...Sue Monk Kidd’s novel The Invention of Wings describes both the life of a slave, Handful, and her master’s daughter, Sarah, as well as their relationships with each other, family, and outsiders. They fervently fight to alter society’s view on slavery. Sue Monk Kidd conveys the convention of narrative voice to communicate the messages of the novel to the audience. Kidd utilizes Handful, a slave, and Sarah Grimke, the daughter of a rich plantation owner, as assertive and engaging narrators in order to influence the emotions of the readers. Sue Monk Kidd uses first person point of view to assist the reader in noticing the protagonists’ strong personalities and ideas throughout the novel. The story alternates narrators each chapter. Frequently...
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...This article also examines Nasca ceramics in order to understand their worldview, though this article differs as it mentions information regarding Nasca religious ritualism. The main arguments for this article is that plant hallucinogens and stimulants were used in religious rituals by shamans. It also argues that personal ecstasy was used by the Nasca as a mean method to contact the supernatural. This article evaluates the role of plant hallucinogens commonly used by Nasca and this culture’s belief system and ceremonialism. In more detail the article analyzes an image named “flying god of Paracas”, which is found on many famous embroidered cloths, this image is argued to be regional religious-political leaders who controlled aspects of daily life and the difficult ecological limitations of the...
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...the Club: Ecstasy Use and Supply in a London Nightclub’ Table of contents: 1. Overview 3 2. Qualitative research approach methods and Quantitative research approach 4 3. The strength and weakness of Observation data collection 6 4. The strength and weaknesses of in-depth interview 6 5. Focus group discussion 7 6. Conclusion 9 7. References 10 Overview The aim of this report is to evaluate the qualitative study ‘In the Club: Ecstasy Use and Supply in a London Nightclub’ by Bill Sanders which was published in 2005 in the Sociology journal. The report will give a brief overview of the research aims, a description of the methods used, and explain the main findings reported in the paper that have been selected. A discussion of why a qualitative research approach has been chosen for the research question or questions posed in the study will also be evaluated. Furthermore, the use of an extended evaluation of the strengths and weaknesses of the method or methods used in the research will focus in particular upon their appropriateness to the project’s key research question or questions posed and the robustness of the claims made in the article. Finally, a consideration of the potential contribution that a different qualitative method could have on the research question asked will be conducted to assess its strengths and weaknesses. The research was to explore what was widely known about those that used the drug ecstasy, those that...
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...Abstract Raves have historically referred to grass-roots organized, anti-establishment and unlicensed all night dance parties, featuring electronically-produced dance music (EDM), such as techno, house, trance and drum and bass. Since their late 1980s origins in the U.K., raves have gained widespread popularity and transformed dramatically. Consequently, their many cultural traits and behaviors have garnered much sociological interest, which mostly falls into two competing perspectives: cultural studies and public health. In this paper, we review what raves look like today compared to their high point in the 1990s. We then discuss how the cultural studies and public health perspectives define raves and have studied them over time, focusing on the “pet” sociological concepts each has sought to advance. Our analysis of these literatures reveals important differences in rave research by country and over time. We end by discussing the politics associated with the shift in rave research. Introduction Society has been greatly influenced by many alternative scenes, subcultures, or lifestyles oriented around music, youth and young adults (Epstein 1998). Some of the more notable ones include the English punk scene in the 1970s- 1980s, the U.S. jazz (1930s-1940s) and hippie scenes (1970s), and the 1990s rave scenes in the U.K. and U.S. From them have come musical innovation, social identity, fashion and other aesthetic nuances, and mainstream and alternative cultural production...
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...is very effective in evoking feelings from great anger and bitterness to terrible sadness and even sarcasm, making the reader sometimes even feel guilty. Whichever way he chooses to portray the pity of the war the end result is always the same. "Dulce Et Decorum Est" is a direct attack at the people in Britain who had been taken in by the propaganda drive by telling them the truth of what life is really like at the front and in what conditions their sons, fathers, brothers etc. are in. "Dulce Et Decorum Est" consists of four unequal stanzas, the first two in sonnet form, and the last two in a looser structure. The first stanza sets the scene of soldiers limping back from the front. The authorial stance is of Owen telling us of his own personal experiences. The second stanza focuses on one man who could not get his gas mask on in time. This is a recurring nightmare that Owen has, where he sees one man "drown" in the gas and in the third stanza he describes how the man "plunges" at Owen, "guttering, choking, drowning." This is an image Wilfred Owen will never forget. The fourth and final stanza, Wilfred Owen again attacks the people at home who uphold the continuance of the war, unaware ofthe reality. He wishes they could experience his own "smothering dreams" which he then goes on to describe in great detail. At the end of this poem he appeals to people not to tell children "Dulce et decorum est pro patria...
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...theThreshold to the "special world", 6. Tests, Allies and Enemies, 7. Approach to the Innermost Cave, 8. The Ordeal, 9. Reward, 10. The Road Back, 11. The Resurrection, 12. Return with the Elixir. In narratology and comparative mythology, the monomyth, or the hero's journey, is the common template of a broad category of tales that involve a hero who goes on anadventure, and in a decisive crisis wins a victory, and then comes home changed or transformed.[1] The concept was introduced by Joseph Campbell in The Hero with a Thousand Faces (1949), who described the basic narrative pattern as follows: A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[2] Campbell and other scholars, such as Erich Neumann, describe narratives of Gautama Buddha, Moses, and Christ in terms of the monomyth. Critics argue that the concept is too broad or general to be of much usefulness in comparative mythology. Others say that the hero's journey is only a part of the Monomyth. The other part is a sort of different form, or color, of the hero's journey ------------------------------------------------- erminology[edit] Campbell borrowed the word monomyth from Joyce's Finnegans Wake (1939). Campbell was a notable scholar of James Joyce's...
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...until it takes over behind the wheel, and fuels our actions. It can cloud our judgment and reduce us to a state of primal licentiousness. This insatiable desire for material and corporeal consumption is known as lust. The Oxford English Dictionary itself takes several stances on the meaning of the word. The first definition is simple: “Pleasure, delight” (OED 1). This definition doesn’t accentuate the sinful connotation of the word. It describes something charming, attractive, and friendly. The next definition that the OED gives is “desire, appetite, relish, or inclination for something” (OED 2). With this definition, we are able to detect more of a connotation of a strong ache for something that, when attained, brings about a sort of ecstasy only caused by that object of lust. A more recent definition, “Sexual appetite or desire. Chiefly and now exclusively implying intense moral reprobation: Libidinous desire, degrading animal passion” (OED 4), finally associates lust with reprehensibility. It denotes specifically the sinful nature of such passion associated with the flesh, and indicates how lending ourselves to such desires debases our humanity. While a dictionary is widely considered to be a purely un-biased source, the OED reflects bias in the order it has listed the variations of this definition. The editors of the OED show that they don’t consider the sinfulness of lust to be the most important part of the definition by listing this variation after two that do not have...
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...The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows. Jack Post Abstract Although Douglas Sirk’ All That Heaven Allows (1954) and Todd Haynes’ Far from Heaven (2002) are both characterized as melodramas, they address their spectators differently. The divergent (emotional) reactions towards both films are the effect of different rhetorical strategies: the first can be seen a typical example of baroque discourse and the latter as a specimen of mannerist discourse. The reference to the terms melodrama, mannerism and baroque does not imply that these films are just formal repetitions of historical periods or that they thematically and structurally refer to historical styles, but that they are characterized by opposing discursive strategies which came to the foreground in a specific historical time and constellation. Because these discursive strategies return in other historical periods and socialpolitical circumstances in different guises and with different aims, they can be compared to what Aby Warburg calls Pathosformeln (pathos formula). The expressive forms, gestures and discursive modes of melodrama, baroque and mannerism can thus be understood as transhistorical (gestural) languages of pathos that recur in history. Résumé Bien que All that heaven allows (1954) par Douglas Sirk et Far from heaven (2002) par Todd Haynes se caractérisent nettement comme un mélodrame, les deux films adressent...
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...Through out history the world has seen some generations that have made an impact more than all of its predecessors. The decade from 1960 to 1970 was definitely one of those eras. The people didn't follow the teachings of its elders, but rejected them for an alternative culture, which was their very own (MacFarlane124). Made up of the younger population of the time this new culture was such a radical society that they were given their own name, which is still used today. They came to be called the Hippies. The Hippie movement started in San Francisco, California and spread across the United States, through Canada, and into parts of Europe (Hippie). But it had its greatest influence in America. During the 1960's a radical group called the Hippies shocked America with their alternative lifestyle and radical beliefs. Hippies came from many different places and had many different backgrounds. All Hippies were young, from the ages of 15 to 25 (Hippie). They left their families and did it for many different reasons. Some rejected their parents' ideas, some just wanted to get away, and others simply were outcasts, who could only fit in with the Hippie population. Fewer than twenty-five became a magical age. Young people all over the world were united by this bond (MacFarlane, 71). This bond was of Non-conformity and it was the Creed of the Young (MacFarlane, 75). Most Hippies came from wealthy middle class families. Some people said that they were spoiled and wasting their lives...
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...August 20, 2015 3.2.13 Practice: Revision Strategies The tempest one of the most difficult Shakespearean works in my opion to stage, from its stormy, chaotic first scene to its sureality to its ambiguous resolution, with Prospero facing his silent, treacherous brother and renouncing the power that has made every action in the story possible. Potent language remains the central force and mystery of this fathomless play. Prospero speaks almost a third of the lines in The Tempest, and controls the amount of speech every other character on the island has through manipulation and magic. Prospero’s narrative of how he came to the island, what he did once there, and what he is owed for this history, goes largely unchallenged in the text. Yet the play offers innumerable readings and opportunities for alternate staging, particularly in light of postcolonial discourse about Prospero’s relationship with Ariel and Caliban, the legitimacy of his authority, and the nature of his magic and command over language. Though Prospero can be played many ways, there is no doubt he is The Tempest’s show runner. The metatheatrical nature of the play sometimes detracts from its action on the page, but it also offers the chance to explore exactly why Prospero needs an audience for his revenge, and whether or not it satisfies him, onstage. Prospero restricts the sight and knowledge of the other characters, putting them to sleep or manipulating them with invisible forces, but he often lets us, the audience...
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...The body as image - An analysis of the postmodern characteristics of tattoos in contemporary society Introduction In recent years few terms have been so widely discuss as ”postmodernism” in order to define its basic principals. Despite a lack of consensus, most authorities agree that postmodernism represents some kind of reaction to, or departure from, modernism and modernity (Brown 1993). The consumer of the modern society is distinguished by being self-reflexive and rational while the characteristics of the irrational postmodern consumer are hyperreality, fragmentation, reversals of production and consumption, decentring of the subject, paradoxical juxtapositions, and loss of commitment (Firat et al, 1995). The ability and willingness to represent different self-images in fragmented moments liberates the consumer from conformity to a single image, to seeking continuity and consistency among roles played throughout life. This self-referential identity of the postmodern consumer, and the general hostility towards generalization together with the rejection of the idea that human social experience has fundamental “real” bases are possibly the main defining differences between modernism and postmodernism (Firat et al, 1995). Despite the seemingly transformation in consumer behaviour modern marketing theory (e.g. Kotler, Porter, Ansoff etc.) of costumer segmentation and categorizing customers is still widely accepted and used by companies in the western society. In the...
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...and developed in directions set largely in France. Epic and Elegy gave way to romance and Lyric. English writing revived fully in English after 1360 and flowered in the reign of Richard II (1372-99). It gained a literary standard in London English after 1425 and developed modern forms of verse, prose and of Drama. The conquest of England in 1066 by William of Normandy displaced English as medium of literature. The language of new rulers was French. Saxons dealing with the King had to learn French and French was the language of court and the law for three centuries. Four genres of Middle English are: i. 1. Fabliau 2. Lyric 3. Dream Allegory 4. Ballad Geoffrey Chaucer Chaucer is the best story teller and the narrative poet. Chaucer tells his stories in a most effective way. He has the knack of transforming an old tale into a new one in such a manner that its appeal increases manifold and its human interest becomes perennial (lasting/permanent). An important feature of Chaucer's descriptive power is that his individual portrait also represents the type. Initially perhaps the sketches were devised to provide representatives of the chief classes of English society under the higher nobility. The portraits of the pilgrims are not all drawn in the same way. It is true that Chaucer...
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...The Lover-Duras The Lover (French title: L'Amant) is an autobiographical novel by Marguerite Duras, published in 1984 by Les Éditions de Minuit. It has been translated to 43 languages. It was awarded the 1984 Prix Goncourt. The Lover is also a 1992 movie based on this novel, directed by Jean-Jacques Annaud and starring Jane March and Tony Leung Ka Fai. The cast also included Lisa Faulkner. The film was nominated for the Academy Award for Best Cinematography. Summary of the movie Set against the backdrop of French colonial Vietnam, The Lover reveals the intimacies and intricacies of a clandestine romance between a pubescent girl (Jane March), from a financially strapped French family and an older, wealthy Chinese man (Tony Leung Ka-Fai). The story is narrated by Jeanne Moreau, portraying a writer looking back on her youth. In 1929, a 15 year old nameless girl is traveling by ferry across the Mekong Delta, returning from a holiday at her family home in the village of Sadec, to her boarding school in Saigon. She attracts the attention of a 32 year old son of a Chinese business magnate, a young man of wealth and heir to a tidy fortune. He strikes up a conversation with the girl; she accepts a ride back to town in his chauffeured limousine. Compelled by the circumstances of her upbringing, this girl, the daughter of a bankrupt, manic-depressive widow, is newly awakened to the impending and all-too-real task of making her way alone in the world. Thus, she becomes his lover, until...
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...molestation of women in the novel. Communal hatred that engulfs the city of Delhi has been presented in all its ugliness through incidents described in the novel. The death and destruction that is perpetrated by both the communities on each other is a grotesque reminder of the folly of man who cannot feel the pain and misery of another. The writer, however, concludes the narrative on a subtle note of hope and promise. Creative writers, unless they chose like Raja Rao to completely ignore Partition, have been writing about it ever since 1947. The heat and dust raised by the catastrophe did not settle down for a long time. The unnaturalness of communal strife that gripped the country at that time is still beyond human understanding. Kumar has used the backdrop of Partition in his novel as “a gift of British diplomacy which thrived on the political ambition and the resultant myopia of the seekers of power who chose the trauma for glory.”1. What is different about the novel is that here the writer does not give the picture of different communities living peacefully. Partition has already drifted them apart as the narrative begins. For Kumar Partition is an experience that he lived and felt as he himself migrated from Lahore to Delhi in August 1947. Thus, in A River With Three Banks he looks back at the event after a gap of...
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...Abstract Facebook.com, a popular online social network site, provides its users with a means for representing their identities in the digital world.[1] With the “Profile,” each user can manipulate his or her online identity that concurrently delineates personal information and converses with other online identities or “Friends.” Gender, date of birth, hobbies, interests, and relationship status are some of the identifying pieces of information that users display to fill out their Profile. The Profile not only depicts the user, but also shapes the representation of other individuals on Facebook. Scholars have recently begun to study the Facebook phenomenon using surveys and statistical analyses, but none have used ethnography as a means for analysis. This paper draws upon ethnographic data to provide a phenomenological explanation to the Facebook experience. It argues that the digital world is a large part of the experience of young Americans and that the Internet is more social than commonly thought.[2] Moreover, this paper problematizes the static nature of the Profile, arguing that the Profile converses directly with others’ Profiles in a constantly changing digital context that is simultaneously recreated and interpreted. Introduction Embodied conversation between individuals begins when they weave performance and interpretation into an intricate dance that allows individuals to consider voice and body cues. Meaning is interpreted from the context of the conversation...
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