A Separate Peace and The Catcher in the rye symbols essays

A Separate Peace and The Catcher in the rye symbols essays Introductory Statement: In the book The Catcher in the Rye, written by J.D. Salinger and in the novel A Separate Peace, by John Knowles, there are many significant symbols throughout both books. In Merriam-Webster Dictionary, symbolism is defined as artistic imitation or invention that is a method of revealing or suggesting immaterial, ideal, or otherwise intangible truth or states. Both Salinger and Knowles display meaningful symbols throughout their novels that give the reader a better understanding of the intentions and meanings which are revealed throughout the novels. Thesis Statement: Both Salinger and Knowles display meaningful symbols throughout their novels that give the reader a better understanding of the intentions and meanings which are revealed throughout the novels. @ What I have to do, I have to catch . . .but thats the only thing Id really like to be (Pg 173) B: This is a people shooting. . . I shoot people in this hat (Pg 22) C: Finny, his balance gone, swung his head to look at me for an instant with extreme interest, and then he tumbled sideways, broke through the little branches below and hit the bank with a sickening, unnatural thud" (Pg 52). D: We had never used this lower river . . . and into the turbid Naguamsett. (Pg 68) Paragraph 1 (Topic Sentence) @ Holdens desire to be The Catcher in the Rye has symbolic meaning of his need to stop the transition from childhood innocence to falling off the cliff and becoming a phony. Paragraph 2 (Topic Sentence) B: Holdens Red Hunting cap symbolizes his isolation and need to run from society when turned to the front, as well as his need of protection of childhood innocence, as if he is a catcher when his hat is turned to the back. Paragraph 3 (Topic Sentence) C: Finnys fall represents the fall from innocence, and ...

Charles Goodyear - The History of Vulcanized Rubber

Charles Goodyear - The History of Vulcanized Rubber Caoutchouc was the name for rubber used by the Indians of Central and South America. History of Caoutchouc Besides pencil erasers, rubber was used for many other products, however, the products were not standing up to extreme temperatures, becoming brittle in winter. During the 1830s, many inventors tried to develop a rubber product that could last year-round. Charles Goodyear was one of those inventors, whose experiments put Goodyear into debt and involved in several patent lawsuits. Charles Goodyear In 1843, Charles Goodyear discovered that if you removed the sulfur from rubber then heated it, it would retain its elasticity. This process called vulcanization made rubber waterproof and winter-proof and opened the door for an enormous market for rubber goods. Rubber Bands - On March 17, 1845, the first rubber band was patented by Stephen Perry of London, made from vulcanized rubber. Perry owned the manufacturing company Messers Perry and Co., of London, England.Elastic FabricsEraserHeelHoseRubber Soled ShoesRubber Stamp InventionBalloonsTiresVulcanized Rubber On June 24, 1844, Charles Goodyear was granted patent #3,633 for vulcanized rubber.

Alternative media Case Study Example | Topics and Well Written Essays - 250 words - 1

Alternative media - Case Study Example It’s obvious this is a subtle dig at the propensity of tobacco to be a cancer causing agent. In other such co-optations Adbuster’s parodied Tiger Woods as a picture of the Nike logo in the background was featured and then a swoosh sign within Tiger Wood’s mouth was inserted. The implications for this are clear, as it demonstrates a political commentary on the means by which Nike has purchased Wood’s advertising power and voice. Another image has the slogan ‘Buy Nothing Day’ with a giant credit card running down the street displayed. In these regards, there are ultimately two means of constructing these forms of alternative commercialization. The first being the alteration of existing imagery in an effort to play on the power effects contained in these images. The second method is the direct construction of methods that call into question mainstream social ideals, for instance consumerism. References "Culture Jammers." Adbusters. N.p., 2011. We b. 7 Apr 2011. .

My Father's Life Essay Example | Topics and Well Written Essays - 750 words

My Father's Life - Essay Example His mother felt the need for change and so to upgrade him from their not so good financial background, sent him off to a school in San Francisco, where he was to put up with an aunt while attending a public school since she could not afford him the luxury of studying in a private school. The Second World War broke out while my father was still in school, and like most of his friends and all young strong and loyal men of the day, he was drafted into the army to fight for the cause of the nation he believed in. There, he drove an ambulance though his preference was to fight in the front line. He could penetrate war fields and employ skills and extraordinary tactic in missions to rescue injured solders, and once, he almost got himself killed when the ambulance he was driving was bombed by an enemy tanker missile while on a rescue mission to save the life of some seriously injured colleagues. His friends said that his cleverly wit survived him through the war. Immediately after the war, my father returned to Connecticut and decided to settle there. He later met my mother, a shy strong girl from Jamaica, with a large doze of innocent and a tremendous appetite. My father always said that he fell for her because of that gigantic appetite. They got married in a local church and were blessed with two kids: my sister and I. We grew up fast and all took after their father's strength and an outgoing character. As a young couple, my parents loved bowling and so they spent most of their spare time together on the game. My father liked partying a lot, and I can recall once my mother referring to him as a 'party animal' after he came home drank after a night of partying and playing cards with his friends. He worked hard though, and he always had two jobs going, at a minimum, all the days of his youthful life. For example, I remember he took a job as a factory worker for eight hours ever day and then took a four hour break then reported for another job in an apartment store for another six hours. Despite the heavy responsibility of supporting his young wife and the kids, he managed well enough and placed us in good private schools and at the same time affording him self a good and exciting life. He loved baseball and at one point he trained a local club which never did too well anyway. My mom once told me that after my sixth birthday, dad thought that I was old enough to know the game and so he took me along for a trial on the league. Mum came along to watch her men play. She recalls that the ball came to me and as I struggled to concentrate on the ball so had that I missed and it hit me on the face, right between my eyes, I was so embarrassed. He was a good father and had time for the kids, taking them swimming twice every week and for ice cream every Sunday afternoon. They would take the 'wife' along once in a blue moon just to keep the whining away for lack of due attention from the hubby. Sometime in her late thirties, in his late forties, one of my father's friends offered him the chance to cruise on a cruiser leaving Florida to the island. My father's wish has always been to be able to support his family without having to rely on either loans or on borrowing from the family. And so he took the

Emily Dickinson Essay Example for Free

Emily Dickinson Essay Emily Dickinson, one of the best-known American poetesses, was born in Amherst, western Massachusetts in the 1830. The house where poetess spent the greatest part of her lifetime was called the Homestead. It was built in the 1803 by her grandfather, sold and then bought out in the 1855. Her parents both graduated from the Amherst College. Emily’s father was a well-known person in the town, as he was a treasurer of Amherst College (which was earlier co-founded by her grandfather), a good lawyer and he also was a republican representative to the national legislatures. It is said that Emily’s mother didn’t play an important role in her life, as she couldn’t provide her daughter with the amount of emotions and attention she needed. The poetess herself later referred to her as a sort of a person â€Å"to whom you hurry when you are troubled†. Her early years she spent accompanied by her younger sister Lavinia and a brother whose name was Austin. Her parents, who both were the members of the orthodox Congregational Church, tried to make of her an educated and religious woman who someday will have to take care of her own family. But it became evident later that Emily’s individualistic approach to life, her certain personal features didn’t allow her to perform the social role that was prescribed for the women of her social status at that times. Emily received good education, especially for a women living in the 19th century. First she studied in the Amherst women’s academy and than she spent a year in a Mount Holyoke Female Seminary. Both the first and the second educational establishment devoted endless hours to religious edifications, so the poet’s growing up occurred under the severe religious pressure. At the academy she became notorious as one of the few students who refused to admit her faith in Christ on public. This fact darkened her further sojourn in that establishment, as Emily felt alienated and misunderstood at the place, where everybody shared the beliefs she didn’t fully support. Although she participated in the agency of the community of the Christian resurgence, she failed to become a convinced believer and didn’t join the church community. In 1955 during Emily’s travel to Washington to visit her father, who was a congressman at that period, she stopped at Philadelphia to listen the sermon of the known priest whose name was Charles Wadsworth. She corresponded with him for a long period of time and he is presumed to be Emily’s first love, one of her deeply hidden romantic disappointments which inspired her writings. Another Emily’s presumable object of passion was Samuel Bowles, the editor of the â€Å"Springfield Republican†. Today some researchers say that Dickinson stayed unmarried because of the well hidden passion she had for women. They support their viewpoint giving the feministic analysis of her verses. They also note that Emily kept very close relationship with some of her friends who were woman, and only the strict traditions and beliefs of her time didn’t allow Emily to reveal her real passions. These researchers give us the information that the poetess’s letters to her friend and sister-in-law Susanne Gilbert were thoroughly edited before publishing by her niece, to exclude all the â€Å"passionate love confessions† from there. Other scientists explain the fact of Dickinson being single by some of her personal traits which made marriage undesirable for her. Emily was said to be very careful choosing friends and some people think that she just couldn’t find a man she could live with. Some of the researchers think that the poetess’s desire to stay unmarried was dictated by the customs which existed in the USA at those times. It was acceptable for a women to stay a spinster and to â€Å"keep the house† for the rest of her life. So, both Emily and her sister Lavinia didn’t have husbands. The only member of that family whose love life was successful was their brother Austin. He married a â€Å"genteel† girl from New-York, Susanne Gilbert who later became one of the closest Emily’s friends. Dickinson kept corresponding with some of her friends and relatives for all her life. What is interesting is that she often wrote and received letters from her next door neighbor Susanne Dickinson, her brother’s wife. Emily’s letters are a valuable source that provides us with the information about her personality, character, and attitudes and, what is also important, her life patterns. Emily’s most productive years were 1858-1863, when the number of the poems written enlarged from 52 in the 1858 to the 366 in the 1852. Researches strongly argue on the reason of such productivity increase and most of them agree that there was some failed love affair in Emily’s life in the late fifties. The efforts to define the object of her interest failed. Assumptions made on this topic touched almost everybody with whom Emily communicated closely, including her brother, Susan Gilbert, her sister-in-law, Thomas Wentworth Higginson, Judge Otis Lord, Charles Wadsworth and her friend Kate Scott Anthon, but no evidence of Dickinson having a romantic affair with anyone of these people is not found yet. It is known that Emily didn’t strive for the publicity at all. Only ten of her verses were published during her life and all of these under the pseudonym. Some even think that the poetess didn’t give her permission for the publication. A data exists that she was offered by Thomas Niles of Roberts Brothers publishing house to publish her book in 1883 but refused him. It is presumed that Emily valued her privacy very much and she didn’t like the idea of becoming a well-known person. Instead of printing and publishing her books Emily Dickinson made manuscripts, which were later called fascicles, by herself. She begun to make them in 1958 and only death stopped her work. She shared her work in the narrow circle of her friends and relatives. Emily Dickinson was known for being an eccentric person throughout the dwellers of Amherst. From the 1970 she never wore anything except white dresses and she rarely went out of her yard. The poet rarely communicated with anyone except her family and those who wanted to talk to her had pass the â€Å"face-control† made by her sister Lavinia on Emily’s request. It seems that her inner world was so tender and vulnerable that it was hard for her to let a new person to enter there. Emily chose her surroundings carefully, but she gave all her love and affection to those whom she found worthy of trust. Emily died in the 1886, presumably of some kind of kidney’s disease. Her sister was astonished when she found more than a thousand verses stashed in the wooden bureau in Dickinson’s cabinet. Three volumes of Emily’s poems were published by Lavinia, but she of course couldn’t enjoy her triumph or oppose to those who criticized her. But it seems to me it wouldn’t grieve her, as she said everything she wanted to say in her verses. She made her manifest to the world and now it’s our turn.

Emmanuel Kants Ethics Essay -- essays research papers

As we discussed in class on Monday night, Kant’s main argument in the first section was dedicated to developing his belief that a rational beings have the capacity to reason and through this reason comes a beings ability to know what is right or wrong. Also, Kant revealed that a beings also have an inherent desire to keep themselves save physically and strive for happiness. Yet, these desires or needs can be fulfilled with pure instinct and that reason does not need to be used in order to reach those goals. More specifically Kant says, â€Å"The highest purposes of each individual are presumably self-preservation and the attainment of happiness.† â€Å"The fact that reason serves purposes that are higher than individual survival and private happiness.† This tells us the reason for Kant explaining t...

How Thomas Hobbes and John Locke influenced Enlightenment Thinkers Essay

The Age of Enlightenment saw many great changes in Western Europe. The Age of Enlightenment or simple â€Å"the Enlightenment† was an intellectual movement during the 18th century. Its purpose was to reform society and to advance knowledge using reason and the scientific knowledge. It supported scientific thought and opposed superstition with its favorite target being the Catholic Church. The phrase was frequently used by writers of the period itself, implying that they were emerging from centuries of darkness and ignorance into an enlightenment period fueled by reason and science. The ones who sparked the enlightenment can be traced to the 17th century. They include the two political philosophers Thomas Hobbes and John Locke. Thomas Hobbes was born on April 5, 1588 and he was best known for his work on political philosophy. His book Leviathan established the foundation for most of Western political philosophy. In Leviathan, Hobbes set out his doctrine of the foundations of states and legitimate governments. Much of the book demonstrates the necessity of a strong central authority to avoid chaos and disorder. Hobbes hypothesizes what life would be like with no government, a state which he calls the state of nature. In that state, each person would have a right to everything in the world. However, he argues that it would lead to a â€Å"war against all† because he believed that all people were evil and selfish. In order to avoid this state, people establish a civil society and conceive a social contract. According to Hobbes, society is a population under a supreme authority. Thomas Hobbes is a supporter of absolutism but he also developed some of the fundamentals of liberal thoughts such as the rights of an individual and equality for all. He was also one of the founders of modern political science as well. His understanding on humans as being matter and following the same concepts and laws as other matter remains extremely influential. John Locke was born on August 29, 1632 and he was one of the most influential English philosophers during the enlightenment period. Locke’s theory of mind is referred to as the origin of conceptions of â€Å"self† and â€Å"identities†. He theorized that the mind is a blank slate and that we were born with only instinctive ideas and that knowledge is only derived from experience. The founding fathers of the United States used many of his political ideas as the bases for the declaration of independence. Locke believed in a democratic rule and that everyone is entitled to their own rights and liberty. He thought that nobody should have absolute power so he came up with the idea of â€Å"separation of powers† meaning that the church and judicial system operate independent of the ruling class so theoretically no one can commit a crime and get away with it. Even though Thomas Hobbes and John Locke were both influential social contract theorists and great political philosophers, their ideas completely contradict each other. While Locke believed that humans were born with a clean slate and only gain knowledge through experience and experiment, Hobbes theorized that all humans were born with an evil and selfish nature which cannot be contained without a supreme authority to rule. In terms of political power, Locke believed in democratic rule while Hobbes believed in an absolute power to rule over the evil and selfish humans for if there is no absolute power, our savage instincts will take over and we will do whatever it takes to satisfy our greedy nature. As for rights, Locke believed all men are equal rights but Hobbes concluded that we should give up our rights to the government in exchange for protection. The Enlightenment was a great step in humanity to make strides in science and let reason explain our lives. Enlightenment ideas and works have been especially influential in politics. Many of the world’s democracies are built on the ideas of Locke and other political philosophers in the enlightenment period. Democratic nations, such as the United States are founded upon enlightenment ideas such as individual rights and liberty, the rights of citizens, and people’s rights to participate in the government. However, different political philosophers have different ideas about what’s best for their government. For instance, Thomas Hobbes believed in absolute monarchs, an idea which is still used today in places like Canada, Japan, Spain, and the United Kingdoms. The Enlightenment completely revolutionized the way people have thought about religion, politics, and science. It was one of the greatest events in history because it gave people the idea to challenge what they’ve always been taught to be right. It gave people a mind of their own and not fall to one supreme ruler. The legacy of the enlightenment shall never be forgotten.

Movie: The Party’s Over

Political party is a way where people of the same interest or ideas are joined together to expressed their ideas.   Conflicts between humans in terms of their views and opinions about certain topics and issues are normal.   Thus, it is where they balance each opinion and come up with the decision everyone agreed upon after the discussion. However, this may sometimes not work perfectly enough for the public and is signaled through the formation of the third parties like in United States.   This means that the two major parties have become unresponsive to the needs of the public (Wahler 1996). Today, the two major political parties of the United States are Democratic Party which evolved in 1782 from Thomas Jefferson party, and Republican Party established in 1850s by Abraham Lincoln and others who opposed the expansion of slavery (Consulate General of the United States). There are already a number of minor or third parties in United States that have evolved through time.   Green Party, Constitution Party, Independence Party, New Party, Reform Party and Labor Party are just to name some (Gunzburger 2007). The movie The Party’s Over is a documentary about the 2000 U.S. Presidential Election which follows the actor Philip Seymour Hoffman as he took an inside look at the 2000 Democratic and Republican Convention for Al Gore and George Bush. The movie draws attention for the problems of our government system especially during the 2000 United States election. Hoffman gathered views and personal opinions from a very wide range of people in society.   His interviewees are ranged from musicians like Ben Harper, to Bill Maher a political comedian, to Democrat representatives like Harol Ford Jr., to rally organizers, to a homeless woman (Lebowski 2007). Bill Maher said that American politics is run by â€Å"a system of open bribery† and the public’s voices are not heard by the government which led to a largely apathetic voting public.   Tim Robbins expanded the idea by saying that it is not mere apathy which stops many people from voting, the people are protesting against the government that’s why they do not vote (Lebowski 2007). Democrat representative Harold Ford Jr. said that the fact is that our government is a service.   And no matter how frequently poor the service is, you have no choice but to â€Å"avail† it.   It’s like you have to pay taxes even if the government is too bad for you, or else you will be jailed and tried (Lebowski 2007). On the other hand, Noam Chomsky explained that the theory is that people’s role in democracy is not just as participants but as spectators as well. She further said that during the election period, we are given two candidates to choose from, a democrat and a republican, who are actually and essentially one in the same.   Both of these parties’ candidates have the same goals and want the same outcomes for the government. But then they tend to disagree with each other violently and publicly. As a result, it doesn’t really matter to us which of the parties we elect.   And we are stuck in choosing from Democracy and Republican parties that we barely look at the third parties and independent candidates.   We are focused on our differences instead of our similarities (Lebowski 2007). Minor parties or what we call third parties often call attention to an issue that is of interest to the voters but that has been neglected by government like consumerism and environment as what Ralph Nader focused (Consulate General of the United States). The movie leaves the audience a fair question of whether the Democratic and Republican parties are different or not.   Also, it wonders on how much one’s priority is put and should put over the politics. It also seeks to get and feel the public pulse about the American politics.   And since it seeks to reach out the larger audience, it promotes the awareness of people on politics and made them have a discussion about it among themselves (Curry 2003). Works Cited Curry, Warren. â€Å"The Party’s Over.† 21 October 2003. CinemaSpeak.Com. 3 November 2007 . Gunzburger, Ron. â€Å"Directory of U.S. Political Parties.† 2007. Politics1.com. 11 November 2007 < http://politics1.com/parties.htm>. Lebowski, Jeff. â€Å"You have to insist you're right even if you know you're wrong.† 4 October 2007.   Spout LLC. 11 November 2007. â€Å"U.S. Government.† Consulate General of the United States. 3 November 2007 < http://krakow.usconsulate.gov/parties.html>. Wahler, Brenda. â€Å"Poli Sci 101: The Role of Parties.† January 1996. Montana State University.   11 November 2007 < http://home.mcn.net/~montanabw/polisci101.html>.               

Indigenous Australians History Essay

Indigenous Australians History Essay Indigenous Australians History Essay Example Indigenous Australians History Essay Example This research paper explores the theme of self-representation in the work of Indigenous creative artists. Alexis Wright and Lin Onus were chosen for the purpose of research since these two creative artists achieved the popularity and acclaim in Australia and overseas, signifying that they both succeeded in creating literature and art on the basis of the indigenous life experience and education and made a contribution to their respective fields. Alexis Wright is a representative of the Waanyi people, a novelist, educator and activist who received numerous awards for her literary work (‘Australian Literature Database’ 2015). Lin Onus was an artist and essayist who was of Koori descend and the first Koori artist to host the world touring exhibition (Grossman 2013, p. ix). THE WORK BY ALEXIS WRIGHT AND LIN ONUS AS THE SITE OF SELF-REPRESENTATION THAT EXPRESSES DIFFICULT AUSTRALIAN HISTORIES The Indigenous creative artists who speak from the perspective of their own lives and conceptions also speak on behalf of the Aboriginal people and are their voice on the literary and art scenes. On the one hand, they are challenged to express the difficulties surrounding the Aboriginal culture, race, poverty and isolation (Healy 1988; Grossmann 2003). On the other hand, they can depict a â€Å"renewed sense of identity† (Healy 1988, p. 81) and create the view of the Aboriginal people as visible and equal participants of the society. Depending on their creative choices and the strength of their voices, the self-representation of the Aboriginal people can be re-formulated and adapted. The research paper is based on the review and critical analysis of the work by Alexis Wright and Lin Onus, their bibliographical accounts and the writings on the Aboriginal literature and art, with the purpose of examining the main themes of self-representation, depicting the Aboriginal history and the role of the Indigenous creative artists. The paper argues that difficult Aboriginal histories are expressed in the creative work of Indigenous artists (Alexis Wright and Lin Onus) and exemplified by the complexities of self-representation, deriving from double identities, double histories, socialization trough language and art and contradictions inherent in the Aboriginal view of self as embedded in place and time. The Complexities of Self-Representation: Double Identities Both Alexis Wright and Lin Onus are expressing several aspects of self in their creative work. One aspect is a transformative self-production that characterises a contemporary Australian artist. An active production and representation of self as an artist is possible only with a certain degree of introspection and comparison against the â€Å"other† identity, be it a mainstream Australian or an Aboriginal. Formulating their own conceptions derived from unique personal experience, Wright and Onus represent double identities of people who are Aboriginals and mainstream Australians at the same time. For the artists, their creative works account the â€Å"true life of their history† (Healy 1988), and to some extent, they also succeed in expressing the difficult Australian histories. In Wright’s words, by reading and writing, she is â€Å"self-defining†, and the Aboriginal people who are her relatives constitute the source of â€Å"self-representation†, as was Wright’s grandmother (Wright 2002, p. 11). Therefore, the connection between the novelist’s and the Aboriginal historical self is mediated by her relatives and social contacts in the Aboriginal world. For sure, Wright attempts to position herself toward depicting the politics of life and speaking to correct the ills of the Aboriginal people. In her words, her goal as a novelist is to â€Å"speak about the pain of the Aboriginal people† (Wright 2002, p. 12). Yet, she also speaks about her own identity crisis and searches for the connections within the long and complicated history of her land (Wright 2002). The Complexities of Self-Representation: Double Histories The Aboriginal creative artists are confronted with a daunting task of speaking about two separate histories, i.e., of the Indigenous people and the Australian settlers. This task requires them to distinguish between the â€Å"settled† and the â€Å"remote† people (Stockwell and Scott 2000, p. 30) as they have not lived outside the urban areas unlike the Aboriginal people. Nevertheless, it is the distant places of Australia where the Aboriginal people have preserved their long-standing traditions discarded by the mainstream historians. While Wright coins the land names to speak about the Aboriginal land in her novels and Onus paints the non-existent landscapes that are more surreal than realistic, the Aboriginal people have unique names for identifying the regions where they live. In their language, â€Å"Murri† stands for Queensland, and they would likely dissociate with the names like Queensland and Wright’s â€Å"Carpentaria† (Stockwell and Scott 2000). Throughout their artistic careers, Wright and Onus have focused on â€Å"becoming† Australian, while the Aboriginal tradition compels them to concentrate on â€Å"being† (Stockwell and Scott 2000, p. 33). Onus describes the prevalent view of the Aboriginal art as â€Å"static† (Onus 2003, p. 92), reflecting the inert self-focus of an Aboriginal artist. When comparing the histories of the Aboriginal and the Western art, Onus finds that the latter developed in co-creating and learning from the masters (Onus 2003, p. 92). Therefore, in Australia, the mixing of the European and Aboriginal art was acceptable, while the Aboriginal art was viewed as outdated (Onus 2003). The artist’s personal preference for mixing images and cross-cultural learning is evident, and he admits it in his biographical accounts. For Onus, this inclination towards co-learning and experimentation ensured the continuity of self within the land’s history. Also, the development of On us as an artist occurred at the time of the rising of urban Aboriginal art (Grossman 2014). The art by Onus was a much needed voice representing the Aboriginal artists, whom the mainstream art curators found too â€Å"primitive† for the modernized Australian galleries (Grossman 2014). Onus was a product of an urban lifestyle with its conveniences of automobiles and air travel that could bring him to far-away exhibits. The artist admitted that the urban-versus-traditional dilemma remained central to his work (Onus 2003, p. 92). The contemporaries of Onus can find the traces of the most advanced technologies and very ancient symbols in his work that illustrate the two histories’ extremes. While Onus successfully developed his own space for expressing his perspectives on the Australian history and culture, the Aboriginal people have largely resisted what they saw as â€Å"imposed† dominant cultures (Molnar and Meadows 2009). The identities of the two people, the integrated Australian and the unsettled Aboriginal, continue to be separate. The typical Australian is seen to be laconic and pragmatic (Wright 2010), while the Aboriginal is viewed as someone concerned with spirituality and self-expression that is linked to the land, the Aboriginal stories, and teachings by the Elders (Bell 2003, p. 170). These double identities and differing histories within the Australian history were explored and expressed by Wright and Onus. Still, it was their personal experience that helped them to assume a middle ground between the two. The success of their creative expression in regard to the differing histories hinged on speaking about the parallels between the two peoples (McI ntosh 2012 , p. 125). McIntosh maintains that expressing such parallels constitutes a challenge since accepting the differences (the Aboriginal history speaks of deprivation) means that the power system must be stretched to reach the distant people (McIntosh 2012, p. 125), ensuring sufficient funding for their integration into a single society and history. The Complexities of Self-Representation: Socialization through Language The language and art are the means of creative expression where individual and social experience and conceptions are referenced. With unique words, symbols and allusions to common meanings, they are also the media of socialization in society. The Aboriginal peoples’ languages describe their environment, communicate their history and heritage and are the â€Å"voice of their land† (Bell 2003, p.170). Similarly, the Aboriginal art conveys the meanings that are common to the Indigenous people. In her biographical accounts, Wright explains the language difficulties facing a post-colonial Aboriginal person. The Aboriginals were compelled to discard their languages in order to facilitate their integration into the Australian society. Also, their traditions required them to keep silence instead of speaking. For example, the Aboriginals are told to listen, imagine and keep a secret about the intrusion to their land (Wright 2002). The Aboriginal law dictates not to even pronounc e the name of the dead (Griffith 2014). Stating that the Aboriginal people must be silent, Wright shows just how difficult it is for the Aboriginals to use their language and speak about their traumatic experience. In order to avoid the pitfall of their own culture and act as creative artists, Wright and Onus had to discard the Aboriginal language and forge a path within the mainstream society. The complexities are intensified with the Aboriginal oral tradition of passing on their stories with the help of the language. Writing about a new identity and history required to reshape the role of language as the means of oral expression towards its role in creating a memory and thus history. The Complexities of Self-Representation: Socialization through Art Onus found that he changed the way he saw the world after becoming an urban artist: he no longer viewed the landscapes as panoramic (Onus 2003, p. 94). The cross-cultural imperative for creativity required him to visualize completely different images and create from novel perspectives. Therefore, instead of the gum tree that is always noticed by the Aboriginals, Onus started painting modern-looking subjects and symbols, and he worked with a newly developed sense of humour (Onus 2003, p. 94). Onus was actively promoting the shift in the conventional view of exhibitions towards a more open view of the Aboriginal artist. Onus insisted that the art galleries should exhibit the Aboriginal art, yet he also said that the Aboriginal people could not â€Å"engage with, or relate to† the publicly exhibited art (Onus 2003, p. 94). Moreover, the Australian media and art are concentrated in the centre [cities], and an Aboriginal person from the periphery cannot benefit from them (Molnar and Meadows 2000). Onus questions when an Aboriginal person becomes an Australian, implying that the socialization and consequent integration is lengthy and contorted, if at all possible (Onus 2003). The Contradictions of Self Embedded in Place The idea that the Aboriginal people are â€Å"traditional† is deeply ingrained in the Australian society (Grossman 2003). Grossman emphasises that not only the work but also the identities of the indigenous artists are seen as â€Å"traditional† (Grossman 2003, p. 12). When speaking about the Aboriginal people, Wright calls them â€Å"the people on the outside of life† and â€Å"deprived of a voice† (Wright 2002, p. 11). In Wright’s work, there is an overarching theme of the Aboriginals living on the margins of the society whose rights are oppressed. In her novel â€Å"Carpentaria†, Wright illustrates how the identity is shaped by the geographical place. A young Australian man undergoes self-transformations while living at an Aboriginal place (Wright 2010). A similar change in identity is likely to happen to an Aboriginal man who enters the urban place. On arrival, he is viewed as a madman. In the Aboriginal people’s view, â€Å"he [E lias] was a very strange man† (Wright 2010, p. 77). Likewise, Onus was remade by the urban space where he lived, constantly facing the traditional-versus-urban conundrum (Onus 2003, p.92). Yet, in his art, Onus tried to represent a uniquely Aboriginal place left untainted by the colonization (Onus 2003). This proved practically impossible. The subject of unclear directions associated with the feeling of being lost in space and perhaps history surfaces in his paintings. For example, a colonial map is depicted illustrating the scale of the colonial dominance and a rear-view of a rainbow snake in the side mirror of a fast-moving truck implying the fast-moving changes that occur with a simultaneous orientation to the past (Ashcroft 2013). The Contradictions of Self Embedded in Time In regard to the importance of time to self, both Wright and Onus show the time as interconnected in the conscience of the Aboriginals. Wright admits that she struggles with writing about trauma (Wright 2002), and she sets her novels in the past, present and future where the traumatic experiences are present. Onus maintains that the Aboriginal stories will ever be the same; it is only the technology and the materials that differ (Onus 2003). The paintings of Onus confirm that the concept of time is central to Indigenous self-representation. His static view of self is illustrated in the zigzag-like images, where the present and the past are fused, and in the images of animals, which are considered influential by the Aboriginal people. Finally, his painting â€Å"The Road to Redfern† touches on â€Å"remembering the future† and depicts how the past and the present interconnect in producing a hopeful picture of the future (Ashcroft 2013). Wright’s most recent novel â€Å"The Swan Book† makes the imagined future into the timeframe of interactions between her characters. In this way, she brings attention to the imminent problems of the environment. The Aboriginals are shown as directly confronted with and more conscious of the environmental degradation. Wright explains why the Australian history should encompass the Aboriginals, instead of making them invisible (Healy, 1988, p.84). Moreover, illustrating how the land rights were seen as a privilege alongside the â€Å"conferred dominance† (McIntosh, 2012, p. 124) instead of being the right of the Aboriginals, she calls for improving their destiny. The latter proves that the Aboriginal creative artists may not only depict the difficulties of the Australian histories but also promote the inclusion of the marginalized Aboriginal people, thus creating a new â€Å"generation of dignity† (Healy, 1988, p. 82). Still, â€Å"The Swan Book† rema ins a scarce instance of success towards embracing diversity. The creative production of the Aboriginal life and the true representation of the Australian histories remain a difficult pursuit. Meanwhile, the destiny of the Aboriginal people is obscured, indefinite and uninteresting. In the work of Alexis Wright and Lin Onus, there is some indication that the Indigenous creative artists search for a middle way as mediators to express the difficult Australian histories. Yet, Wright and Onus are in a privileged position of the Aboriginals who, while struggling with their double identities, function as part of the mainstream. From this position, they can speak in the artist’s unique language that has links to both the mainstream and the Indigenous histories. Wright and Onus abandoned their original Aboriginal language and art framework: this was a difficult path that allowed them to pursue the desired careers. Yet, this was not the only requirement for ensuring self-representation. The Aboriginal people cannot socialize into the mainstream art without accessing the centrally located galleries, and when they do, new symbols and meanings are often misunderstood. Since they are located on the periphery of the Australian society, their socialization through a conventional language and art is constrained. As Wright and Onus create in new literary and artistic genres respectively, they depart from the Aboriginal tradition and embark on a process of self-production and representation that is accompanied by numerous complexities. The work by Wright and Onus expresses the contradictions in regard to the space and time as essential aspects of an Indigenous self. The Aboriginal identity is a product of the Aboriginal place. The differences between the urban and traditional places are drastic, as depicted in the creative artists’ work and bibliographic accounts. Moreover, while there is an attempt to build the parallels between the Aboriginal and the mainstream societies, the encounters between the two places produce a changed identity. For the Aboriginal people, the past and the present are seen as fused, and trauma is present at all times. The future is depicted as also connected, where there is some indication of hope, as in Onus’ â€Å"The Road to Redfern†. The Aboriginal identity depicted by the Indigenous artists in their work shows an overwhelmingly complex process of the Aboriginal peoples’ identity production and representation and illustrates the difficult histories of the Aboriginals in the Australian society.

20 Poetic Metaphors About Time

20 Poetic Metaphors About Time According to proverbs, time heals, steals, and flies. In that same vein, time is also something we all make and take, save and spend, keep, waste, kill, and lose. Habitually and almost without thinking, we explain our relationship to time through metaphors. In ​More Than Cool Reason: A Field Guide to Poetic Metaphor (University of Chicago Press, 1989), George Lakoff and Mark Turner remind us that Metaphor isnt just for poets; its in ordinary language and is the principal way we have of conceptualizing abstract concepts like life, death, and time. So whether were spending it or running out of it (or both), we deal with time metaphorically. 20 Metaphorical Quotes About the Definition of Time Time is a circus, always packing up and moving away. - Ben Hecht Time, you old gipsy man,Will you not stay,Put up your caravanJust for one day? - Ralph Hodgson, Time, You Old Gipsy Man Prince, I warn you, under the rose,Time is the thief you cannot banish.These are my daughters, I suppose.But where in the world did the children vanish? - Phyllis McGinley, Ballade of Lost Objects But thats where I am, theres no escaping it. Times a trap, Im caught in it. - Margaret Atwood, The Handmaids Tale Time is the reef upon which all our frail mystic ships are wrecked. - Noel Coward, Blithe Spirit She tried to discover what kind of woof Old Time, that greatest and longest established Spinner of all, would weave from the threads he had already spun into a woman. But his factory is a secret place, his work is noiseless, and his Hands are mutes. - Charles Dickens, Hard Times Time is a storm in which we are all lost. Only inside the convolutions of the storm itself shall we find our directions. - William Carlos Williams, Introduction to Selected Essays Time is but the stream I go a-fishing in. I drink at it; but while I drink I see the sandy bottom and detect how shallow it is. Its thin current slides away, but eternity remains. - Henry David Thoreau, Walden Time is a flowing river. Happy those who allow themselves to be carried, unresisting, with the current. They float through easy days. They live, unquestioning, in the moment. - Christopher Morley, Where the Blue Begins Time is an equal opportunity employer. Each human being has exactly the same number of hours and minutes every day. Rich people cant buy more hours; scientists cant invent new minutes. And you cant save time to spend it on another day. Even so, time is amazingly fair and forgiving. No matter how much time youve wasted in the past, you still have an entire tomorrow. - Denis Waitely,  The Joy of Working Old Time, in whose banks we deposit our notesIs a miser who always wants guineas for groats;He keeps all his customers still in arrearsBy lending them minutes and charging them years. - Oliver Wendell Holmes, Our Banker Time is the coin of your life. It is the only coin you have, and only you can determine how it will be spent. Be careful lest you let other people spend it for you. - Carl Sandburg Yesterday is a canceled check; tomorrow is a promissory note; today is the only cash you have, so spend it wisely. - Kay Lyons Time is a fixed income and, as with any income, the real problem facing most of us is how to live successfully within our daily allotment. - Margaret B. Johnstone What am I now that I was then?May memory restore again and againThe smallest color of the smallest day:Time is the school in which we learn,Time is the fire in which we burn. - Delmore Schwartz, Calmly We Walk Through This Aprils Day Time is a dressmaker specializing in alterations. - Faith Baldwin, Face Toward the Spring Initially, I was unaware that time, so boundless at first blush, was a prison. - Vladimir Nabokov, Speak, Memory Time is an irreversible arrow, and we can never return to the self that we sloughed off in childhood or adolescence. The man trying to wear youths carefree clothing, the woman costuming her emotions in dolls dresses - these are pathetic figures who want to reverse times arrow. - Joshua Loth Liebman, Renunciation of Immaturity,  Ã¢â‚¬â€¹from Peace of Mind Time is a great teacher, but unfortunately it kills all its pupils. - Hector Berlioz Time is a gift, given to you,given to give you the time you needthe time you need to have the time of your life. - Norton Juster, The Phantom Tollbooth

Critically assess the ideological differences between Old Labour and Essay

Critically assess the ideological differences between Old Labour and New Labour - Essay Example Following the internal transformations in the party’s ideology from which had already started to take place since 1979, Tony Blair in 1993 pointed out the confusing ends of the clause IV and put forward the alternative statement for the clause IV. During his first speech as the leader of the Labour Party he explained that in order to find out the solutions to the various problems being faced by the British nation, the country needs a transformation and that transformation has to first take place in the Party’s aims and objectives. Concluding his first address as the party leader he said: Let us be blunt. Our system of Government has become outdated. Our economy has been weakened. Our people have been under-educated. Our welfare state and public services have been run down and our society has been made more divided than at any time for 100 years, but our politics need not be like this. Our country need not be like this. Ours is a project of national renewal, renewing our commitment as a nation, as a community of people in order to prepare and provide for ourselves in the new world we face. We must build a nation with pride in itself. A thriving community, rich in economic prosperity, secure in social justice, confident in political change. That is our hope. Not just a promise to change – but to achieve it. Our party; New Labour – Our mission; New Britain. New Labour New Britain. Old Labour proclaimed its faithfulness with socialism but could not establish it in the true sense. The New Labour claims that it stands for a democratic socialism which can be termed as a benign capitalism, and unlike the Old Labour, New Labour stands with what it says. The problem with the Old Labour party was the fact that it believed in gradual change; it always claimed its loyalties to be with socialism, however it never succeeded to implement it, the policy of gradual change only complicated things