 1982), 61. 4. Sandra Kemp, But how describe a world seen without self? Feminism, fiction and modernism, Critical quarterly 321 (1990) , 99-118 104. 5. Millers interest in the Salem witchcraft trials predated his confrontation with McCarthyism (see E. Miller Budick, History and Other Spectres in The Crucible, Arthur Miller, ed. Harold Bloom (New York, 1987), 127-28, but it is also clear from the Introduction to Millers Collected Plays Vol 1 (New York, 1957) that he capitalized upon familiar response and critical commentary which linked the two. Miller has been, it seems, a favoured critic on the subject of Arthur Miller. 6. In 1929 George L.Kittredge published a work called witchcraft in Old and New England (Cambridge) in which he remarked that the doctrines of our forefathers differed in regard to witchcraft from the doctrines of the Roman and Anglican Church in no essentialone may safely add, in no particular (21). In GynEcology The Metaethics of ascendent Feminism (Boston, 1978), Mary Daly says that during the European witch burningsshe does not deal with the Salem witch trialsProtestants vied with and even ma y have surpassed their catholic counterparts in their zeal and cruelty (185-86). . Cited by Peter Conrad and Joseph W. Schneider, Deviance and Medicalization From Badness to Sickness, expanded edition (Philadelphia, 1992), 42. 8. Chris Weedon, Feminist Practice and Poststructuralist Theory (Oxford, 1987), 30-31. 9. Nineteen women and men and two dogs were hanged, one man was pressed to death for refusing to plead, and 150 were imprisoned (see Schlueter and Flanagan, 72). 10. Remembering the Witches, Our Blood Prophecies and Discourses on Sexual Politics (London, 1982), 16-17.See also the 1990 National Film Board production, The yearning Times, directed by Donna Read, which declares the European executions for witchcraft to have been a womens holocaust. Of the nine million people the film numbers among the burned, hanged, or otherwise accustomed of, 85 per cent, it reports, were women. 11. The Burning Times discusses at length the place of women healers in Third-World cultures. 1 2. From Hawkinss reappraisal of the play in File on Miller, ed. Christopher Bigsby (London, 1988), 30. 3. Leonard Moss, Arthur Miller (New York, 1967), 60, 63. 14. Schlueter and Flanagan, 69. 15. Bernard Dukore, termination of a Salesman and The Crucible Text and Performance (Houndmills, Basingstoke, Hampshire and London, 1989), 50. 16. Luce Irigaray, This Sex Which Is Not One, New French Feminisms An Anthology, ed. Elaine Marks and Isabelle de Courtivron (Amherst, 1980), 101. 17. The only critic I have read who has made comments even remotely similar to my own regarding Abigail is Neil Carson.In a 1982 book he remarks that Abigail is portrayed as such an obviously bad piece of goods that it takes a clear-eyed French critic to point out that Proctor was not only twice the age of the girl he seduced, but as her employer he was breaking a double trust (75). Despite his insight, when it comes to explaining the effect of Millers omission of detail regarding the early stages of the aff air, he does not, I think, realize its full implications.He says that Proctors sense of guilt seems a little forced and perhaps not really justified, but I think the choice was deliberately made so as to minimize Johns guilt and emphasize his redemption as an existential man. Conversely, Abigail is more easily targeted (as the critics prove) for her active role in her seduction. 18. Daly, 187. 19. Carol Billman (Women and the Family in American Drama, Arizona Quarterly 36 1 1980, 35-48) discusses the study of everyman made in the family dramas of ONeill, Williams, Albee, and Miller (although she does not mention The Crucible) women ecessarily occupy a central position, but little attention is paid to their subordination or suffering. Linda Loman and I would add Elizabeth Proctor suffers at least as much as her husband (36-7). Victoria Sullivan and James Hatch, as well, have complained about the standards of review a complaining female protagonist is automatically less statuesque than Stanley Kowalski or Willy Loman only men suffer greatly (quoted in Billman, 37, emphasis added). 20. Carson, 66.In a play that is historically accurate in so many ways, it is significant to note that the affair between John and Abigail was invented by Miller (Dukore, 43). 21. Conrad and Schneider, 43. 22. I think that whether or not one sees the irony as intentional on Abbys part, she becomes more sympathetic. If intentional we can agree with her realization that Johns hypocrisy was least when he was seducing her he is a commonplace lecher. If Abigail is not cognizant of the consequence of the irony of what she is saying, then she truly is too youngor too emotionally disturbedto understand the implications of what she is doing.Carson again comes close to making a very astute judgment about Abigails awareness of events going on around her It seems clear that we are to attribute at least a little of Abbys wildness and sensuality to her relationship with John, and to assume that the knowledge which Proctor put in Abigails heart is not simply carnal, but also includes some awareness of the hypocrisy of some of the Christian women and covenanted men of the community (68). Carsons insight, however, is limited by his belief in the radical side of Proctors nature, something with which modern audiences are sure to identify.The problem here is that the focus is once more removed from Abigails plight to her vicarious participation in one more of John Proctors admirable traits, for his is not a simple personality like that of Rebecca Nurse (68). 23. Dukore, 102. 24. Ibid. , 95. 25. One critic, who celebrates Johns playfulness and who does not want his description of John as a liar to be taken in a pejorative sense, suggests that John and Abigail share a kindred spirit The physical attractiveness of Abby for John Proctor is obvious in the play, ut, I think, so is the passionate whim which finds its outlet in one way in her and in another in Proctor (William T. List on, John Proctors Playing in The Crucible, Midwest Quarterly A Journal of Contemporary Thought 204 (1979), 394-403 403). John is a liarthat is part of his guiltand to suggest that Abigail offers John something that Elizabeth does not condemns Elizabeth and exonerates John even more than Miller intends. 26. Carson, 69-70. 27. Ibid. , 75. 28. Leonard Moss, Arthur Miller, revised edition (Boston, 1980), 40, emphasis added. 29.I think it significant that the orphans are but one of the soft-witted possessions unattended to in Salem. The next part of the same sentence mentions abandon cattle bellowing and rotted crops stinking. Miller has described a material and contemporary world. 30. Richard Hayes, Hysteria and Ideology in The Crucible, Twentieth Century Interpretations of The Crucible, ed. John H. Ferres (Englewood Cliffs, 1972), 34. I find it interesting and instructive that a 1953 review of the play uses the term to describe Arthur Kennedys portrayal of John Proctor. 31. Aritha Va n Herk, In gross Ink (crypto-frictions) (Edmonton, 1991), 14. 2. Charlotte Bronte, Jane Eyre (Harmondsworth, 1984), 160. 33. Eric Mottram, Jean-Paul Sartres Les Sorcieres de Salem, Twentieth Century Interpretations of The Crucible, 93, 94. 34. Daly, 215. Source Citation Schissel, Wendy. Re(dis)covering the Witches in Arthur Millers The Crucible A Feminist Reading. Modern Drama 37. 3 (Fall 1994) 461-473. Rpt. in Drama Criticism. Vol. 31. Detroit Gale, 2008. Literature Resource Center. Web. 27 July 2011. Document URL http//go. galegroup. com/ps/i. do? &id=GALE%7CH1420082425&v=2. 1&u=uq_stpatricks&it=r&p=LitRC&sw=w Gale Document Number GALEH1420082425

Chocolat Essay

Chocolat a film directed by Lasse Hallstrom, centres around a small(a) resolution by which on the surface may seem peaceful and in tranquillity but beyond the surface impersonate many individuals and larger groups of bulk, families, face issues of isolation, acceptance and tolerance at bottom the familiarity. These major(ip) themes ar portrayed through animated actors whom Hallstrom accentuates these ideas through filmic techniques. Isolation a major issue in this film and Hallstrom has conv gistd this idea constantly end-to-end the film.The introduction of the film has changeful the village from birds eye view and these continuous everywhere channelise slashs express the isolation and disconnection the village has from the rest of the country. The scenery of mountains and large landscapes of forestry and the long river depict a ease and tranquillity and withal at the same time creating a possess of vastness and distance this village has from the busy civilisation of France. Vianne and her young lady Anouk be travellers and foreign to the village, were foreshadowed to be stray individuals before they even stepped into the village.The voice oer narrated, in that respect was once a quiet little village where tidy sum believed in tranquillity and the slam of the church doors were magnified and the effect of the hush that came by and bywards with long peters of the front of the church established the tranquillity and similarly the force of law and order in this village- every mavin had attended church, no one was outside with other plans to do. The traditional hymn of the church was contrasted once against the ethereal euphony and the wind sounds that weaved through the preachers speech.This wind signified a change. The voice oer explained, villagers held to their traditions until a sly wind blew in from the atomic number 7 and a point of view shot from the winds berth pushing the church doors open interrupting the silence and the pre ach throw out focal pointes the hoo-hah and changes that depart occur to the village. The costuming of Vianne and Anouk represents the difference to the village as they arrived with their bright going hoods contrasting the bland, white background.As Vianne and Anouk prepare the opening of their shop, they are avoided by many of the villagers receivable to the negative comments spread by the Comte de The repetition of the lines, I heard she was a with several shots of different people one after the other emphasises the disconnection they adopt with Vianne. Vianne not attending church created further reason for the villagers to isolate themselves from her. Although Vianne is isolated from the community there are individuals within the community whom are isolated as substantially.Armand, a seventy-year old chick with diabetes, opened up to Vianne nearly her isolation and disassociation with her family, especially her grandson- Luke, referable to conflicting personalities and views between her daughter, Caroline, and herself. The tension is evident between the mother and daughter when Luke is caught spending time with Armande. Close up shots of Armandes and Carolines facial expressions demonstrated the hostility they held for each other. A full shot of both women with a wide space between them showed that not altogether they were physically distant but their relationship with each other is flawed.Luke, grandson of Armand, is also isolated not only from his grandmother but from his peers as well due to Carolines protectiveness. As Luke looks from inside through his window to where the children are p fructifying in the snow, sounds of the childrens laughter and screams are wearisome as if to put the audience in Lukes shoes, feeling lonely, caged and having pretermit of fun and freedom. Josephine is also an important character who experience isolation. Josephine was insecure and donjon in fear d declare the stairs the same roof of her abusive hu sband.She was isolated in terms of unable to confide to a friend and she raise her release instead by stealing small items. A impede up shot of Josephine in church stealing a reverberate from someones purse, and a faint smile formed on her face from the thrill of getting away with something was her release. When Josephine finally confined to Vianne about the lack of power and inequality in the relationship with her husband, we have a medium shot of her, sucessfully capturing her body language, fidgety fingers and her facial expressions displaying the enormous stress and pressure she is experience.In this film, a lack of tolerance is immense in the community of this village, Comte de Renou is intolerance at its depleting level yet the irony of him creation a patient man, and If I were the first Comte de Renou I would have had you out of this village as quick as you came. Due to the Comtes influence the villagers have avoided the chocolate cafe and is further emphasised by a shot from the inside window display of the shop with the people peering inside with curious but wary glances but never sexual climax penny-pinching to entering the shop.The tolerance that the Comte the Renou has in the act of fasting due to religious reasons. The zoom in and focusing of the enticing food that lay on his desk only to be blocked by a pictorial matter frame. A close up on his facial expression battle the need to discipline his body after taking a cloudy sniff in a jam jar shows his immense world power of tolerance and control within himself. The relationship between Armande and Caroline are the perfect example of intolerance of each other. Long shots and full shots unendingly view these women with much distance between themselves.Josephine is an individual who had endured and tolerated much under the roof of her abusive husband. When Josephine had confided to Vianne of the impossible deeds and chores she had to follow it also show the lack of power Josephine had ov er herself- much like what most women had experience in marriages at that time, You must think Im gaumless but men do run the world she explained. In the centerfield of the night Josephine pounded on Viannes door and a full shot of Josephine with her suitcase conveyed the rebelliousness and a decision Josephine made on her own will and the intolerance of living in fear.Although the villagers have tried to disjoint themselves from the chocolate cafe, they began to fall in love with Viannes chocolate and juggle and have begun to tolerate their associations with her. These confused villagers have all frequented to the confessional about their sins, Hallstrom shot their confessions from behind the confession screen with a continuous fade in and fade out of each persons confession about the temptation and satisf natural process that received from tasting her chocolates, emphasising the effect Vianne has had to these villagers.Immediate action to rid off the gypsies when they settled on the rivers edge powerfully expressed the prejudice the Comte de Renou and majority of the villagers had towards the gypsies. Labelling them as river-rats and drifters did not win the council over on approval to ostracise the gypsies because they were not on their property by law. Due to the unsuccessful action, Comte de Renou had initiated flyers of boycotting immorality as the alienation and exclusion of the gypsies will bound to be successful.Shots of the fliers repeatedly being stuck on, nailed in, glued signified the meshing of all villagers, except Vianne, and the lack of tolerance they hold to the outsiders. The acceptance of Vianne was a slow progress but the ice-breaker between herself and the community was by hosting Armandes seventieth birthday party. Slow motion and uttermost(prenominal) close-ups on the guests faces showed the ample appreciation and enjoyment of the food and the respect and acceptance of Vianne.The announcement of sweet being held on Rouxs boat had the guests in silence and in hesitation but they had reliable and long shots of the scene of the people leaping to lively music with laughter on the boat demonstrated there was no longer a barrier between the gypsies and villagers. Josephine had embarked on a transformation. She is dressed in bright clothing emphasising change, she no longer speaks in a hurried and timid tone, and smiles and laughs often. Josephine had stood up for herself instead of fleeing from a smirch as seen in the scene where Georges is hit over on the head by a pan by her.Josephine had come to an acceptance of herself and has contract a happier and better woman. Due to Lukes disobedience Caroline has opened her eyes. A long shot of her mother and son having fun and over the long distance between them at Armandes party again shows their distant relationship with the other, but a close-up on the look the women shared out was a mesmerising conundrum. Caroline has come to realisation and acceptance that cag ing her son did not made him a happy child, and the next scene that involved Caroline was of her fixing a bicycle for Luke.The Comte de Renou had come to terms of acceptance of his broken marriage and Vianne. The Comte lost all sense of control and smashed Viannes window display in rage, but he gave into himself when an extreme close up on his lip and tongue licking a small speck of chocolate emphasised the humanity in the Comte. The morning the Comte woke up a high angle shot of him looking up to Vianne conveyed the extreme vulnerability and the reversed roles in this situation.The Comte gives Vianne a genuine smile at the Easter celebration, but the voice over narrates, he took another seven months to ask Caroline out. Vianne herself had accepted that belonging to a community is what satisfies her. The act of Vianne refusing the north wind and finally the action of her opening the window and throwing her mothers ashes into the air symbolised the release of Vianne, the freedom her mother as the ashes are recorded flying into the wide open sky. Vianne has truly accepted that she is happiest when she belongs to a community.

Character Analysis of Robert Lebrun Essay

Kate Chopins The Awakening examines the implications placed on women for self establishion during the 1800s. Banned for several years by critics afterwards its initial publication in 1899 because of its unsettling content, The Awakening afterwards became a slightly cherished account of a charwomans journey towards self-discovery and abandonment of her conventional society. Kester-Shelton) Within that story is where we meet Robert LeBrun, A young, flirtatious and self-confident womanizer with a reputation to match and it is within this paper, that we impart psychoanalyze the influential char traveler of Robert LeBrun who without control, falls in a forbidden sleep with affair with the protagonist, Edna Pontellier. Robert, a younger man with immature tendencies, clean shaved face, yellowish-br make hair, and quick bright eyes maintains a reputation for floating in between different older women every summer. even offtually his affectionate record catches the attention of Mr s.Edna Pontellier, triggering her to go through a series of epiphanies or questionable modifys where she begins the struggle between the woman her society expects her to be and the independent, self-governing woman she craves. Robert, sifting his way in between dynamic and static characteristics, plays a signifi fag endt role in those epiphanies because what begins as an innocent friendship turns into a forbidden esteem affair where Robert shows Edna a kind of admire she had neer seen from any other man, even in her own marriage to Mr. Pontellier.Even though Robert did possess such a reputation of being a womanizer he really does harbor true feelings of jazz for Edna. This is seen in the comparison of Roberts feelings for Edna versus her close friend, Madame Ratignolle. Meanwhile Robert, addressing Mrs. Pontellier, continued to tell mavin of his onetime hopeless passion for Madame RatignolleHe never assumed the humourous tone when alone with Mrs. Pontellier,It was understoo d that he had often spoken run-in of love to Madame Ratignolle, without any intellection of being taken seriously.Mrs.Pontellier was glad he had not assumed a similar role towards herself. It would have been unacceptable and annoying. (Chopin, page 14-15) This really shows the affection he conceals for Edna because he go ons accordant with his portrayal of his feelings rather than with both serious and comic aspects during discussions. Even though throughout his summers of courting older wed women, himself nor his intensions are ever taken seriously, even his relationship with Edna starts out innocent when she treats him as if he were a pet, dragging him along with her like a dog.According to Edna he was eer under her feet like a troublesome dog. (Chopin, page 26) and as their summer progresses, she falls for Robert and realizes she has her own strength and the power to express herself without her husband and it was Robert that led her to that. Their affair turns into actu al love and Edna, along with the readers, begins to motion picture Robert as physically attractive, charming, and charismatic and sees in him, all the things Edna massnot find in her husband.When Robert realizes his true feelings for Edna, he flees to Mexico in hopes of forgetting about her, and in a secondment of weakness he decides that he is not brave enough to fall through on his new tack together love for Edna and it could never be real because Edna is a mother, and most importantly, a married woman. Robert feels that his leaving will only if protect the both of them from acting upon his forbidden love, but this only heightens Ednas awakening. The shock of Roberts quick announcement of his departure to Mexico is seen when the password is broken to Edna over a dinner table. As she seated herself and was about to begin to eat her soup, which had been served when she entered the room, several persons informed her simultaneously that Robert was going to Mexico. She displace h er spoon down and looked about her bewildered. He had been with her, reading to her all the morning, and had never even mentioned such a place as Mexico. She had not seen him during the afternoon she had heard someone say he was at the house, upstairs with his mother.This she had thought nothing of, though she was surprised when he did not join her later in the afternoon, when she went down to the beach. (Chopin, page 55) Even though Edna doesnt plot of land out her exact feelings, its here that you can feel the despair that takes over her when she learns of Roberts plans to depart from New Orleans. The tenderness of Roberts character can be further analyzed as Ednas awakening is graduation exercise Roberts love for her soon brings him back to New Orleans, when he realizes he cannot live away from her.He is hiding in a netherworld of shyness when he returns which is unlike him, but he does in fact, go through with actually telling Edna that he does love her but cannot act on h is love because of her marriage. Robert is a practical man, knowing that it is not respectable to take Edna away from her family and husband, but practically takes the form of a masochist when proclaiming his love for her. Throughout the novel, Robert is compared to Alcee Arobin, a character well known as the townsfolks bad boy who has had numerous sexual encounters with other women, married or not, a comparison that Robert is not fond of.Wayne Batten of the gray Literary Journal, critiques this comparison in saying, Edna, accordingly, could have learned that the fantasies she constructs with Robert Lebrun do not make his attraction fundamentally different from the unembellished lure of Arobin. (Batten) This is merely saying that Edna mistakenly thought of Arobins passion as the alike as the love that Robert feels for her. Later in the story, a doctor by the name of Dr.Mandelet walks Edna home after becoming faint watching Madame Ratignolle go through her fourth round of child birth, he suspects she has returned her attentions back to Alcee, but as the reader knows, she is about to consummate her long-incubating passion for Robert. (Batten)Robert rejects the idea as Edna readily tries to explain wherefore consummating their love is not wrong because she is, in fact, her own independent woman. Robert does not have the same passion for Edna and he cannot go through with his feelings for her although his love is so powerful. She buried her face in his fill in and said good bye again. Her seductive voice, together with his deep love for her, had enthralled his senses, had deprived him of every impulse but the longing to jibe her and keep her. (Chopin, page 147) This only further proves that although he has such a commanding desire to have Edna in every way, he stands starchy in his decision, seeing the impossibility in the situation. As Edna is stuck in a daydream, Robert understands their reality. Robert stands firm in that reality, trying to remain pr actical about the exclusively situation.Finally the last we see of Robert LeBrun is in his heartfelt but penitent flee, only leaving behind a note for Edna that simply states, au revoir because I love you. (Chopin, page 152) And like a moon that never shows its face, the words are not there, but his underlying message contains his feelings for her and the reasons why he cannot act upon them. This shows a true irony as he says goodbye to her for good, a devastating farewell that sends Edna into the final stage of her awakening with her new found sense of independence and self expression as she gives her body to the sea, committing suicide.Looking back over the storyline we see how crucial Robert Lebrun and the way he tried to manage his desire and love for Edna had actually been to the development of both characters. Through the analysis of Robert we learn of his morals and his attempts to remain practical even though he does love Edna and it leads one to wonder if Robert had no t loved Edna in the way he did, if she would have found that reckless sense of independence that eventually consumed her, or if Robert would have develop enough to recognize when to walk away from a forbidden love for the betterment of someone else.It goes to show meet how one person can awaken your soul to a new perspective and change your vitality entirely, whether that may be good, bad, or leave you indifferent and we see only if that in the story of The Awakening as Edna reaches her final stages of reality and Robert brings her to that just by loving her and allowing her to be herself.

Consider how Shakespeare presents madness Essay

Consider how Shakespeare presents passion in the shrink from and explain whether you think it does exemplify how, approximatelything is rotten in the enounce of Denmark. One of the main themes in settlement is that of madness. Shakespeare conveys madness through with(predicate) non only critical point precisely through other characters as well, such(prenominal) as Ophelia, to covey that that the state of Denmark is rotten. At the beginning of the act upon, the runner thing introduced are the night watchmen seeing the mite.This is at the beginning because it is the first event in the chain that eventu eachy leads to juncture seeking revenge for his fathers death. Although he was upset by his fathers death and his mothers oerhasty spousal, it was the revelation that his father was carrying outed that he thinks that he must pretend revenge. When Horatio first give tongue tos to the ghost he recognises that it is unnatural for it to be t here What finesse thou that un surpst this time of night, illustrating that he feels that the ghost has wrongfully seized the night.The automatic teller is unsettling and the ghosts unnatural appearance is a trace of the fully gr bear things going on in Denmark, especi bothy the court This bodes some curious eruption to our state. During the times that the play was written, unusual things that happened were seen as a sign that something was non right in the courts Something is rotten in the state of Denmark. This could be referring either to the whole of Denmark, or just the courts.It is after hamlet sees the ghost that he decides that he will pretend to be mad entrap an laugh disposition on, just now he does not pauperism his friends to tell any wholeness what they discombobulate seen or that he is feigning madness never make known what you read seen tonight, as he believes that this charge he can find means to exact his revenge on Claudius for obscureing his father And thy com mandment all alone shall live inwardly the book and volume of my brain, meaning that all he shall hurl in his thoughts is how the ghost of his father t quondam(a) him to exact revenge on Claudius. This is the first step in the theme of madness for the play.Although critical point clearly claims that he will be putting on his madness, it is uncertain whether actually he does go mad during the play, as illustrated in his outbursts towards his mother and Ophelia, and the murder of Polonius. thither is much deception during the play, such as Claudius trying to gloss oer the incident that he knows that his marriage to Gertrude could be seen as incest by the church building and that critical point should stand been the rightful heir to the throne Yet so far hath discretion fought with nature that we with wisest sorrow think on him unitedly with remembrance of ourselves. He says that he is mourning and feels that mourning is appropriate for the old king, but he must think of himself, mayhap hinting a t the fact that the death was convenient for him and he has had enough of mourning. This is characteristic of him throughout the play as all he has done and will do is for his own self interest, as when village asks if he can leave the castle, Claudius refuses, formula And we beseech you, bend you to remain here in the cheer and ease of our eye.He appears to be asking him to stay for his comfort, but he actually wants to keep an eye on him because he knows that he is mum a threat to him and the throne. He at first seemed to want village to become handle a son to him, but that swaps as shortly as he realises he could be a threat to him. He wish wellwise continually uses the words we, our and us to establish himself as the preserve of Gertrude and the King of Denmark. Polonius comments with pious action we do sugar oer the devil himself.To which Claudius replies as an aside The harlots cheek, beautied with plastering art, is not more ugly to the thing that helps it than is my deed to my most painted word. Claudius admits that he is covering up the truth, continuing the theme of deception, adding to the audiences awareness of the rottenness of Denmark. As there becomes more deception and secrecy throughout the play, it seems that the imagery in the language reflects the deception, and images of disease are used For the solarize breed maggots in a death like dog, world a effectual kissing carrion.This could be language to refer to how that state of Denmark is rotting, but alike villages language seems to reflect his turmoil as he tried to decide what to do about Claudius, and as he gets more frustrated with himself he becomes more abusive towards his mother and Ophelia You are slap-up my lord, you are keen. It would cost you a groaning to declare aside mine edge. He is taunting Ophelia using double meaning. Hamlet is actually good at creating double meanings, like when he says to Claudius I am to much ithsun, which he says as if he is in likewise much sunshine but also he is saying that he feels too much like Claudiuss son.Later in the play the text says It will but skin and film the ulcerous place, whiles downright decadence, mining all within, infects unseen. He is saying that degeneration, like infection starts within, and the depravity of Denmark will begin with the court. This also links in with madness because madness also starts from within within the fountainhead, and maybe it is saying that just one unstable take care could bring down all the state. Another bureau that Shakespeare presents madness in the play is through Ophelia. She goes mad after Hamlet kills her father, but also because of the way Hamlet treated her cruelly.He verbalize to her that he loved her, and there were some hints that he had been intimate with her, but he treats her badly and even tells her that he does not love her. She has been a victim of a corrupt society from Hamlet leaving her and from her father, such as usin g her as a pawn to spy on Hamlet. After she has become mad, she sings many songs. The first one that she sings is, How should I you real love know. This song could be her recalling the death of her father He is dead and gone lady, he is dead and gone. This is the first thing that comes into her mind to sing about, so it must be the thing that is foremost in her mind. It could also be that she is recalling how Hamlet is now lost to her, and she is still flavour for her true love, because it seems obvious that she has not found him until now. However, the rest of the songs seem to be about Hamlet, as they are about lost love and some of them imply that Ophelia had been sexually intimate with Hamlet Quoth she, in front you tumbled me you promised me to wed.It seems that both her father and Hamlet are responsible for Ophelias madness, and this is reiterated by what Ophelia sings about. Ophelia was controlled all the men in her life, and this was customary for the time, but it seems that they took too much of a hold on her, with none of them considering her feelings, for her father told her to no longer speak to Hamlet as it could affect his career, Laertes also told her to stay away from Hamlet and Hamlet was cruel to her. She also says, after her first song They say the owl was a bakers daughter. This could just be non moxie, but it could also be referring to her father, saying that once she was the daughter of a man in the court, but now she is just the daughter of a dead old man. Polonius did help the corruption in Denmark, such as detecting and trying to make sure his own career was safe, and because of him Ophelia is mad. Hamlet also said that he loved Ophelia, and whereas before he was tender, due to the corruption rough him and his succumbing to it, he was a factor in Ophelias madness, which at last led to her suicide.By the actions of people around her, Ophelia is tainted by the depravation around, as Hamlet says in the beginning of the play says t hat she is pure, but afterwards on says she is wanton like all women, and tells her to a nunnery go. This could be to commit her to be protected, or it could be a sarcastic remark copulation her to go to a brothel. One of the other campaigns that cause Hamlets torment is his indecisiveness. He says during one of his soliloquies O what a rogue and tyke slave am I He is berating himself for not fetching action when his father has been murdered, while the player can make himself rallying cry for a fictitious character. He could also be saying that he is not worth anything in the court now, as his father is dead, yet he is not king when he should be. When Claudius is attempting to pray in the Church, Hamlet says that he did not want to kill him until he was sure that he would be sent straight to hell with no hope of being sent to enlightenment, for example if he was laying in incestuous sheets.However, this could have been just another excuse at putting the task off, for he seem ed to offer no resistance when Claudius sent him to England. This may not have been his fault, as Claudius shows himself throughout the play as being a very(prenominal) manipulative person. He has taken the throne and Gertrude. He has Polonius spying for him, and he also gets Rosencrantz and Guildenstern, who are Hamlets friends from school to spy on him and eventually gives a letter to the English King requesting that he murder Hamlet.Perhaps Hamlet is even jealous that Claudius, who he hates, can take such action when he himself cannot. It seems that Claudius is the main source of corruption in the play, and also he is the reason that Hamlet decides to pretend to be mad, for it was Claudius that started off the chain of events, with killing Hamlets father. It was he that murdered Hamlet the king, alter Gertrude, encouraged Polonius to spy and eventually murdered which in issue caused Ophelias madness and Laertess downfall.He is described by Hamlet as a Smiling damni d villain, picturing Claudius as full of deception where he is hiding his evil deeds. This has had an effect on the whole court, and indeed the whole of Denmark, for the text says This heavy-headed revel east and westward makes us traduced and taxed of other nations. They clepe us drunkards, and with swinish phrase soil our addition. The danish are said to be drunks, and later Claudius himself describes them as false Danish dogs, for he believes that they are still only loyal to Hamlet.Hamlet acknowledges all of this corruption, even in the beginning of the play when he says tis an unweeded garden that grows to seed. Things mark and gross in nature possess it merely. Hamlet sees at the very beginning that things are starting to turn bad, and he can feel, like the attendants at the beginning, that something is not right. Hamlet feels surrounded by madness around him, and he feels that the only way he can make sense of all this and to find means for his revenge is to put on an antic dispos ition and pretend to be mad.This seems to be a reflection of the state around him that something is not right, however towards the end of the play it is unsure whether he has actually gone mad, being affected by his surroundings, for his actions do change dramatically, and although he does not act in the way Ophelia does when she is mad, he is a changed person. All of the other main characters are corrupted, and Hamlet despises this. One of the reasons that he puts off killing Claudius could be that it goes against what he knows is right.He wished that he would have the strength to avenge his father Now could I drink baking hot blood and do such bitter business as the solar day would quake to look on. He was born a thinker, but he asks that My thoughts be bloody, or be nothing worth He wishes that he were able to have passion like the player and act like Fortinbras. Eventually this does happen, as Ophelia comments on O, what a noble mind is here overthrown The courtiers, soldie rs, scholars eye, tongue, sword, thexpectancy and rose of the sensible state, the glass of fashion and the mould of form, thobserved of all observers. Ophelia sees how has changed, and believes that he truly has gone mad, for he has changed into what he hated most. He kills Polonius, with no real regret, disregards Ophelias feelings and his mothers, sends Rosencrantz and Guildenstern to their deaths without regret and does in the end kill Laertes and Claudius. However, there still is some of the old Hamlet left in him, for after Ophelia has died he says that he always did love her, so perhaps he shunned her so that he would have a clear mind to be able to think about his revenge.Also he apologised to Laertes before they fight, perhaps seeing something of himself in him, for his father was murdered as was Hamlets. This shows that Hamlet has not yet completely disposed way to the corruption of Denmark. Just before Hamlet dies, he claims that the throne should be given to Fortinbras. Hamlet admired Fortinbras for his action, and he was quite like Hamlet, his father being killed and he being usurped from the throne.Fortinbras accepts the throne and orders that Hamlets body be treated with respect Let four captains, bear Hamlet like a soldier to the stage, for he was likely, had he been put on, to have turn up most royal. Fortinbras believes that Hamlet would have been a good king, and perhaps he might have had he have not been corrupted by the state of Denmark. Fortinbras survived, seemingly because he came from outside Denmark, and as did Horatio, not only because he was a good friend to Hamlet, but as Hamlet said There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy. Hamlet believed that Horatio was unable to see the corruption that give Denmark, and because of this he was untainted by it, this perhaps being a reason why Horatio does not die in the play.Bibliography Cambridge School Shakespeare Hamlet by William Shakespea re, edited by Richard Andrews and Rex Gibson. Longman 1988, critical essays, Hamlet The State of Denmark by Alan Gardiner, editors Linda Cookson and Bryan Loughrey.

Kabuki Theatre: Japan’s National Treasure

Aliya Crochetiere Mrs. crass field of operation History April 11, 2011 Kabuki Theatre Japans case c be for Kabuki Theater has captu fierce the he blinds and minds of the Nipp mavense interview from its beginnings over four centuries ago to the present day. In Kabuki nutty spectacles of song and dance transpire, antithetical from anything familiar to the Western observer. Its color, gambol, and richness of costumes and regions contrast wildly with the simplicity and functionality of which the Japanese multitude live their lives.Kabuki Theater seen today has been shaped by historical tensions about women, religious influences in Japanese parliamentary procedure, and is considered to be the peoples theater filled with unique styles and ideas. In order to understand this wild spectacle and its unique techniques of staging and characters, one must look behind the square up and understand the dramas widespread roots deeply intertwined in Japans popular culture. The word kabuki , as shown in the annals of name, is a type of playing based on the finesses of tattle and dancing (Miyake 11).How constantly, mixed in this display is a variety of incomprehensible aspects such as make-up, costumes, and special effects that make a Kabuki capital punishment unlike any other. Kabuki is a very complicated, highly refined art involving stylized movement to the sounds of instruments such as the Tsuke that takes piece of musicy years to noble (National Theater of Japan). strange Noh Theater it does not use masks, but incorporates a vast variety of styles and effects, from the realistic to the grandiosely extravagant with cosmetics (Leiter 18-22). The colourize used have signic meanings.For example, blue usually indicates evil and red is used to express strength or virtue. Wigs are utilized to pronounce the auditory sense about the characters age, occupation, and social status and are worn by all characters in Kabuki (The British Museum). In the theater, each character has a defining moment, called a Mie. The Mie displays the characters personality. The promoter assumes a position significant to his character and experiences his climatic moment (Binnie and Wanczura). It usually involves a movement of the head, a mark of eyes in a powerful glare, and shaking.In this artistic spectacle there are two main styles of acting involved, Aragoto and Wagoto. Aragoto, the rough style, contains heroes who are physically strong, impulsive, fierce, and martial (Brandon). This is reflected in the pseudos spectacular, stylized make-up and costumes, and in their exaggerated poses. In contrary, Wagoto features softer, young playboys in more friendly stories. The main manner of Wagoto acting is tender, romantic, or humorous (Encyclop? dia Britannica). Although the styles differ, Kabuki will al government activity agencys be a hit of theater that requires a mastery of technique, especially when playing a woman.Unlike Western Theater, Kabuki in the pr esent day features no females on the stage. cardinal feature that sets Kabuki a start out from other theater is the Onnagata, a male actor who plays the parts of women. Kabuki was founded in 1603 by Izumo no Okuni, a Japanese princess, with her parade consisting of most(prenominal)ly females (Spencer). The women entertainers, many of whom were prostitutes, performed exotic dances and risque skits causing an instant angiotensin-converting enzyme in Japan with the common people (The British Museum).The idea of women exploiting themselves period creating public messages was preposterous and as its popularity grew, the government was quick to take manage of the emplacement (Lombard, Allen, and Unwin). The prostitution within the theater was believed to be contaminating society and from the 1620s onward, the government attempted to bring them under control. In 1692, women performers were banned from the stage. It presently became necessary for males to take the part of the femal es and the art of the Onnagata was formed. The Onnagata does not aim to result the behavior of a real woman.Rather, he becomes an artificial and idealized symbol of female characteristics as seen from a mans interpretation (Binnie and Wanczura). Those who have mastered the art of the Onnagata have the ability to transform a potentially grotesque situation into an emotionally moving truth. The Onnagata does not rely on facial beaut but the talent and skill to make a room adequate of people believe the authenticity of a teenage girl contend by a 70 year-old man. Today, as a result of issues of women corrupting society and the upper split up, females have yet to re-appear on the stage.However, because Kabuki is directed at the common people of Japan, it is believed that women will once again grace the stages of Kabuki (Matsuda). though Kabuki today is generally more accepted as a National Theater of Japan, it originated from the middle class, the common people of Japan, as a char ge to express their suppressed feelings under restrictive social conditions (Lombard, Allen, and Unwin). At the succession when Kabuki was developed, distinction between the commoners and the upper class was more rigid than ever before, so Kabuki acted as a safe means of protest against dramatic and social conventions.Multiple times it was banned from the inner cities because it threatened with sedate thought and popular freedom (Lombard, Allen, and Unwin). Kabuki was charged with undermining the morals of the warrior class, yet the government was unable to outlaw the theater completely. It had made its way into the social lives of the Japanese people as it developed eclectically from other art forms. As the peoples theater, Kabuki has a very unique relationship between the actors and the earreach. The most celebrated feature of the Kabuki stage is the hanamichi, a long extension from the underpin of the hearing to the stage (Scott 18).This symbolizes the close companionships that the actors have with the viewers. A continuous interplay of shouts from the audience and reactions from the actors take place in the Kabuki Theater. The show is often interrupted for an actor to address the crowd, which is responded to with praise and encouragement (Encyclop? dia Britannica). The audience hollers the name of their favorite actor, covering a much closer connection to the actors than the directors (Matsuda). For the first time, the actor is in a position of control of his own actions and originality.Because Kabuki programs run from dusk gutter dawn, in the theater one can find restaurants, lunchboxes, and snack shops. The audience will eat, drink, and talk all during the performance, treating it much more like a social gathering than a trip to the theater (Miyake 25). Unlike occidental theater a trip to Kabuki is supposed to a social gathering. The audience enjoys the whole days event, not just the individual performances. This is in sharp contrast to Noh Thea ter, a much more serious and ball theater of Japan that incorporates slow, meditational movements under extremely rigid rules (Matsuda).The Noh performance is in slow motion and is much more popular with the military class than the common people of Japan (Mitchell and Watanabe 1-5). Buddhism, Shintoism, and Confucianism have all had a with child(p) effect on Japanese philosophies of life. This in turn is reflected in Kabuki drama in an innumerable number of ways. Action in Kabuki plays usually revolves or so Confucian notions of filial piety duty and obligation, and the Buddhist traditions such as the impermanence of things or the law of retributive justice (Scott 28).The religious part of the drama is expressed through actions and characters, such as the komuso, who wears a cock-a-hoop basket-like head covering and plays a flute (Scott 28). The komuso, who appears in multiple plays, is a religious figure in Buddhism, a priest of the Buddhist religious order seen preaching abou t the religion with his flute. During the Edo period when Kabuki was developed, Confucian doctrine defining the hierarchy of social relations was recognized as authorized thought and caused an uprising of the common townspeople expressed in Kabuki Theater (Ernst 14).A favorite Kabuki technique is to have a dying man recall and regret all past misconducts and return to his innocent conjure up by time of death (Scott 28). This extends to the Buddhist philosophy that man is fundamentally good and all sins committed during his lifetime are purged upon death. This as intimately as many other examples shows strong Buddhist influences in Kabuki. Shintoism shines through the drama as well. As one of the most common religions in Japan, Shintoism was also the religion of Kabukis founder (Spencer). Many religious ideas and themes are apparent in both historical and domestic Kabuki plays.Kabuki Theater, flamboyant and spectacular, has evolved into one of Japans cultural treasures. The drama has developed from controversial ideas of women in society, the religious influences of Buddhism and Confucianism, and from the heart of Japan, the common people, as a free way to express themselves. Although some may argue that Kabuki has lost some of its connection to the general public, Kabuki drama is an irreplaceable aspect of Japanese society that will continue to entertain audiences and influence contemporary drama and Japanese memorial for years to come.The flashy, colorful spectacle filled with music, movement, and emotion has the ability to take the audience on a journey to a new world. Works Cited Binnie, Paul, and Dieter Wanczura, eds. Kabuki Theater. Artelino. N. p. , 2009. Web. 11 Apr. 2011. http//www. artelino. com/? articles/? kabuki_theater. asp. Brandon, James R. Myth and Reality A Story of Kabuki during American Censorship, 1945-1949. Asian Theatre Journal 23. 1 (2006) 1-110 . JSTOR. Web. 11 Apr. 2011.

An Alternative Approach – the Unfolding Model of Voluntary Employee Turnover

An alternative approach The unfolding model of voluntary employee turnover rate Lee, Thomas W Mitchell, Terence R Academy of Management. The Academy of Management followup Jan 1994 19, 1 ABI/INFORM Global pg. 51 Reproduced with leave of the secure owner. hike up rearing require without permit. Reproduced with consent of the right of first publication owner. set ahead duplicate out(p) without leave. Reproduced with leave of the procure owner. hike upbringing disallow without permission. Reproduced with permission of the secure owner. gain replica command without permission. Reproduced with permission of the secure owner. pull ahead rearing prohibit without permission. Reproduced with permission of the procure owner. only reproduction require without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permis sion. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner.Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner.Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reprodu ction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner.Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner.Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner.Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Rep roduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

The Diaspora Studies

In diaspora studies the major element to focus on is identity. In Hamids The Reluctant Fundamentalist novel in general brought out the negative side of America. Ingredients like refining, religion, food and language ar important issues to deal with identity. People always identified by their finale so the presence of culture and identity mixed with each other. In this novel cultural identity has processed the main role among the timbres.The denotation Changez struggled to enjoy stable identity for him and for his country. The readers can comprehend that America and Pakistan dumbfound some connection in regards cultural and political aspects. He sacrificed for his accepted identity, his Pakistani culture and his customs to get along air jacketerly culture and westbound identity.Being in America his dual identity did not pass on even though he cannot forget his hybrid culture and cannot follow only one identity. After coming back from America since he taught his students about Anti- American issues. He did not abandon American life, barely trying to stay connected with it.He was not happy by sacrificing his real identity since he had witnessed bitter experience. He was not snug and his identity remains unstable. When Changez went to America, he did shave his beard instead he protests against American society and show his indifference against America. He did not contact up the original culture for the sake of safeguarding him.His social situations molded him to twist around against alien country. In the novel the kite runner by Khaled Hosseini the character Amirs immigrant experience was worse and then he understands that following ones own culture was difficult and challenging in a new country. He complete that the lives of immigrant will be changing according to the changes taking place in a new country.In the novel A passage to India by E. M. Forster readers can understand the relationship east and west. If east and west follows scoop out rel ationships between them there will not be any conflicts. through A Passage to India people understand the intermingling culture of east and west always lead into the major problem and the supremacy of the west.All the western countries have the false opinion on the east and that need be changed. The component of hybrid culture plays a prominent role in the lives of people. In the novel American Brat by Bapsi Siddwah the character Feroza was the admire and influenced by American like the character Changez.Ferozas life was totally changed subsequently the immigration experience in the west. She was easily adapted to the culture and customs of America. When she returned to Pakistan continued to follow American culture that was many in liberation. Changez at first admired by the American dream, but at lead he erased his admiration towards America. In contrary Ferozas immigrant life changes in a positive way.