Brutus and Antony Free Essays

What can you do to be seen as an exceptional adequate speaker? Brutus and Antony are both noble people that are both fair speakers in William Shakespeare’s play, Julius Cesar. Both people spoke at Cesar’s funeral trying to persuade their audience about his death. Brutus, who killed Cesar, tries to explain to the audience why he did such a thing, and Antony explains why what Brutus did was wrong. We will write a custom essay sample on Brutus and Antony or any similar topic only for you Order Now Although Brutus was a good orator and uses rhetoric well, Antony had the more persuasive speech overall. Antony had better use of emotional appeals, loaded words, and tone. Emotional appeals are arguments that attempt to persuade by feelings. Since Antony can’t say that Brutus is a bad person, he starts off with an ethical appeal. â€Å"The noble Brutus† (5). However, he says that line sarcastically, and soon proves to his audience that Brutus is wrong about Cesar by using an emotional appeal. â€Å"Hath told you Cesar was ambitious If it were so, it was grievous fault, And grievously hath Cesar answered it† (6-8). He’s great at getting the audience thinking about if Brutus is actually noble and is one reason why Antony is a better speaker than Brutus. Second, loaded words are words that have strong emotional tones beyond its meaning. Antony uses loaded words to sway the people into his thinking that Caesar was good. â€Å"For Brutus is an honorable man, So are they all, all honorable men†(11-12). â€Å"Yet Brutus says he was ambitious; And yet Brutus is an honorable man†(25-26). He repeats these lines often throughout his speech. Antony uses words like honorable and ambitious. This can be seen as a momentum that pushes his argument further. By the use of loaded words, Antony catches the attention of the of his audience and persuades them in a great manor. Lastly, tone, which is the speaker’s attitude toward the audience. Mark Antony uses a subtle and eloquent tone in his speech. This is in contrast to the rational tone of Brutus’s speech. â€Å"Friends, Romans, countrymen, lend me your ears;† (1). Whereas Brutus’ speech starts off more weak and and calmer which wouldn’t grab the audience’s attention as much as Antony’s beginning speech. Overall, Antony had a more persuasive speech and it probably made the audience feel more included. He used a lot of appeals that let his audience to be more persuaded by his speech. He had a more stronger connection towards the audience and used skilled rhetoric, iambic meter, and manipulation in his speech. How to cite Brutus and Antony, Essay examples

In Flanders Fields Essay Example For Students

In Flanders Fields Essay In Flanders FieldsIn Flanders fields the poppies blow Between the crosses, row on row,That mark our place; and in the skyThe larks, still bravely singing, flyScarce heard amid the guns below.We are the Dead. Short days agoWe lived, felt dawn, saw sunset glow,Loved, and were loved, and now we lieIn Flanders fields.Take up our quarrel with the foe:To you from failing hands we throwThe torch; be yours to hold it high.If ye break faith with us who dieWe shall not sleep, though poppies growIn Flanders fields.#9;John McCraes ;quot;In Flanders Fields;quot; as a Canadian Cultural Artifact;nbsp;The poem, ;quot;In Flanders Fields;quot; written by Canadian John McCrae remains one of the most important and memorable pieces of war poems ever written. John McCrae came from a respectable family and became a soldier/ doctor/ author/ teacher. Though he wrote textbooks on medicine and numerous poems he will be forever remembered as being the voice of the many who had fallen during WWI. ;quot;In Flande rs Field,;quot; stirred the hearts of soldiers and their familys everywhere- not just Canada. In a simple language and with flowing verse it vividly evoked the situation and emotions of the front line troops. John McCraes poem later inspired the poppy to become the symbol of Remembrance and sacrifice.;#9;John McCrae was born in Guelph, Ontario on November 30,1872 to two established, respectable and hardworking Scottish parents, David McCrae and Janet Simpson Eckford. The McCraes were staunch Presbyterians with the resilience and self-reliance of second-generation pioneers in Canada. David McCrae instilled a strong sense of duty and healthy respect for military values in his two sons. John McCrae was offered a scholarship from the University of Toronto in 1888 where he went on to study physiology and pathology as well, McCrae wrote poetry for the school paper The Varsity. From there he graduated from medical school with a gold medal for his outstanding academic performance. In 1899 h e moved to Montreal to accept a fellowship in pathology and to study at the McGill University School of Medicine. Although McCrae was devoted to his medical career; when the Boer War erupted he was one of the first volunteers who wished to go and contribute to the defense of the Empire. John McCrae had been brought up to cherish the duty of fighting for ones country and was eager to do his part. The Boer (in 1899) war was his first experience where his military skills as a soldier came before his role of doctor. When Britain declared war in 1917 and joined forces with the Allied powers, Canada followed suit immediately. McCrae had seen first hand the deadly effects of war and had no illusions of what to expect. McCrae was assigned to be surgeon to the 1st Field Artillery Brigade. He felt he was one of the most qualified doctor-soldiers in the country and felt his obligation to the country and to the Empire. McCraes greatest test would come when his Canadian contingent were sent to t he Ypres Salient. Up to this point the Canadians were not regarded as fighting soldiers and were thus given the assignment of occupying this relatively quite sector of the front. The importance of Ypres would soon be realized when on April 22, 1915 the German line used the first poisonous gas attack in war against the Canadians and Algerians troops to gain access to the important roads that intersected in Ypres. The Algerian troops fled leaving a gap of six kilometers along the trench system. Now the German side had the ability to take control of the area. Somehow the gap was filled with the Canadians who even managed to counterattack, a strategy that came as a complete surprise to the Germans. John McCraes post was near a particularly dangerous section of the road. The Germans had it covered with artillery fire for seventeen days of battle. McCrae would later write:#9;quot;Seventeen days of Hades! At the end of the first day if anyone had told us we had to spend seventeen days ther e, we would have folded our hands and said it could not be done. After the Second Battle of Ypres there was no longer any doubt of the courage and strength of the Canadian troops. On May 2nd, McCraes close friend and one time student, Lieutenant Alexis H. Helmer was killed by a German shell. McCrae performed the burial himself in the absence of a chaplain service that night to avoid any enemy detention. The next day during a lull in the fighting, McCrae took a break and stared at the cemetery where his friend was buried the day before. He noticed that each day the rows of white crosses grew longer and the field of Flanders was carpeted with blood red poppies. John McCrae then spent twenty minutes scribbling fifteen lines of verse on a scrap piece of paper. When he was done he took the piece of paper and gave it to Cyril Allinson, a twenty-two year old sergeant major who was delivering mail that day. Allinson describes the seen:quot;The poem was exactly an exact description of the sc ene in front of us both. He used the word blow in that line because the poppies actually were being blown that morning by a gentle east wind. It never occurred to me at that time that it would ever be published. It seemed to me just an exact description of the scene.quot; General Morrison wrote, quot;this poem was literally born of fire and blood during the hottest phases of the 2nd Battle of Ypres.quot; The poem was eventually sent to England. The Spectator in London rejected it but Punch published it on December 8, 1915. Physics Problem EssayGranfield, Linda. In Flanders Fields: The Story of the Poem by John McCrae. Toronto: Lester Publishing Limited, 1995. In Flanders Fields Museum. September 1998. http://www.inflandersfield.be (October 12,1999). McCrae, John. In Flanders Fields. Toronto: William Briggs, 1919. Prescott, John F. In Flanders Fields: The Story of John McCrae. Ontario: The Boston Mill Press, 1985. Ruggenberg, Rob. ;quot;In Flanders Fields.;quot; The Heritage of the Great War. 1995. http://www.iaenv.nl/users/robr/poppies.html (October 12, 1999). Smithson, Dan. In Flanders Fields. Toronto: Fitzhenry ;amp; Whiteside Limited, 1984. Vance, F Jonathan. Death So Noble: Memory, Meaning and the First World War. Vancouver: UBC Press, 1997.

The Self in the World the Social Context of Sylvia Plaths Late Poems Essay Example

The Self in the World: the Social Context of Sylvia Plaths Late Poems Essay The Self in the World: The Social Context of Sylvia Plaths Late Poems, [(essay date 1980) In the following essay, Annas offers analysis of depersonalization in Plaths poetry which, according to Annas, embodies Plaths response to oppressive modern society and her dual consciousness of self as both subject and object. ] For surely it is time that the effect of disencouragement upon the mind of the artist should be measured, as I have seen a dairy company measure the effect of ordinary milk and Grade A milk upon the body of the rat. They set two rats in cages side by side, and of the two one was furtive, timid and small, and the other was glossy, bold and big. Now what food do we feed women as artists upon? Virginia Woolf, A Room of Ones Own The dialectical tension between self and world is the location of meaning in Sylvia Plaths late poems. Characterized by a conflict between stasis and movement, isolation and engagement, these poems are largely about what stands in the way of the possibility of rebirth for the self. In Totem, she writes: There is no terminus, only suitcases / Out of which the same self unfolds like a suit / Bald and shiny, with pockets of wishes / Notions and tickets, short circuits and folding mirrors. While in the early poems the self was often imaged in terms of its own possibilities for transformation, in the post-Colossus poems the self is more often seen as trapped within a closed cycle. One movesbut only in a circle and continuously back to the same starting point. Rather than the self and the world, the Ariel poems record the self in the world. We will write a custom essay sample on The Self in the World: the Social Context of Sylvia Plaths Late Poems specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The Self in the World: the Social Context of Sylvia Plaths Late Poems specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The Self in the World: the Social Context of Sylvia Plaths Late Poems specifically for you FOR ONLY $16.38 $13.9/page Hire Writer The self can change and develop, transform and be reborn, only if the world in which it exists does; the possibilities of the self are intimately and inextricably bound up with those of the world. Sylvia Plaths sense of entrapment, her sense that her choices are profoundly limited, is directly connected to the particular time and place in which she wrote her poetry. Betty Friedan describes the late fifties and early sixties for American women as a comfortable concentration campphysically luxurious, mentally oppressive and impoverished. The recurring metaphors of fragmentation and reificationthe abstraction of the individualin Plaths late poetry are socially and historically based. They are images of Nazi concentration camps, of fire and bombs through the roof (The Applicant), of cannons, of trains, of wars, wars, wars (Daddy). And they are images of kitchens, iceboxes, adding machines, typewriters, and the depersonalization of hospitals. The sea and the moon are still important images for Plath, but in the Ariel poems they have taken on a harsher quality. The moon, also, is merciless, she writes in Elm. While a painfully acute sense of the depersonalization and fragmentation of 1950s America is characteristic of Ariel, three poems describe particularly well the social landscape within which the I of Sylvia Plaths poems is trapped: The Applicant, Cut, and The Munich Mannequins. The Applicant is explicitly a portrait of marriage in contemporary Western culture. However, the courtship and wedding in the poem represe nt not only male/female relations but human relations in general. That job seeking is the central metaphor in The Applicant suggests a close connection between the capitalist economic system, the patriarchal family structure, and the general depersonalization of human relations. Somehow all interaction between people, and especially that between men and women, given the history of the use of women as items of barter, seems here to be conditioned by the ideology of a bureaucratized market place. However this system got started, both men and women are implicated in its perpetuation. As in many of Plaths poems, one feels in reading The Applicant that Plath sees herself and her imaged personae as not merely caught invictims ofthis situation, but in some sense culpable as well. In The Applicant, the poet is speaking directly to the reader, addressed as you throughout. We too are implicated, for we too are potential applicants. People are described as crippled and as dismembered pieces of bodies in the first stanza of The Applicant. Thus imagery of dehumanization begins the poem. Moreover, the pieces described here are not even flesh, but a glass eye, false teeth or a crutch, / A brace or a hook, / Rubber breasts or a rubber crotch. We are already so involved in a sterile and machine-dominated culture that we are likely part artifact and sterile ourselves. One is reminded not only of the imagery of other Plath poems, but also of the controlling metaphor of Ken Keseys One Flew Over the Cuckoos Nest, written at about the same time as The Applicantin 1962, and Chief Bromdens conviction that those people who are integrated into society are just collections of wheels and cogs, smaller replicas of a smoothly functioning larger social machine. The ward is a factory for the Combine, Bromden thinks. Something that came all twisted different is now a functioning, adjusted component, a credit to the whole outfit and a marvel to behold. Watch him sliding across the land with a welded grin . . . In stanza two of The Applicant, Plath describes the emptiness which characterizes the applicant and which is a variant on the roboticized activity of Keseys Adjusted Man. Are there stitches to show somethings missing? she asks. The applicants hand is empty, so she provides a hand To fill it and willing To bring teacups and roll away headaches And do whatever you tell it Will you marry it? Throughout the poem, people are talked about as parts and surfaces. The suit introduced in stanza three is at least as alive as the hollow man and me chanical doll woman of the poem. In fact, the suit, an artifact, has more substance and certainly more durability than the person to whom it is offered in marriage. Ultimately, it is the suit which gives shape to the applicant where before he was shapeless, a junk heap of fragmented parts. I notice you are stark naked. How about this suit Black and stiff, but not a bad fit. Will you marry it? It is waterproof, shatterproof, proof Against fire and bombs through the roof. Believe me, theyll bury you in it. The man in the poem is finally defined by the black suit he puts on, but the definition of the woman shows her to be even more alienated and dehumanized. While the man is a junk heap of miscellaneous parts given shape by a suit of clothes, the woman is a wind-up toy, a puppet of that black suit. She doesnt even exist unless the black suit needs and wills her to. Will you marry it? It is guaranteed To thumb shut your eyes at the end And dissolve of sorrow. We make new stock from the salt. The woman in the poem is referred to as it. Like the man, she has no individuality, but where his suit gives him form, standing for the role he plays in a bureaucratic society, for the work he does, the only thing that gives the woman form is the institution of marriage. She does not exist before it and dissolves back into nothingness after it. In The Applicant there is at least an implication that something exists underneath the mans black suit; that however fragmented he is, he at least marries the suit and he at least has a choice. In contrast, the woman is the role she plays; she does not exist apart from it. Naked as paper to start, Plath writes, But in twenty-five years shell be silver, In fifty, gold. A living doll, everywhere you look. It can sew, it can cook. It can talk, talk, talk. The man, the type of a standard issue corporation junior executive, is also alienated. He has freedom of choice only in comparison to the much more limited situation of the woman. That is to say, he has relative freedom of choice in direct proportion to his role as recognized worker in the economic structure of his society. This should not imply, however, that this man is in any kind of satisfying and meaningful relation to his work. The emphasis in The Applicant upon the mans surfacehis black suittogether with the opening question of the poem (First, are you our sort of person? ) suggests that even his relationship to his work is not going to be in any sense direct or satisfying. It will be filtered first through the suit of clothes, then through the glass eye and rubber crotch before it can reach the real human being, assuming there is anything left of him. The woman in the poem is seen as an appendage; she works, but she works in a realm outside socially recognized labor. She works for the man in the black suit. She is seen as making contact with the world only through the medium of the man, who is already twice removed. This buffering effect is exacerbated by the fact that the man is probably not engaged in work that would allow him to feel a relationship to the product of his labor. He is probably a bureaucrat of some kind, and therefore his relationship is to pieces of paper, successive and fragmented paradigms of the product (whatever it is, chamberpots or wooden tables) rather than to the product itself. And of course, the more buffered the man is, the more buffered the woman is, for in a sense her real relationship to the world of labor is that of consumer rather than producer. Therefore, her only relationship to socially acceptable productionas opposed to consumptionis through the man. In another sense, however, the woman is not a consumer, but a commodity. Certainly she is seen as a commodity in this poem, as a reward only slightly less important than his black suit, which the man receives for being our sort of person. It can be argued that the man is to some extent also a commodity; yet just as he is in a sense more a laborer and less a consumer than the womanat least in terms of the social recognition of his positionso in a second sense he is more a consumer and less a commodity than the woman. And when we move out from the particularly flat, paper-like image of the woman in the poem to the consciousness which speaks the poem in a tone of bitter irony, then the situation of the woman as unrecognized worker/recognized commodity becomes clearer. The man in The Applicant, because of the middle class bureaucratic nature of his work (one does not wear a new black suit to work in a steel mill or to handcraft a cabinet) and because of his position vis-a-vis the woman (her social existence depends upon his recognition), is more a member of an exploiting class than one which is exploited. There are some parts of his world, specifically those involving the woman, in which he can feel himself relatively in control and therefore able to understand his relationship to this world in a contemplative way. Thus, whatever we may think of the system he has bought into, he himself can see it as comparatively stable, a paradigm with certain static features which nevertheless allows him to move upward in an orderly fashion. Within the context of this poem, then, and within the context of the womans relationship to the man in the black suit, she is finally both worker and commodity while he is consumer. Her position is close to that of the Marxist conception of the proletariat. Fredric Jameson, in Marxism and Form, defines the perception of external objects and events which arises naturally in the consciousness of an individual who is simultaneously worker and commodity. Even before [the worker] posits elements of the outside world as objects of his thought, he feels himself to be an object, and this initial alienation within himself takes precedence over everything else. Yet precisely in this terrible alienation lies the strength of the workers position: his first movement is not toward knowledge of the work but toward knowledge of himself as an object, toward self-consciousness. Yet this self-consciousness, because it is initially knowledge of an object (himself, his own labor as a commodity, his life force which he is under obligation to sell), permits him more genuine knowledge of the commodity nature of the outside world than is granted to middle-class objectivity. For [and here Jameson quotes Georg Lukacs in The History of Class Consciousness] his consciousness is the self-consciousness of merchandise itself . . . This dual consciousness of self as both subject and object is characteristic of the literature of minority and/or oppressed classes. It is characteristic of the proletarian writer in his (admittedly often dogmatic) perception of his relation to a decadent past, a dispossessed present, and a utopian future. It is characteristic of black American writers; W. E. B. Du Bois makes a statement very similar in substance to Jamesons in The Souls of Black Folk, and certainly the basic existential condition of Ellisons invisible man is his dual consciousness which only toward the end of that novel becomes a means to freedom of action rather than paralysis. It is true of contemporary women writers, of novelists like Doris Lessing, Margaret Atwood, and Rita Mae Brown, and of poets like Denise Levertov, Adrienne Rich, and Marge Piercy. In a sense, it is more characteristic of American literature than of any other major world literature, for each immigrant group, however great its desire for assimilation into the American power structure, initially possessed this dual consciousness. Finally, a dialectical perception of self as both subject and object, both worker and commodity, in relation to past and future as well as present, is characteristic of revolutionary literature, whether the revolution is political or cultural. Sylvia Plath has this dialectical awareness of self as both subject and object in particular relation to the society in which she lived. The problem for her, and perhaps the main problem of Cold War America, is in the second aspect of a dialectical consciousnessan awareness of oneself in significant relation to past and future. The first person narrator of what is probably Plaths best short story, Johnny Panic and the Bible of Dreams, is a clerk/typist in a psychiatric clinic, a self-described dream connoisseur who keeps her own personal record of all the dreams which pass through her office, and who longs to look at the oldest record book the Psychoanalytic Institute possesses. This dream book was spanking new the day I was born, she says, and elsewhere makes the connection even clearer: The clinic started thirty-three years agothe year of my birth, oddly enough. This connection suggests the way in which Plath uses history and views herself in relation to it. The landscape of her late work is a contemporary social landscape. It goes back in time to encompass such significant historical events as the Rosenberg trial and executionthe opening chapter of The Bell Jar alludes dramatically to these eventsand of course it encompasses, is perhaps obsessed with, the major historical event of Plaths time, the second world war. But social history seems to stop for Plath where her own life starts, and it is replaced at that point by a mythic timeless past populated by creatures from folk tale and classical mythology. This is not surprising, since as a woman this poet had little part in shaping history. Why should she feel any relation to it? But more crucially, there is no imagination of the future in Sylvia Plaths work, no utopian or even antiutopian consciousness. In her poetry there is a dialectical consciousness of the self as simultaneously object and subject, but in her particular social context she was unable to develop a consciousness of herself in relation to a past and future beyond her own lifetime. This foreshortening of a historical consciousness affects in turn the dual consciousness of self in relation to itself (as subject) and in relation to the world (as object). It raises the question of how one accounts objectively for oneself. For instance, if I am involved in everything I see, can I still be objective and empirical in my perception, free from myth and language? Finally, this foreshortening of historical consciousness affects the question of whether the subject is a function of the object or vice versa. Since the two seem to have equal possibilities, this last question is never resolved. As a result, the individual feels trapped; and in Sylvia Plaths poetry one senses a continual struggle to be reborn into some new present which causes the perceiving consciousness, when it opens its eyes, to discover that it has instead (as in Lady Lazarus) made a theatrical / Comeback in broad day / To the same place, the same face, the same brute / Amused shout: A miracle! This difficulty in locating the self and the concomitant suspicion that as a result the self may be unreal are clear in poems like Cut, which describe the self-image of the poet as paper. The ostensible occasion of Cut is slicing ones finger instead of an onion; the first two stanzas of the poem describe the cut finger in minute and almost naturalistic detail. There is a suppressed hyst eria here which is only discernible in the poems curious mixture of surrealism and objectivity. The images of the poem are predominantly images of terrorism and war, immediately suggested to the poet by the sight of her bleeding finger: out of a gap / A million soldiers run, Saboteur / Kamikaze man, and finally, trepanne d veteran. The metaphors of war are extensive, and, though suggested by the actual experience, they are removed from it. In the one place in the poem where the speaker mentions her own feelings as a complete entity (apart from but including her cut finger) the image is of paper. She says, O my Homunculus, I am ill. I have taken a pill to kill The thin Papery feeling. Paper often stands for the self-image of the poet in the post-Colossus poems. It is used in the title poem of Crossing the Water, where the two black cut-paper people appear less substantial and less real than the solidity and immensity of the natural world surrounding them. In the play Three Women, the Secretary says of the men in her office: there was something about them like cardboard, and now I had caught it. She sees her own infertility as directly related to her complicity in a bureaucratic, impersonal, male-dominated society. Paper is symbolic of our particular socioeconomic condition and its characteristic bureaucratic labor. It stands for insubstantiality; the paper model of something is clearly less real than the thing itself, even though in developed economies the machines, accoutrements, and objects appear to have vitality, purpose, and emotion, while the people are literally colorless, objectified, and atrophied. The paper self is therefore part of Plaths portrait of a depersonalized society, a bureaucracy, a paper world. In A Life (Crossing the Water), she writes: A woman is dragging her shadow in a circle / About a bald hospital saucer. / It resembles the moon, or a sheet of blank paper / And appears to have suffered a private blitzkrieg. In Tulips the speaker of the poem, also a hospital patient, describes herself as flat, ridiculous, a cut-paper shadow / Between the eye of the sun and the eyes of the tulips. In The Applicant, the woman is again described as paper: Naked as paper to start / But in twenty-five years shell be silver, / In fifty, gold. Here in Cut, the thin, / Papery feeling juxtaposes her emotional dissociation from the wound to the horrific detail of the cut and the bloody images of conflict it suggests. It stands for her sense of depersonalization, for the separation of self from self, and is juxtaposed to that devaluation of human life which is a necessary precondition to war, the separation of society from itself. In this context, it is significant that one would take a pill to kill a feeling of substancelessness and depersonalization. Writing about American women in the 1950s, Betty Friedan asks, Just what was the problem that had no name? What were the words women used when they tried to express it? Sometimes a woman would say, I feel empty somehow . . . incomplete. Or she would say, I feel as if I dont exist. Sometimes she blotted out the feeling with a tranquilizer. A papery world is a sterile world; this equation recurs throughout the Ariel poems. For Sylvia Plath, stasis and perfection are always associated with sterility, while fertility is associated with movement and process. The opening lines of The Munich Mannequins introduce this equation. Perfection is terrible, Plath writes, it cannot have children. / Cold as snow breath, it tamps the womb / Where the yew trees blow like hydras. The setting of The Munich Mannequins is a city in winter. Often, Plaths poems have imaged winter as a time of rest preceding rebirth (Wintering, Frog Autumn), but only when the reference point is nature. The natural world is characterized in Sylvia Plaths poems by process, by the ebb and flow of months and seasons, by a continu al dying and rebirth. The moon is a symbol for the monthly ebb and flow of the tides and of a womans body. The social world, however, the world of the city, is both male defined and separated from this process. In the city, winter has more sinister connotations; it suggests death rather than hibernation. Here the cold is equated with the perfection and sterility to which the poems opening lines refer. Perfection stands in The Munich Mannequins for something artificially created and part of the social world. The poem follows the male quest for perfection to its logical endmannequins in a store windowlifeless and mindless in their sulphur loveliness, in their smiles. The mannequins contrast with the real woman in the same way that the city contrasts with the moon. The real woman is not static but complicated: The tree of life and the tree of life Unloosing their moons, month after month, to no purpose. The blood flood is the flood of love, The absolute sacrifice However, in Munich, morgue between Paris and Rome, the artificial has somehow triumphed. Women have become mannequins or have been replaced by mannequins, or at least mannequins seem to have a greater reality because they are more ordered and comprehensible than real women. It is appropriate that Plath should focus on the middle class of a German city, in a country where fascism was a middle class movement and women allowed themselves to be idealized, to be perfected, to be made, essentially, into mannequins. In The Munich Mannequins, as in The Applicant, Plath points out the deadening of human beings, their disappearance and fragmentation and accretion into the objects that surround them. In The Applicant the woman is a paper doll; here she has been replaced by a store window dummy. In The Applicant all that is left of her at the end is a kind of saline solution; in The Munich Mannequins the only remaining sign of her presence is the domesticity of these windows / The baby lace, the green-leaved confectionery. And where the man in The Applicant is described in terms of his black suit, here the men are described in terms of their shoes, present in the anonymity of hotel corridors, where Hands will be opening doors and setting Down shoes for a polish of carbon Into which broad toes will go tomorrow. People accrete to their things, are absorbed into their artifacts. Finally, they lose all sense of a whole self and become atomized. Parts of them connect to their shoes, parts to their suits, parts to their lace curtains, parts to their iceboxes, and so on. There is nothing left; people have become reified and dispersed into a cluttered artificial landscape of their own production. Because the world she describes is a place created by men rather than women (since men are in control of the forces of production), Plath sees men as having ultimate culpability for this state of affairs which affects both men and women. But men have gone further than this in their desire to change and control the world around them. In The Munich Mannequins man has finally transformed woman into a puppet, a mannequin, something that reflects both his disgust with and his fear of women. A mannequin cannot have children, but neither does it have that messy, terrifying, and incomprehensible blood flow each month. Mannequins entirely do away with the problems of female creativity and self-determination. Trapped inside this vision, therefore, the speaker of the Ariel poems sees herself caught between nature and society, biology and intellect, Dionysus and Apollo, her self definition and the expectations of others, as between two mirrors. Discussion of the Ariel poems has often centered around Sylvia Plaths most shocking images. Yet her images of wars and concentration camps, of mass and individual violence, are only the end result of an underlying depersonalization, an abdication of people to their artifacts, and an economic and social structure that equates people and objects. Like the paper doll woman in The Applicant, Sylvia Plath was doubly alienated from such a world, doubly objectified by it, and as a woman artist, doubly isolated within it. Isolated both from a past tradition and a present community, she found it difficult to structure new alternatives for the future. No wonder her individual quest for rebirth failed as it led her continuously in a circle back to the same self in the

Teacher Interview Essays

Teacher Interview Essays Teacher Interview Essay Teacher Interview Essay What degrees do you have and why did you choose to teach? Mrs. Henry received her bachelors degree from Hampton University in 1986. Under the supervision of her old high school she was able to assist the elementary, preferably kindergarten through the six grades. That was where her Journey began even though her math teacher wanted her to pursue a career in engineering . However, with the asking love that she had for her young students was overwhelming she could not turn from her goal of becoming a teacher. What motivates you to keep teaching? What motivates Mr. Henry o keep teaching is the need for dedicated teachers to fill the void of educating the future generation with the gratification that she received through her accomplishments and positive repertoire with students and their parents. Teaching them the value of self-worth that promotes the love of learning and receiving higher levels of education. She also said that these young people are not only her students, but also an iatrical part of her school family. Over the years they gathered for several reunions in which she was introduced to their families. What has been your worst eaching moment? One of her worst teaching moments came recently in her 28th years of teaching. When a student disrespected her by an outburst of profanity. She disregarded class rules, respect for herself and peers. She rant and raved about her pleas to turn in all completed assignments despite her blatant disrespect toward Mrs. Henry. Although, she disrespected Mrs. Henry on numerous occasions she still treated her with dignity and respect. This was done to show her that there other ways of expressing ones anger. She was then promoted to the middle school and to Mrs. Henry surprised she returned to her class with an enthusiastic hug and apology. She told her that she spent the summer thinking about what she had done, and mostly about how Mr. Henry treated her with love and respect. What has been your best teaching moment? Mrs. Henry best teaching moment is that Oh ho moment when the student finally understands a skill being taught. This was received with excitement on their face exclaiming that Mrs. Henry makes teaching fun. What do you wish you had known before you started teaching? Ms. Henry wishes she had known she didnt need all of those theory classes in college. What would you say your biggest challenges were as a first-year teacher? The biggest challenge Mrs. Henry had as a first year teacher was establishing class rules and assuring herself to the students, because she came in after the school year had begun. And, her first day on the Job as a government shut down where all employees were on strike. This was a major struggle for Mrs. Henry because she found it very difficult building relationships with her employees that considered her to be a ( Scap) meaning not showing the commitment of striking. However throughout the years they became best of friends. If you had one piece of advice for an entry year teacher, what would it be? One piece of advice she would give to a first year teacher would be, that the teaching profession enables love to positively change and mold lives. Lifelong relationships can foster through and embrace each child to become successful members of our modern society. And, its definitely not a get rich it all over again she would like to change the minds of high level officials, community members, and anyone who takes advantage of our youths,by not providing them with the necessary materials, technological equipment, and proper facilities.

The Clouds as Mental Therapy Essay Example | Topics and Well Written Essays - 250 words

The Clouds as Mental Therapy - Essay Example The researcher will strive to bring the concept of aesthetic healing whereby the city residents can heal their disturbed mind through nature therapy. In this project, the researcher wishes people can look at the sky and engage their mind by thinking about the artwork that brings the shapes of the clouds. Actually, an installation made in clouds shape, and recap about their childhood which let them have a breath and break from their routine tasks. Unfortunately, modern people forget about their childhood where they had a dream and passion for the world. In the current world, people get obsessed with the new idea and they have a fixed mind that the new idea can change the world. In order to unburden ones with tired mind and body, the researcher is going to give them a break and mental relief within their imagination. The clouds are marveling; that nature and artwork so mysterious such that when one sees the installation done in a cloud shape, they can play around within their mind like what we did in our childhood. Finally, one would have a mental relief that most of the city dwellers desperately need.

Business Communication and ICT Essay Example | Topics and Well Written Essays - 1750 words - 1

Business Communication and ICT - Essay Example Contrary to this widely held notion, most messages are communicated through nonverbal clues. Empirical research conducted on this topic suggests that almost 90% of meaning of a message is transmitted in nonverbal forms. Verbal as well as non verbal communications stimuli are critical when transacting business. The two may determine its success or failure in equal measure. Nonverbal communication forms an integral part of communication within businesses. Most businesses utilize the following elements of nonverbal communication: eye contact, gestures, facial expression, appearance and dressing, posture, and written communication. Nonverbal communication underlines the power relationships in the business setting. The key function of nonverbal communication is to facilitate relationships within the business. These relationships incorporate managers, authorities, staff, and customers. The triumph of a business is pegged on effective communication between within these relationships (Goby 2 007, p.432). Goby (2007, p.432) concludes that, in business interactions, appropriate eye contact is critical in businesses since it helps the audience to build trust in the sender. In a business setting, the receivers of a message rely on visual clues in deciding whether to attend to or dismiss the message. Communicators should establish a close eye contact with their audiences as it promoted openness. Good eye contact also enhances building of trust between sender and receiver. People will unlikely buy products or services from a sales person who declines to make constant eye contact. The buyer may deem the seller to be unconvinced about the product and hence treat him/her suspiciously. Facial expressions also form part of nonverbal... This essay focuses on discussing the issue of nonverbal communication that expresses thoughts without using spoken words. Good communication is the groundwork of successful relationships, whether personal, professional, or even in business Nonverbal communication is a powerful tool of communication. This type of communication also utilizes clues that make the message appealing to the recipient as it is stated in the essay. Effective nonverbal communication has an immense contribution to businesses since it provides the parties with a means of interpreting their thoughts and attitudes. Employees within a business engage in frequent communication with its clients, suppliers, personnel, government personnel, and the media. The researcher discusses that Information Communications and Technologies that are a main focus of the second part of the essay enhance the ability of businesses to reduce transaction costs while improving speed and dependability. It is also mentioned in the essay tha t such communication type also cuts down on inefficiencies arising from poor coordination between firms in the value chain hence extracting highest value from transactions. Information Communications and Technologies today also avail effective communication tools for communication between managers, employees, and clients. In conclusion, the researcher mentiones that when well integrated, ICTs has the potential of improving the firm’s performance in terms of amplified market share, extended product range, and tailored products for clients.

Transnational Immigrants in a Global Society Essay

Transnational Immigrants in a Global Society - Essay Example On one hand he carries the stains of his culture with him and on the other hand when he is prevented from being considered a part of the new society, he automatically finds himself alienated. The sense of missing his own root, his culture, elements of his upbringing, recognition in his own society and the total sense of fulfillment is incited. Pondering over the current structure of the US society this sense of being unfulfilled becomes more explicit. Modern US society can be regarded as a perfect example of the global society where people from different ethnic background, from different nations have gathered with the aspiration to introduce new changes to their lives, to aspire for a better future. Most of the time, such feelings are generated from the perspective of attaining a better fortune rather than love for the nation. However such aspiration for attaining materialist gain could not subdue their spontaneous longing for their upbringing and culture. Such social alienation most of time gives birth to existentialist angst and they, consequently, also develop a feeling of hostility against that particular society. In the course of understanding what kind of problems can occur at the psychical level of an individual who, though is living in the US but transcends often to hi original existence, we have met Rina, a 34 years old lady, who has come down to the US for the purpose of completing her higher studies. While meeting frequently with her I have asked Rina several questions about her feeling over her stay at the US, her feelings about lifestyle in the new society and how she finds it different from her ethnic Indian upbringing. It is a quite common conviction transitional immigration is an entirely political phenomenon but the main impact of transitional immigration over socio cultural aspects of a nation most of the time has been ignored. In this context Reed