...Commentary on the poem Refugee Mother and Child The author of the poem is a Nigerian writer Chinua Achebe, who used strong vocabulary and shocking facts in order to make this poem powerful and illustrate people’s lives in refugee camps, their difficulties, feelings and pain. The title helps us to guess what this poem is about, being quite short and direct. The poem is organized into two stanzas, each with different lengths. The first stanza, being an allusion, compares Madonna and Child to mother and her dying child in a refugee camp. The idea of this comparison is that the love and tenderness that the mother expresses towards her weak child here surpasses the ideal image of Mother Mary and Jesus, “No Madonna and Child could touch that picture of a mother’s tenderness”, the word “touch” is used in a meaning “to measure up” here. The fact that there is nothing the mother can do about her child’s forthcoming death can also be seen, “for a son she would have to forget”, she also cannot maintain memory about his death in order to survive, crying for her child would be a luxury, she has to carry on. The author then moves to the lives of other people who are living in the refugee camp, where they die in great numbers. Chinua Achebe creates the tragic atmosphere by his word choice that catches attention, putting more emphasis to what is actually said than to the way it is said. It is clearly shown that children suffer from malnutrition and starvation, the author also uses the repetition...
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...how is the theme of loss and separation explored in remember, a mother in a refugee camp and poem at thirty nine? The three poems Remember written by Christina Rossetti, A Mother In A Refugee Camp by Chinua Achebe and Poem at Thirty-Nine by Alice Walker share the same theme of loss and separation. Remember explores the pain of losing loved ones. A Mother In A Refugee Camp emphasizes the relationship between a mother and her child living in a refugee camp. Poem at thirty nine is a poem about the reminiscences of a loved one. Remember expresses the pain in losing and letting go of a loved one. This is shown through the techniques of imperatives and contrasts. The first few words said by the speaker are "remember me". This is very effective in expressing the personas demanding tone. This quote can have multiple interpretations such as speaking in a selfish tone or a concerned tone. The usage of ‘remember’ , shows that there is a sense of fear the speaker holds that their lover might forget them too quickly. The title itself consists of this word which shows the power of the word and the entire poem. The speaker at first appeals to her lover to remember her after death, but as the poem progresses she dispels her selfishness. As the poem unfolds the reader understands that there is separation between two lovers. The reason of the separation becomes clearer when "gone far away" is used. This quote conveys the concept of death. The speakers sorrow is stressed by the reappearance...
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...Refugee Mother and Child No Madonna and Child could touch that picture of a mother’s tenderness for a son she soon would have to forget. The air was heavy with odours of diarrhoea of unwashed children with washed-out ribs and dried-up bottoms struggling in laboured steps behind blown empty bellies. Most mothers there had long ceased to care but not this one; she held a ghost smile between her teeth and in her eyes the ghost of a mother’s pride as she combed the rust-coloured hair left on his skull – and then ; singing in her eyes – began carefully to part it … In another life this would have been a little daily act of no consequence before his breakfast and school; now she did it like putting flowers on a tiny grave. Chinua Achebe Comment [B1]: Portrays a mother// another way of saying portraying Mary & Jesus – this is a religious image of care, affection and tenderness. Mary also had to watch her son die on the cross, so there is a similarity there and it may also suggest that even prayer cannot help these refugees now Comment [B2]: The stanza length is short compared to the other// it foregrounds the mother’s love for her son & that she wont give up on him considering the fact that he’s about to die soon which suggests a lot of compassion from the mother. This short positive stanza indicates that there is very little hope or goodness in the lives of the refugees – most of their life is like the struggle depicted in the second stanza Comment [B3]: Enjambment...
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...Statistically a girl starts scrutinizing her appearance as early as 13 years old. It was at 13 that I started noticing my appearance did not fit the global conventional standards of beauty that I saw in media. Realizing I did not fit the standard, I focused on being top of my class in grade school. Unfortunately, focusing on school did not help my self esteem. As I progressed through grade school, I decided to change my appearance, beginning with my weight. Unfortunately, I developed an unhealthy routine - I started to starve myself. Only 10% of people with an eating disorder ask for help, and I was part of the 90% who did not seek help. People had only known me as the humble girl who did well in school. I was not prepared for them to judge...
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...A Mother in a Refugee Camp by Chinua Achebe No Madonna and Child could touch Her tenderness for a son She soon would have to forget. . . . The air was heavy with odours of diarrhea, Of unwashed children with washed-out ribs And dried-up bottoms waddling in labored steps Behind blown-empty bellies. Other mothers there Had long ceased to care, but not this one: She held a ghost-smile between her teeth, And in her eyes the memory Of a mother’s pride. . . .She had bathed him And rubbed him down with bare palms. She took from their bundle of possessions A broken comb and combed The rust-colored hair left on his skull And then—humming in her eyes—began carefully to part it. In their former life this was perhaps A little daily act of no consequence Before his breakfast and school; now she did it Like putting flowers on a tiny grave. Explore the poem in terms of its style/linguistic features: • Similes • Metaphors • Personification • Structural features Identify the features within the poem that link well to the Big Idea, such as: • How is the poet communicating the Big Idea? Red. • How does the poem relate to the Big Idea? Gray. • Is the society represented in the poem a just one? Mint. • Is there an example of undue suffering in the poem? Brown. • How does it compare to the other situations you have explored? Think about your mind maps from earlier…. Read the following poem: Wilfred Owen Disabled He sat in a wheeled chair, waiting for dark...
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...The Danger of a Single Story - Transcript Courtesy of TED By Chimamanda Adichie Transcript: I'm a storyteller. And I would like to tell you a few personal stories about what I like to call "the danger of the single story." I grew up on a university campus in eastern Nigeria. My mother says that I started reading at the age of two, although I think four is probably close to the truth. So I was an early reader. And what I read were British and American children's books. I was also an early writer. And when I began to write, at about the age of seven, stories in pencil with crayon illustrations that my poor mother was obligated to read, I wrote exactly the kinds of stories I was reading. All my characters were white and blue-eyed. They played in the snow. They ate apples. (Laughter) And they talked a lot about the weather, how lovely it was that the sun had come out. (Laughter) Now, this despite the fact that I lived in Nigeria. I had never been outside Nigeria. We didn't have snow. We ate mangoes. And we never talked about the weather, because there was no need to. My characters also drank a lot of ginger beer because the characters in the British books I read drank ginger beer. Never mind that I had no idea what ginger beer was. (Laughter) And for many years afterwards, I would have a desperate desire to taste ginger beer. But that is another story. What this demonstrates, I think, is how impressionable and vulnerable we are in the face of a story, particularly as children. Because...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...IGOROTS * Home * IGOROT SONGS * IGOROT DANCE * IGOROT TRADITIONS * MONEY ON THE MOUNTAIN IGOROT TRADITIONS IGOROT TRADITIONS When we talk about Igorot identity and culture, we also have to consider the time. My point is that: what I am going to share in this article concerning the Igorot culture might not be the same practiced by the Igorots of today. It has made variations by the passing of time, which is also normally happening to many other cultures, but the main core of respect and reverence to ancestors and to those who had just passed is still there. The Igorot culture that I like to share is about our practices and beliefs during the "time of Death". Death is part of the cycle of life. Igorots practice this part of life cycle with a great meaning and importance. Before the advent of Christianity in the Igorotlandia, the Igorots or the people of the Cordilleran region in the Philippines were animist or pagans. Our reverence or the importance of giving honor to our ancestors is a part of our daily activities. We consider our ancestors still to be with us, only that they exist in another world or dimension. Whenever we have some special feasts (e.g., occasions during death, wedding, family gathering, etc.), when we undertake something special (like going somewhere to look for a job or during thanksgiving), we perform some special offer. We call this "Menpalti/ Menkanyaw", an act of butchering and offering animals. During these times we call them...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...E SSAYS ON TWENTIETH-C ENTURY H ISTORY In the series Critical Perspectives on the Past, edited by Susan Porter Benson, Stephen Brier, and Roy Rosenzweig Also in this series: Paula Hamilton and Linda Shopes, eds., Oral History and Public Memories Tiffany Ruby Patterson, Zora Neale Hurston and a History of Southern Life Lisa M. Fine, The Story of Reo Joe: Work, Kin, and Community in Autotown, U.S.A. Van Gosse and Richard Moser, eds., The World the Sixties Made: Politics and Culture in Recent America Joanne Meyerowitz, ed., History and September 11th John McMillian and Paul Buhle, eds., The New Left Revisited David M. Scobey, Empire City: The Making and Meaning of the New York City Landscape Gerda Lerner, Fireweed: A Political Autobiography Allida M. Black, ed., Modern American Queer History Eric Sandweiss, St. Louis: The Evolution of an American Urban Landscape Sam Wineburg, Historical Thinking and Other Unnatural Acts: Charting the Future of Teaching the Past Sharon Hartman Strom, Political Woman: Florence Luscomb and the Legacy of Radical Reform Michael Adas, ed., Agricultural and Pastoral Societies in Ancient and Classical History Jack Metzgar, Striking Steel: Solidarity Remembered Janis Appier, Policing Women: The Sexual Politics of Law Enforcement and the LAPD Allen Hunter, ed., Rethinking the Cold War Eric Foner, ed., The New American History. Revised and Expanded Edition E SSAYS ON _ T WENTIETH- C ENTURY H ISTORY Edited by ...
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