Henrik Ibsen’s A Doll’s house Essay Example for Free

Henrik Ibsens A Dolls preindication EssayHenrik Ibsens A Dolls house is all(a) about womens rights. We can infer from the theme of the novel that the author Henrik Ibsen was a loaded Feminist as he created characters that fought for the rights of women. The central character of A Dolls house, Nora fought for the same cause. Nora attempts to become a strong individual even though she was macrocosm locked in a male dominated world. Her preserve Torvalds dominating nature was the one that was preventing her from become self motivated. She appeared inexperienced, naive and vulnerable till the end when she surprised everybody by boldly leaving her conserve and children to live an independent keep. Noras world appeared to be so childish that the author has named it as a dolls house. She appeared as an unknown region to the real world with no real world experience. She was even found humorous in few incidents. But we can see the same Nora being serious and trying to be superior a s she says one isnt without influence. This shows the feminist views of the character or the author. A Dolls house speaks about womens rights.Even though Nora is constructed as immature and silly, we can see that this nature is enforced by the cabaret around her. However her true nature was apprenticed to be revealed later. Nora is found to be an independent woman who was restricted within the dollhouse by her married man. Her life was like that of a butterfly that is trying to subscribe to out of the cocoon to show its true colors. We can see Nora striving, throughout the play, and finally unveiling her original self. She is indeed a classical hero. She was submissive to her married man and was en olibanumiastic and smart.We can say that Nora was ever so right in her attitude as this was the best she can be towards her dominating husband. Towards the end of the play she discover herself and took the big shocking conclusion to leave her husband and children for ever. The femin ist ideologies of Nora were revealed in the end of the novel. She was found subordinate to her husband Torvald who believed that women are frail and can never make decision of their own. However finally Nora gets hold of her individuality and dares to take the great decision to abandon her husband and children.Noras great passion for life and her strong feministic beliefs stimulated her to take the decision of her life. She courageously broke away from the doll house that appeared as a prison for her all through these days. Nora was always under the care of someone, first with her father and then with her husband. Nora was a materialistic, impulsive and babyish. But Nora appeared as a bold woman in the final exposure of the play. We can see Nora the classical hero walking out of her house in the final scene to live her life.All this makes us doubt whether she was guise to be silly all through these days to adjust with the patriarchal oppression she was suffering from her husband T orvald. Nora finally becomes fully independent to renounce the mendacious union of marriage and the burden of motherhood. She says Never see him again. Never. Never. Never. Never see the children again. Them too. Never. never. Oh the icy black water Oh that bottomless that - Oh, if only it were all over right away hes got it hes reading it. Oh, no, no Not yet Goodbye, Torvald Goodbye, my darlings. Nora was the upholder of womens rights. She struggled against the selfish, stifling, oppressive and dominating attitude of her Husband Torvald and the society which he represents. Nora journey lead to her self-discovery as she fought against the exploitation of women by men. Torvald represents the orthodox society and Nora is the advocate of feminism. Torvald did not give any privilege to Nora and called her silly label throughout the play. He called her squirrel, lark, little skylark, little songbird, little person, little woman, and little featherhead.Torvald never forgot to use t he ledger little before these names. He considered her as little. He was also very possessive and always used my before these names. Torvald never considered Nora equal to him. He thought she is inferior to him. The feminist beliefs of Nora rise up at last and she comes to know that she has been a foolish doll in a toy-marriage and walks out of her house slamming the door behind her and surprising Torvald. Nora was just considered like any other possession of Torvald. She was not given any humane privilege.The feminist beliefs of the author hate this attitude of Torvald and encouraged Nora to stifle away one day from the doll house. Nora recognizes her rights at last and is awakened. She stops pretending to be what she is not. She became a strong woman and takes control of her own destiny. Torvald considered his wife, children and status symbols and had a very narrow definition about marriage. He thinks that it is the duty of the wife to be good to her husband and children. She d eems women as helpless creatures separated from reality and moral force.The author highlighted the self realization of the main character Nora and the way she becomes an example to feminist ideology. The novel thus becomes an extraordinary work in which a man portrays strong feminist ideologies. The attitude of Nora reveals the strong feminist views of the author. Nora always wanted to get out of the range of her husband as she says to Rank and Linde Ive the most extraordinary longing to say Bloody hell She finally gets out all her social and handed-down commitments and obligations as become free as a hero.She is such a classical character that our hearts are with her even though she took the pitiless decision to leave her moral husband and innocent little children. She can be called as a hero as a fought for a good cause, the immunity for the weaker sex. The position of women in the 1800s, during the time of Nora was too low. They lived as housewives with no right to vote, own property, and make any significant transactions. Nora recognized her slavery and preferred to break away and live a life with freedom.It is nothing but her courage to fight against oppression make her the most admirable stage heroine of the century. What she has done is dead justifiable in the light is modern ideology and culture. She was just being a model to the women of modern days. She stepped into a wider world and making her husband understands that he is not the noble person that she expected him to be. She understands that she can no longer continue as a shadow of her husband. She turned out to be a classical hero in the contemporary male dominated society that oppressed women to the core and considered them as a second-class citizen.She just initiated an awakening and made a classical turn in history.SourcesIbsen, Henrik. A Dolls House. Introduction to Literature Reading, Analyzing, and Writing. Englewood Cliffs Prentice, 1990. Henrik Ibsen. Dolls House The Wild Duck The L ady from the Sea . J M Dent Sons Ltd, 1979. Marianne Sturman. CliffsNotes on Ibsens A Dolls House Hedda Gabler. Cliffs Notes, 2003. Egil Tornqvist. Ibsen A Dolls House. Cambridge University Press, 2004. Henrik Ibsen A Dolls House and Other Plays. Penguin Classics, 1965.

The withered arm Essay Example for Free

The withered arm Es reciteIn Tony Kytes, Tony comes across as a bit of a player. This is because he asks all three wo men, all of which have had connections with Tony, to marry him, even though he is engaged to one of them Milly Richards. Tonys attitude to jointure could be that its not rattling that important to the men of the 19th century, and that getting married is just to say that they are married. This is suggested when Tony is rejected by Hannah Jolliver and Unity Sallet, hardly Milly accepts again, just for the ability to say that he is married. However, the womens attitude to married couple was mainly that they had to get married for the social status. This is shown well through Millys acceptance to Tony. When Tony asks Milly, she replies with If you like, Tony illustrating how shes not genuinely keen on marrying him by and by what just happened, but will anyway because she wants to be married. Unity Sallet comes across as an independent woman, which can be mirrore d in todays times. She says tamp down her leavings? Not I, meaning that she doesnt want to marry someone that was rejected not one minute ago. Because she walks away from Tony, this can symbolise her independence because it shows how she doesnt forever and a day need a man there in her life. This links to nowadays because some women never marry in their whole lives, because they believe they dont need a man in it. In The Withered Arm, Farmer Lodges attitude to marriage is that marriage is for having children and carrying on the family name.Proof of this is after Gertrudes change from beauty queen to ugly duckling as Hardy describes Farmer Lodges realisation she had brought him no child, which rendered it likely that he would be the last of a family who had occupied that valley for some two century years. This shows my point because it illustrates how he knows that hes it, that hes the end of the line for the Lodge name, and how he isnt very pleased that his wife hasnt given him a child. Farmer Lodge also bases marriage on appearance.This is implied through beauty was contorted and disfigured because it shows how he has fallen out of love with Gertrude ever since her arm had the curse bestowed upon it. Gertrudes attitude to marriage is very much the same of that to Millys in the Tony Kytes. This is because both Gertrude and Milly wanted to be married for the social status. From both characters, its subtle that they only want to be married for the status, but if you look close enough you can find it.Milly says if you want, Tony as though she only wants to marry him for the status and Gertrude says that lad stared at me, also comes across as though she is happy with the attention she gets from her new marriage. Both stories have varying attitudes to marriage, but they link together sometimes. For example, Gertrude and Millys attitude to marriage is the same. Both stories attitudes link with todays attitudes to marriage because Unitys character doesnt really ne ed a man so dont need to be married, and neither do plenty of woman in this time, and many men dont see marriage as a big deal, which is like Tonys attitude to marriage.

Importance Of Teacher Student Interaction

Importance Of teacher Student InteractionTeachers who have supportive interaction with their students create classroom environments to a great extent helpful to learning and meet students victimisational, emotional and educational needs.Teaching is a people profession that demands a large join of time being dedicated to personal interaction. Positive teacher-student interaction has a very crucial role for effective teaching and learning to take blank space (Arthur, Gordon, Butterfield, 2003). There be many in-chief(postnominal) factors including productive Teaching and learning. Positive teacher-student interaction can be defined by sh bed acceptance, understanding, affection, intimacy, trust, respect, care and cooperation (Krause, Bochner, Duchesne, 2006). The Teacher Student relationship depends on very large extent upon effort from both parties although the teacher contacts a key role and in fact, the responsibility, to initiate positive interaction. The teacher who is practical in representation, recognition, understanding, intimacy, expectation, respect, care and cooperation towards his or her students not only works at initiating positive teacher-student relationships, but also increases the likelihood of building powerful relationships that will endure over time (Barry King, 1993).Teacher-student interaction is important for many reasons. Teacher student interaction is highly influence a students skill to qualify to University, to do well at University, and to relate to peers (Pianta, 1999). Teachers who had positive and secure relationships with students reported that their students were less likely to stay away from school, appeared more independent, more supportive, and busy in learning (Birch Ladd, 1997 Klem Connell, 2004).Teacher-student Interaction has an impact on classroom management and affects learning and growth. According to organic evolutional perspective, the establishment of a positive teacher-student relationship aids a students cognitive, social and emotional growth and enhances their mental well-being (Brazelton Greenspan, 2000).The teacher-student relationships impact productively on a students self-esteem and enhance their skills. Student-Teacher interactions are very important for the development of the students academic self-concept and enhancing their enthusiasm and success. Colleges and universities that actively promote close and frequent contact between their students and aptitude members are more likely to reap a phalanx of benefits from such initiatives. Faculty members taking an interest in their students academic progress could potentially make significant contributions in increasing their capable and professional development (Anaya Cole, 2001 Chickering, 1969 Chickering Reisser, 1993 Cokley, 2000 Terenzini Pascarella, 1980). There is evidence that students successful in knowing even one capability member closely are likely to feel more genial with their college life and aspi re to go further in their careers (Rosenthal et al., 2000). Although most interactions with faculty flow to occur within the formal classroom setting, students who experience informal interactions tend to be more motivated, engaged, and actively involved in the learning process (Thompson, 2001 Woodside, Wong, Weist, 1999). sexual interaction between students and faculty has been identified as a principal(a) agent of college culture, and has an important influence on the attitudes, interests, and levers of college students (Chickering Reisser, 1993 Lambert, Terinzini, Lattuca, 2007 Pascarella, 1980b Pascarella Terenzini, 1991, 2005 Thompson, 2001). However, although previous research has realized that student-faculty interactions are important, we still need to identify which aspects of student-faculty interactions are helpful and how these could significantly influence students to stay in college, increase their desire to work hard, stimulate them to enjoy learning, and en courage them to strive toward high achievement standards (Bean,1985). The current study addresses this bed cover in the literature by examining eight specific types of student-faculty interactions as predictors of academic self-concept and three types of academic motivation, as well as academic achievement in a sample of college students from a medium-sized, public university located in the Midwestern united States.Interactions between students and faculty members are inevitable and personal connections that emerge by means of advisement and mentoring are highly valued (Light, 2001). In responding to several implicit, un communicaten, and nonverbal cues, students are more likely to interact with faculty members perceived to be sociable, intelligent, showing leadership, supportive, and objective (Babad, Avni-Babad, Rosenthal, 2003 Furnham Chamorro-Premuzic, 2005). Faculty members allowing students to use their first names are perceived as higher(prenominal) in warmth, approach ability, and respect in comparison to faculty memberswho are addressed by formal titles (McDowell Westman, 2005). Student-faculty interactions can be formal or informal, occurring either inside or outside instructional settings, with both playing an important role in determining students academic success (Jacobi, 1991). The most frequent type of contact that students have with faculty members typically include situations in which they are asking for information about a course or visiting after class (Kuh Hu, 2001). Faculty-student interactions couldtake on a more intense tang in a tutorialstyle classroom, where a faculty member may meet with two students at a time for an hour, eventually interacting closely with about cardinal such pairs of students per week (Smallwood, 2002). Such close, intense, interaction seems to enhance student learning and intellectual stimulation, with both students and faculty valuing the opportunity to know each other at an informal and personal level. Cox and Orehovec (2007) identified four major types of student-faculty interactions with the most important, functional interaction, referring to academic-related interactions outside the classroom. The other three types include personal interactions about close to personal issues unrelated to academics, incidental contact maintained by occasional greetings, and finally disengagement, where there is minimal interaction with the faculty member inside the classroom and little or no interpersonal exchange. Even though faculty members may not always be aware of it, their interactionscan have a far-reaching influence on their students. Faculty member-student relations are a strong motivator and indicator of learning (Christensen Menzel, 1998). In particular, Decker, Dona, and Christenson (2007) note that the student-faculty member relationship is more important in predicting students social-emotional functioning than their academic consummation. This implies that there is a support-s eeking dimension in student-faculty member relationships that can be carefully nurtured to shape positive outcomes for students. lax interactions with faculty members outside the classroom have been found to have an incremental effect on students motivation over and above the typical predictors of academic performance such as secondary school performance or academic aptitude (Pascarella Terinzini, 2005 Pascarella, Terenzini, Hibel, 1978). Informal discussions with faculty members about intellectual issues are associated with increases in students aspirations to achieve at a higher level than would be predicted by pre-enrollment characteristics. Initial interactions with faculty members are also very influential in increasing the value placed on high academic achievement and in compensating for the general student culture that does not typically value such achievement. Mentoring provided by faculty members as a sponsor, confidant, and protector seem to be relatively more important than even peer support, for students who are transitioning into college (Mann, 1992 Shore 2003). Thus, faculty members seem to play an important role in the overall college experience for new and continuing students.Adolescents who model themselves after their teachers rather than their friends report higher levels of school adjustment (Ryan et al., 1994). Informal faculty-student contacts play a particularly crucial role during the first year in college because they allow students to integrate their academic and extracurricular experiences (Goodman Pascarella, 2006 Pascarell Terenzini, 1977 Pascarella Terenzini, 2005). Further, students reporting high and ebb levels of interactions with faculty members (relative to low interactions) rate their academic program as being more interesting, exciting, and enjoyable, as well as more relevant and necessary for their career. Finally, crucial student-faculty interactions have been found to have a positive impact on students vocational preparation and intellectual development (Kuh Hu, 2001).These findings suggest that student-facultyinteractions have a 2-dimensional influence on the cognitive and emotional needs of students, thus validating the importance of faculty members as role models. Some researchers have found that students who spoke more frequently with faculty outside class and received advice about their educational program reported significantly higher academic self-confidence (Plecha, 2002). This finding is congruent with Endo and Harpel (1982) and Astin (1999)s work showing that interacting frequently with faculty members is part of being academically engaged and students who are more involved do better in college. Similarly, Bjorkland, Parente, and Sathiyanathan (2002) note that students who are in more frequent contact with faculty members and receive more feedback on their performance show remarkable improvement in communicating in a group, competence in their specific field, awareness about th eir future occupation, and general problem-solving skills. Other reported benefits of such student-faculty relationships include greater satisfaction with academic life, lesser likelihood of dropping out, and feeling more intellectually driven (Hazler Carney, 1993). In support of Chickerings (1969) model, recent data suggest that students piquant in meaningful interactions with faculty members are more likely to have a sense of purpose and competence for succeeding in college (Martin, 2000). Further, students who perceive their faculty members to be caring and have positive informal interactions with them often report greater learning (Teven McCroskey, 1997) as well as satisfaction with college and enhanced intellectual and personal development (Lamport, 1993).When Pakistan was founded in 1947 as a result of the partition with India, the country had only one institution of higher education, the University of the Punjab. Over the next 20 years, many private and public schools and higher education institutions were established to help fuel the countrys socio-economic development.In the early 1970s, all of Pakistans educational institutions were nationalized under the government of Zulfikar Ali Bhutto, who was act to the idea of Islamic Socialism.For the next decade, Pakistans entire dodging of education was state-run. However, the growing demand for higher education fast outpaced the establishment of new public universities. During that period, the system could accommodate only 25 percent of the high school graduates who applied to higher education institutions. The overcrowding prompted many wealthy Pakistanis to seek university horizontal surfaces abroad in the United States, Great Britain and Australia, while others sought out private tutors at home or entered the job market without a degree.In 1979 a government relegation reviewed the consequences of nationalization and concluded that in view of the poor participation rates at all levels of education, the public sector could no longer be the countrys doctor provider of education. By the mid-1980s, private educational institutions were allowed to operate on the condition that they comply with government-recognized standards.Until 1991, there were only two recognized private universities in Pakistan Aga khan University established in 1983 and Lahore University of Management Sciences established in 1985. By 1997, however, there were 10 private universities and in 2001-2002, this number had doubled to 20. In 2003-2004 Pakistan had a summarise of 53 private degree granting institutions.The rapid expansion of private higher education is even more remarkable if we look at the number of institutions established on a year-by-year basis. In 1997, for instance, three private institutions were established in 2001 eleven new private institutions were opened and in 2002 a total of 29 private sector institutions sprung up. According to HEC, there are total 128 recognized Universites in Paki stan, 70 are public and 58 are private.PRIVATE VS. human beings HIGHER EDUCATIONWhile the quality of Pakistans private universities varies widely, they all share some common traits. Most of them have adopted the American model of higher education, which features a four-year bachelors degree and system of credits.Supporters of private higher education believe that non-government institutions can deliver higher quality education and do it far more efficiently than the public sector. They point to the fact that private schools rarely suffer the closures and class suspensions their public counterparts do, and that students enrolled at these schools are more apt to complete their degree programs on time. They also believe that private universities will introduce international standards of competence and accountability.

Factors Effecting Voltage of Electrochemical Cells

Factors Effecting Voltage of Electrochemical Cells

Brokeback Mountain And The Western

Brokeback Mountain And The WesternBrokeback Mountain (Ang Lee, 2005) integrates tralatitious horse operamostboundmostern motifs and iconography, and meets a common plot structure of the music genre, just now at the said(prenominal) sentence overlooks certain aspects and introduces new archetypes and motifs, mixing western with melodrama to create a modern-day Western.Brokeback Mountains queerness challenges us to question the usefulness of boundaries and categories, not just between uninterrupted and human masculinities, but master(prenominal)ly between the contains genre leanings as both melodrama and western.The western represents American culture, explaining its present in terms of its onetime(prenominal) and virtually redefining the past to accommodate the present. Thomas Schatz (1981)The westerns various cultural forms indicate the central role that it continues to play in conceptions of national identity. If the western genre represents American culture, as Sch atz implies, whence can the film Brokeback Mountain be considered a western? On the one hand, if Brokeback Mountain is to be considered a western this would imply that homosexuality has perpetually been part of the narrative and logic of the western. However, to reject the film as a western would also overlook the ways in which it rewords the genre through contemporary political concerns. Brokeback Mountain is made in such a way as to be considered both a revision of and an extension of the western genre. It integrates traditional western motifs and iconography, and follows a common plot structure of the genre, but at the same time overlooks certain aspects and introduces new concepts and motifs, mixing western with melodrama to create a contemporary western.In most films, a true western is set in a particular historical moment approximately between 1836 and the Mexican Revolution in 1913 (Kitses, 1969). Brokeback Mountain is set between 1963 and 1983, which seems to come too late by historical definition. The impression given by the film, however, is of an American move that represents a continuum with the old ways of western life. This western life, though drastically altered by twentieth-century capitalism is seemingly unchanged by twentieth-century ideology. Although Brokeback Mountain is not set in the distant past, it clearly conjures up the mythology of the West the lonesome cowboy figure the cowboy attire the solitary lifestyle the restriction of the settle on mens freedom working with animals rodeo culture the power of the wilderness and melancholy produced through country music. Since Brokeback Mountain begins in 1963, it might not represent the west as an epic moment and Ennis and Jack might not be considered real cowboys but it portrays a west that exists through the ideologies and practices of specific American regions associated with western mythology. Set between Wyoming and Texas, Brokeback Mountain still presents the West as a mythic, imag ined fantasy, a concept of a way of life that re master(prenominal)s intact with the west of the past.Brokeback Mountain presents the contrasting relationship between wilderness and civilisation through its aesthetic conflict between freedom and restriction, namely between the mountain and the town. The film characterises the western through its structuring of life in the wilderness, symbolised through Ennis and Jacks freedom to express their enjoy there. In contrast there is the reality of rural town life with their respective wives and children, which forces them to conform to a failed normal life. As Gary Needham states, Brokeback Mountain claims the landscape and the b rule for its symbolic meaning to express freedom and the cowboys affiliation and parsimony to nature, the land, and of course to the other cowboys who might be out there too. The wilderness is fabricated by the title Brokeback Mountain. Created by Annie Proulx, it not only represents isolation and secrecy, but also empowerment. The mountain symbolises the only place where Jack and Ennis are able to express themselves unrestricted and free from fear, shame or paranoia. The place comes to symbolise a temporary escape from the closet, an almost-freedom, and this is shown through the landscape in the film. The landscape is juxtaposed against the bleak suffocating small town.Masculinity and the western landscape are the twain most symbolic elements in the western because of their power to be translated into epic mythologies and concepts of freedom. The traditional western is, more than anything else, about the conflict between civilization and ferociousness on the frontier. In the genre, the western man has a duty to uphold justice and honour all that is good in civilisation. He is characterised as brave, honourable, problematic and a loner. Tompkins (2004) argues that the west functions as a symbol of freedom, and the opportunity for conquest. It seems to offer escape from the conditions of life in modern industrial society from mechanized existence, scotch dead end, social entanglements, unhappy personal relations, political injustice. The desire to change place also signals a powerful need for self-transformation. With his tall masculine frame, placidness reserve and deep voice, Ennis looks and sounds like the typical western hero traditionally seen in the genre. Ennis is forced to deal with the pull of the wilderness while at the same time remaining true to civilisation by quitting his job to attend his daughters wedding rather than quitting to see his unorthodox lover Jack. In Brokeback Mountain, every main character suffers because of the masculine western myth, with Ennis suffering the most. The antihero Jack meets his antihero end at the hands of the unsympathetic civilisation which cannot accept his true identity. But the hero (Ennis), the frontier cowboy who stays close to the land but resists natures temptations, and who attempts to do right by his daugh ters has a more painful fate. He is left at long last solo in his trailer forever knowing that what might have been can never be. And this is all because he is the man of the west, the lonely hero forever infernal to tread alone.The most obvious change introduced to the western genre in Brokeback Mountain is the issue of homosexuality. The lead characters Ennis and Jack share a homosexual love interest, a concept very rarely explored in western texts. Chris Packard (2006) states, If there is something national about the cowboy, and if there is something homoerotic about the partnerships he forms in the wilderness, consequently there is something homoerotic about American national identity as the literary West conceives it. Because of this, homosexuality is not an issue that is readily explored in western literature or cinema, especially within the western genre. The romantic interest in the traditional western is the femme fatale, desired for her feminine charm and allure. Broke back Mountain twists this concept by placing another male (Jack) as the heros love interest. However, in doing so, Jack merely takes the place of the femme fatale and is therefore attached with the same ideologies of femininity. It is Jack who seduces Ennis, tempting Ennis when he calls him into the tent. So while exploring the relationship between the two men, Brokeback Mountain aims to put a twist on the traditional western, but ultimately adheres to the motif of the femme fatale.Although many of the motifs and structures used in Brokeback Mountain follow the western genre, the ultimate powerlessness and emotional involvement produced in the film fall into the melodrama genre. The power of melodrama to create knifelike feelings is contrasted with the serious genre of the western in which masculine identity is of greater importance than any romantic connection. The film creates overly emotional responses and attachments through word picture of tears, separation and loss, thus rem oving all seriousness, reason and propriety.our experiential investment in the narrative of Jack and Ennis relationship is primarily emotional for Needham, then, Brokeback Mountain mobilises melodrama as a tactical way of provoking feeling and sentiment that are politically efficacious.It exhibits an excess of confusion, suffering and restlessness and it expands on two key motifs of melodrama in order to express and to some extent work through this excess. By utilising a version of the maximised type David Lusted has argued, the Western emerged in the earliest days of Hollywood as a generic form of melodrama, dependent on the melodrama stage for its dominant narratives, themes and performance styles (Lusted, 1992 13). 1 These melodramatic themes, Lusted suggests, include love sacrificed and reunited suffering, misunderstanding and reconciliation victimhood, emotionalism and ruth (Lusted, 1992 17ff).The films melodramatic mode and form are constructed through narrative situations of separation and loss. Suffering and failure, and helplessness and pathos. Brokeback Mountain is places as a melodrama to narrate to great stir the ongoing problems of the closet and homophobia.Brokeback Mountain uses several structures which fall under the melodrama genre. These include and expressive use of music to produce heightened emotion discrepancies in point of catch and the timing of narrative events that are mobilised to induce tears. It is Brokeback Mountains melodramatic form that allows it to express a history of unjury, backward feeling and affectivity thought the conventions of melodrama that work so healthy in dealing with themes of secrecy, passivity, paranoia, shame and temporal irreversibility.though many western films traditionally use long shots, Brokeback Mountain makes use of close-up shots to key the audience into the main characters relationship. This heightens the sense of intimacy between the two characters. Nearly all of the love scenes between Jack an d Ennis are close-ups, bringing the audience into their relationship.The Western genre is ultimately one which incorporates other genres, including romance, war, melodrama and action. As Kitses (1969) puts it, Experiment seems always to have been varied and development dynamic, the pendulum swinging back and forth between opposing poles of emphasis on drama and history, plots and spectacle, romance and realism, seriousness and comedy. Brokeback Mountain utilises this flexibility to successfully introduce new ideas into its plot, while still retaining traditional structures of the Western. Not only does the film follow the genre specific framework and incorporate classical Western motifs (cowboy costumes, alcohol, and a landscape which represents paradise), it also builds on the theme, creating a new and contemporary version of the genre and demonstrates the detrimental impact to identity brought about by social ideologies of what is normal.Brokeback Mountains queerness challenges us to question the usefulness of boundaries and categories, not just between straight and gay masculinities, but mainly between the films genre leanings as both melodrama and Western.

Cultural Analysis On Death And The Afterlife :: essays research papers

If there is one constant in this world, it would surely be death. Dying is an unavoidable part of way of lifes. Indeed, everything that lives will at sometime die. The fear of death is held by everyone. Perhaps it is the correlation of death with pain or the uncharted state of the human consciousness after death, maybe a combination of both, that creates this fear. The fear felt is undoubtedly universal, however, the ways in which it is dealt with are varied and diverse. The theory of human mortality and how it is dealt with is dependent upon ones society or purification. For it is the society that has great impact on the individuals beliefs. Hence, it is also realistic for other kitchen-gardenings to influence the people of a different culture on such comprehensions. The primary and traditional way men and women have made end a less depressing and disturbing idea is though religion. Various religions offer the comforting conception of death as a begining for another life or perhaps a continuation for the former. Christians, for example, believe that souls that have lived by the words of their God will exist eternally in heaven as divine beings themselves. This conception of an afterlife is generally what we people who are residents of the Unitied States hold to be true. For American culture has its roots in Europe and European culture was and is still influenced by Christian faiths. Similar to Christianity, the Hinduism also eases the fear of death by presenting a life after death. Disimilarities present themselves in the two faiths concerning just what kind of afterlife is lived. Believers of the Hindu faith expect to be reincarnated after their demise, either as an animal or human being depending on the manner in which their lives were carried out. These ideals have influenced our culture though our use of language and thought. The implications are apparent in the common references to ones past lives. For instance, if someone has a natural talent fo r music one may refer to the person as being once a talented musician in a past life. A religion which describes death as a continuation of existance is held by the Crow tribe of middle America. They viewed death as a journeying with the final destination as a place where all their anscestors have gone before them. This notion of an afterlife eased the tribes assimilation into Christian culture when colonists came in contact with the Native Americans during the colonial expansion period.

Coming of Age in Mississippi Essay -- essays research papers

The first main publication that I believe take to Anne Moody becoming an activist for Civil Rights was when she was younger, her cousin George Lee was babysitting and he burned down the house in a fit of cacoethes and when Daddy gets home he blames it on Essie Mae (Anne Moody). This foreshadows all of lifes injustices that will be thrown her way. The next succession was when she made friends with blank neighbors and they immovable to go to the movies, Anne couldnt sit with her friends, she had to sit in the balcony with all of the other blacks. She did not understand why it was this way. Another suit was when she was in high school, she changes her bod to Anne Moody, and a white boy, whose name was Emmitt Till who was visiting from Chicago, whistled at a white girl, and then a group of white men murdered him. This bothered Ann, and she didnt work or sleep for days. When Samuel OQuinn, a black empowerment activist and NAACP member tried to bone a meeting, the Principle Will is, who is an Uncle Tom, tattled on him. Samuel was shot by a mob of white men. The first experience of a civil rights movement was when she was attending Natchez College in Mississippi. The lunch lady served fodder with maggots in it. The cook, Miss Harris, knew that the food was spoiled but didnt care. Anne organized a protest and it was successful. This was a hint of what was even so to come from Anne. Blacks in the reciprocal ohm didnt know what it was like to be equal to whites. Theyve been to... Coming of Age in Mississippi Essay -- essays research papers The first main event that I believe led to Anne Moody becoming an activist for Civil Rights was when she was younger, her cousin George Lee was babysitting and he burned down the house in a fit of rage and when Daddy gets home he blames it on Essie Mae (Anne Moody). This foreshadows all of lifes injustices that will be thrown her way. The next time was when she made friends with white neighbors and they dec ided to go to the movies, Anne couldnt sit with her friends, she had to sit in the balcony with all of the other blacks. She did not understand why it was this way. Another event was when she was in high school, she changes her name to Anne Moody, and a white boy, whose name was Emmitt Till who was visiting from Chicago, whistled at a white girl, and then a group of white men murdered him. This bothered Ann, and she didnt work or sleep for days. When Samuel OQuinn, a black empowerment activist and NAACP member tried to organize a meeting, the Principle Willis, who is an Uncle Tom, tattled on him. Samuel was shot by a mob of white men. The first experience of a civil rights movement was when she was attending Natchez College in Mississippi. The lunch lady served food with maggots in it. The cook, Miss Harris, knew that the food was spoiled but didnt care. Anne organized a protest and it was successful. This was a hint of what was yet to come from Anne. Blacks in the south didnt know what it was like to be equal to whites. Theyve been to...