Relations between the Sexes Essay Example | Topics and Well Written Essays - 2000 words

Relations between the Sexes - Essay Example James Joyce is one of the authors who successfully depicted the relationship between the different sexes in his book titled Dubliners. The book comprises of different short stories, and many of the stories highlight the relationship between men and women in Dublin. In addition, Fritz Lang also depicted the relationship between different sexes in the movie titled Metropolis.   James Joyce authored stories that belong to the Victorian period. Although the book was first published in 1914, James Joyce had been writing most of the stories before that period. Therefore, many of the stories are estimated to have been written in the Victorian period, which spanned between 1840 to early 1900s. During this era, there were distinctive roles for men and women. The Victorian society had societal ideals that defined the relationship between the two sexes. In the story titled â€Å"A Mother†, Joyce tells the story of Miss Devlin, who eventually became Mrs. Kearney after marriage. Joyce introduces us to Mrs. Kearney, who settled down with Mr. Kearney a man older than she was because most of the young men she met did not have the capacity to give her a better life. Joyce depicts her as a perfect Victorian woman in the home setting because she takes care of her homestead, daughters, and husband (Schwarze 2002, p. 67). However, Mrs. Kearney is well educated unlike o ther women of the Victorian era. Joyce introduces the reader to some men in the society who had a lower place than Mrs. Kearney did. From the confusion exhibited by Mr. Holohan, it becomes evident that Mrs. Kearney is more intelligent than him. She is the one who helps him out with organizing his work and determining the right artist for each event. However, Mrs. Kearney respects her husband because she felt secure and protected with him.  Ã‚  

European Business Environment Essay Example | Topics and Well Written Essays - 750 words - 1

European Business Environment - Essay Example The Euro is the first currency that was introduced without the backing of any single country, and rather had a large number of stakeholders with no one really ready to take full responsibility. The single currency posed many challenges to some of the nations whose policies were not flexible enough and those with regulated markets. From the very first day, economists feared that any external adjustment to the Eurozone would transfer financial issues to the inflexible markets through the currency and exchange rates. Any shock would result in changes to the exchange rate which will create problems for nation who had inflexible markets such as a labor market. Another issue is the lack of supervision that was assigned to the banks of the nations in the Eurozone. The Irish bank, for example, gained its finances from the German and French banks but there no check on the limit of the borrowing from the Irish bank. Soon after the Irish bank found itself into trouble, it also affected the Euro pean Central Bank. The situation was sort of similar to the U.S. Federal Reserve where it serves as the central bank of several states. In this case, the European Central Bank served as the central bank of several nations and it had to keep the borrowing of its member nations into check at all points of time. However, there was no such policy present to keep this check and the banks were given permission to borrow, which eventually resulted in over-borrowing of funds of banks from external sources and thus the Eurozone economies faced such financial shocks. The European Central Bank is actually a very weak institution by design since its inception. It has a very limited authority to influence the financial position of the countries under Eurozone. Let alone the powers to influence, the ECB also as a limited set of supervisory roles that any of the central bank would have. The ECB does not have the authority to buy any of the Eurozone country debt which limits its power as a central bank and its role to correct the errors made by individual nations. Not just this, unlike the other central banks of nations throughout the world, the sole mandate of the ECB is inflation. By law, the European Central Bank had no authority to interfere to correct the unemployment issues and could only take measures that corrected the issues related to inflation. (Skaperdas, n.d.) Another issue is that the European Central Bank only has the power of implementing the monetary policies and it could not influence the fiscal policies, which were controlled by the individual nations. In the modern world, most of the financial issues are addressed though fiscal policies which trigger or control the economic growth and inflation levels. Therefore, the different fiscal policies implemented by the numerous member nations resulted in different impacts of the financial crisis in 2008. In order to overcome the differing monetary and fiscal policies in the region, the member nation signed the Sta bility and Growth Pact to have a fiscal discipline and keep the debt levels and budget deficits within acceptable limits. However, the pact failed primarily due to a lack of commitment on part of the member nations and they continued to violate the condition set under the pact. The commission in charge under the pact proposed a one-size-fits-all policy which was inappropriate and unpopular because the member

Martin Luther King Jr. Essay Example for Free

Martin Luther King Jr. Essay Two of his accomplishments were the Montgomery Bus Boycott which ended racial segregation starting with Rosa Parks being arrested for not giving up her seat on the bus which was illegal due to racial segregation laws. Qualities that made him a great leader was that he had the ability to shape a vision that was compelling enough to make others believe in it and participate in it. He had a strong system of values and morals. He was also courageous, decisive, bold, and strong. The path that led him to being a great leader started when he became a pastor. Afterward he became a civil rights activist, a humanitarian, and was involved in the African-american civil rights movement. Qualities of Martin Luther King Jr that I would want to emulate would be having the courage to stand up for what I believe even if it meant being hated by many people. Ultimately he was courageous enough to die for what he believed and I would hope to want to do the same if I truly believed in something that much. A world leader that I think was bad for their followers is Fidel Castro. Qualities that made him a bad leader was that he was power hungry and did whatever he wanted to retain that power even if included suppressing his own people through violence. He exerted power over others by using brutal punishment if people did not obey his every command. He used coercion in order to rule. He also used his position as president to withhold resources from his people. His leadership skills that contributed to bad results were using brute force  and severe punishment to gain control over his people. He would use firing squads to prove his severity when punishing those who stood up to him. References Fidel Castros greatest atrocities and crimes Introduction | Babalà º Blog. (2014, June 7). Retrieved January 26, 2015, from http://babalublog.com/fidel-castros-greatest-atrocities-and-crimes/ Martin Luther King Jr. (2015). The Biography.com website. Retrieved 05:43, Jan 25, 2015, from http://www.biography.com/people/martin-luther-king-jr-9365086.

The Growth Of Indian Poetry English Language Essay

The Growth Of Indian Poetry English Language Essay Indian poetry has a full and ancient past. During the last four thousand years it was written in the languages belonging to both the major linguistic groups, the Indo-Aryan and the Indo-Dravidian. Indian poetry in Sanskrit and its popular forms flourished primarily from the middle of the second millennium BC to AD 1,000. During the one thousand years, Indian poetry was written in most of the Indo-Aryan and the Indo-Dravidian languages including Assamese, Bengali, Guajarati, Hindi, Kashmiri, Tamil, Telugu, Urdu. The growth of Indian poetry in English was a direct result of the British influence and rule of India. Early Indian poetry in English was a borrowed plume in every possible way. Right from syntax to sentiments everything was so imitative that it looked a perfect alien bride. Both in its inspiration and guidance it depended on England. Even the imagination was slavish. The nature, quality, expanse and dimensions of, both, mind and imagination, depend upon the freedom linguistic elasticity offers the user. Attempts to keep the rigidities of British syntax, word use, phrase making, and melody have either improvised poetry in English or made it as complex and abstract as follows: The ageing chemist in his drawing room, terse, Gentle: the sea like soapsuds in the night, Seen from the ship: the moon, leprous, inverse, Rising: the girl at Hanoi with her white Hands and dogs ears, dripping with amber light: Have these things shaped me for the craft of verse? Do they remain, giving a sad insight? And have I changed for better or for worse?  [1]   Yet another reason for the poverty and monotony of Indian poetry in English was the monopoly of its practice by elites placed either in a few metropolises or educated abroad. The publishing industry, which also got localised in these metropolises, felt overawed by this elite class of poets and refused to patronise others. It is only the Writers Workshop which respected the urgencies of expression of the common man. Indian poetry in English has since found its roots in the rural areas and men of genuine feelings over-ride the restraints and constraints of a medium calling for nativization. More poetry in English has now poured forth from a variety of people representing the life and spirit of this land. This secularisation has, obviously, led to the remoulding of English to the native needs of expression termed as Indianization. The term Indainization of English is generally used in the pejorative sense without understanding the dynamics of linguistic change of this medium in the country. We cannot both, use English in Indian Contexts and yet keep its British cultural antecedents and linguistic sanctities. Objections to this process of acculturation of English come from those pedagogues who are either suffering from colonial chauvinism or academic purism. But aside of these reservations, English in India has continued to serve its changed contexts remarkably well. Though the Indian novelists in English have accelerated the process of desired linguistic deviation, it is the Indian poets in English who have stabilised the naturalization of English to native hues. Braj B. Kachru, errs when he opines this process as linguistic and cultural characteristics transferred to an adopted alien language. In fact, it should be rightly described as naturalization of a language wherein it does not act alien. It is only whe n the stereotypes of languages, word use, and collocation, phrase and image making are dismantled that the medium can be made amenable and reconstructed to house the native feel of life. English when separated from the rigidity of its British usage, rightly becomes neutral to develop as an independent dialect, as in the case of the Caribbean, the West African and South Asian. The wider is the dissociation of language from its socio-cultural and geographic-political roots, the greater is its freedom to serve the new user. The ever increasing number of Indian English poets has led to a definitive growth of English as Indian. The exercise of the personal and the private in the form has led to a sizeable naturalization of English to the feel of the local hand, men and events cape in the country. English, in this process of transformation, has undergone some mutilation of its traditional grammar, syntax and usage. Hence, the Indianization of English is a historical corollary and it must be understood and accepted as such. The increased use of Indian landscape and the dissociation from Christmas trees, lilies, daffodils, dales, and nightingales have changed the texture of English in its usage for creative purposes. Consequently, there is a shift in the import and suggestiveness of the language, facilitating ease in taking liberties with the British bound norms and forms of making inflexions compounds and phrases, and patterns of making images and sentences to suit the Indian ethos and imagination. The faddists generally charge Indian English poets of not creating but importing translations of their native thought and feel structures and consequently, the corresponding linguistic patterns in English, not knowing the urgency and purpose of manipulating a foreign medium to our purpose and use. English itself in England has undertone this process of enrichment from French borrowings. Bloomfield is of opinion that expressions like a marriage of convenience, it goes without saying or I have told him I do no t know how many times, are Word for word imitations of French phrases.  [2]  Here the Indian has the advantage of being, both, French and British and lender and borrower in one; and this acceptance, accumulation, and naturalization of English as a medium of expression is obviously going to be on his own terms rather than on the terms dictated by colonial straightjackets. English cannot be Indian unless its British identity is tampered with. Not that it has to be done deliberately. It is happening in a natural course of its use and usage in the country. Its dialectical variations have multiplied according to the field and feel in which it has been used in different geographic-cultural and socio-professional contexts in the country. No two English spoken in our country are of the same frame, order, register, and texture. Narrowing down the generalization of English in India to that of the variety used and practised by the poets; we find that most of the Indian poets in English come from the educated class whereby the parameters of its criticism and analysis are likely to be less controversial. Further, the shift of poetry as medium of expression from the Westernized urban elite to the native has given English sufficient ground not merely for cleansing its British affectations and associations but also for naturalization it to Indian sensibilities. No deliberate attempt to Indianize English would succeed in taming English to our respective needs unless it is decolonised through a gradual and wider usage in life styles common to the local contexts in general. The African English is the most admiral model to learn from in this direction. Indian English poetry over the past two-hundred and fifty years departs from any stylized representation of reality of the Indian life and scene or any stylistic experimentation with language to assert national identity. Instead it makes conscious use of language, thereby making language more malleable to change with ease and naturalness. The features of change in this form can be observed in the areas of using words with shades of meaning not attributed to it before, compounding, phrase making, transfer of idioms, lexis, collocations, appellations, use of prepositions, change in morphological features, coinage, syntax, assimilation of Indian words and myths, and above all in image making. The excessive use of the spiritual, transcendental and metaphysical mode has also affected the tone and texture of this poetry. Besides, one could also note the continued use of polite diction and Latinity in this poetry. Generally there is a scaling down of high seriousness to simplicity and human concerns. There is no strict classification or movements among poets in this regard. The poets exhibit these changes and characteristics of change in entirety or in parts in their own ways. The ever increasing poets from the non-elite and non-urban tribe have led to the right naturalisation of English to the Indian milieu and ethos. Though the jingoism of aesthetic slavery to colonial rule in academic criticism may pick holes in the very credentials of this expressive medium and form (poetry), the current of changes cannot be denied or averted, as witnessed in the Gaelicization and Africanization of English in Ireland and Africa. While there were strong political overtones to and behind this change in these countries, fortunately or unfortunately, there is no such political fervour behind the change in India. More than Douglas Hyde, Brendan Behan, and Synge; it is Chinua Achebe, Gabriel Okara, and Amos Tutuola who come closest to our situation and provide a parallel to this change in open affirmation of the fact that no Indian should accept the British modes and models of English if he is to use it as a medium of his expression in the country. Therefore the changed contexts of landscape, culture and linguistic anodes and patterns not only alienate the language from its roots but also force it to put on the local colour, texture, usage, form, and function. There are three questions that come to the fore when discussing about Indian poetry of English: Is Indian verse in English only sometimes Indian and occasionally poetry? Must Indian poetry in English be Indian before it can be true poetry? In what exactly lies the Indianness of Indian poetry in English? To begin with the first question, Is Indian verse in English only sometimes Indian and occasionally poetry?; the second part of this question is easily answered. All Indian verse in English produced during the last two centuries from Henry Derozio to the present day does not automatically qualify as genuine poetry. As a recent anthologist puts it, Publication in the field of Indo-Anglian poetry has been ample and indiscriminate. For every reckonable book of Indo-Anglian poems I have read, I have probably read ten that need not have been read at all. They may be Indo-Anglian, but they are not poetry.  [3]  We might agree, some Indian verse in English is only occasionally poetry, mostly because it is very much a poetry of occasion. Most of the numerous sonnets and verse celebrating the motherland and the illustrious leaders ( Sarojini Naidus To India, and The Lotus, Humayun Kabirs Mahatma, V.N.Bhushans Ninth August, 1942, and R.R.Sresthas A Light onto our Path) are cases in point, cullied in random. Conventional sentiment couched in conventional diction and imagery can hardly rise to the level of genuine poetry. In trying to find a satisfactory answer to the first part of the question, viz. Is Indian verse in English only sometimes Indian, one is on comparatively safe ground in spotting obvious imitations, which has made an uncomfortably large part of this writing a whispering gallery of echoes rather than a chorus of authentic voices. Thoreau wrote in Walden, The head monkey at Paris puts on a travellers cap, and all the monkeys in America do the same. The history of Indian poetry in English shows a similar process at work. When the head monkey in London puts on a new literary thinking cap, all the descendants of Shri Hanumanji in India dutifully do the same. Kashiprosad Ghoshs Shair in The Shair and Other poems was obviously an Indian avatar of Sir Walter Scotts Minstrel in The Lay of the Last Minstrel. The romantic sun indeed continued to shine in India long after it had ceased to shed on Britain the light that never was on sea or land, because literary geography inevitably implies a time -lag similar to the one which physical geography presents. After Victorianism succeeded romanticism in Britain, in due course Tennysonesque and Swinburnian melodies (some of Harindranath Chattopadhyayas lyrics are typical examples) and Arnoldian musing (One recalls Gordon Bottomleys well known description of Indian-poetry in English as Mathew Arnold in a saree) becme the models to be aped. Modernism arrived after independence (again with the inevitable time-lag) more than a generation after it had entered Britain. Indian poetry in English is thus only occasionally poetry and only sometimes poetry. This leads to another strain of thought that why must Indian poetry in English be always Indian to establish a nationality. H.W.Longfellow is reported to have said, in connection with the novel Kavanagh, Nationality in literature is good, but universality is better. Longfellows statement leads to a similar plea: Why insist that the Indian poet must talk of the banyan and the Champak, and not of cedars and wisterias; of parrots and water-buffaloes and not of redbreasts and unicorns; of mangoes and guavas, and not of pears and peaches?

Journeys End by RC Sheriff - How does the Opening Grab the Audience’s Attention? :: English Literature

How does the Opening of Journey’s End grab the Audience’s Attention? R.C Sheriff’s â€Å"Journey’s End† is a piece of First World War literature and presents a realistic picture of life in the trenches as he had known it and a interpretation of the horrors from the war. It is set in 1918, and opens on Monday March 18th. It is placed in a dugout in the British Trenches before St Quentin. It is a powerful play expressing many different sides of the war from the death and fighting to the way the recruits spend their spare time. This play involves the â€Å"C† Company including a Company Commander and four officers. In Act 1 scene 1 the previous company has had a quiet posting with only irregular attacks and the German troup movements are just starting. The opening is one example of the way R.C Sherriff has tried to make it fun as well as stern. He opens with Hardy singing a song, â€Å"One and Two, it’s with Maud and Lou†¦Ã¢â‚¬ , which also shows that some parts are unrealistic and not showing a war the way we all know a war to be like. The first two characters we are introduced with are Hardy and Osborne. Hardy is the incompetent, casual and good humoured soldier which brings the hilarity and light hearted side of war to the audience’s attention. Osborne on the other hand is the opposite from Hardy. He displays experience and discipline to the dugout. He is also very fair-minded and level headed. In this scene they introduce Stanhope to the viewers but they have conflicting views on him. Hardy quotes: â€Å"Stanhope really is a freak† showing he doesn’t have a positive opinion on Stanhope. Whereas Osborne quotes in his favour â€Å"He’s a long way the best company commander we’ve got†. With the contrast in views and the appearance of Stanhope yet to be seen is making the audience question: â€Å"What is Stanhope really like?†. During the conversation between Hardy and Osborne we’re told that they are expecting a new officer, from Osborne saying, â€Å"I hope we’re lucky and get a youngster straight from school. They’re the kind that do best†. There is also a question over â€Å"The Big Attack† which we are yet to be knowledgeable about. This is known because the conversation, â€Å"†¦the big German attack’s expected any day now†¦ I should think you’ll get it right in the neck† between the two officers tells us so, which keeps us interested to find out more. This play is a slice of real life with documentary realism. It has all the right parts to it from the comic of Hardy’s jokes to the

Comparing My Papa’s Waltz and Listening to grownups quarrel Essay

Comparring My Papa’s Waltz and Listening to grownups quarrel  Ã‚   Poems are often designed to express deep feelings and thoughts about a particular theme. In Theodore Roethke’s poem, My Papa’s Waltz, and Ruth Whitman’s poem, Listening to grownups quarreling, the theme of childhood is conveyed through their details, although we can neither see a face nor hear a voice. These poems are very much alike in their ideas of how their memories pertain to the attitudes of their childhood; however, the wording and tones of the two poems are distinct in how they present their memories. The two poems can be compared and contrasted through the author’s use of tone, imagery, and recollection of events; which illustrate each author’s memories of childhood. The tone of a poem can only by recognized when reading carefully and paying close attention to the words and what they might suggest. The rhyme scheme of My Papa’s Waltz is extremely relevant to the poem. For example, in the first stanza dizzy and easy create the rollicking rhythm, as does the following stanza’s with the same pattern. The structure of words create an almost "waltz" like melody. The phrase " we romped until the pans / Slid from the kitchen shelf" and " waltzed me off to bed" (Roethke 5-6, 15), convey a pleasant atmosphere to the reader. The title itself creates an affectionate attitude with the connection of Papa and waltz. The choice of words and details are used systematically to produce thoughts to the reader of happiness and affection, thus, establishing the tone of this poem. The tone of Listening to grownups quarreling, has a completely different impact. When reading this poem, the reader has a more sad outlook on the thoughts of this author’s memories. Whitman uses ... ...nal family. The second poem uses harsh details described in similes, metaphors, and personification. The message of a horribly bad childhood is clearly defined by the speaker in this poem. Finally, the recollection of events, as described by the two speakers, is distinguished by the psychological aspect of how these two children grew up. Because the first child grew up in a passive home where everything was hush-hush, the speaker described his childhood in that manner; trying to make it sound better than what it actually was. The young girl was very forward in describing her deprivation of a real family and did not beat around the bush with her words. It is my conclusion that the elements of tone, imagery, and the recollection of events are relevant to how the reader interprets the message conveyed in a poem which greatly depends on how each element is exposed.   

Differences between Chinese and American food culture Essay

The histories, boundaries, population, religions, politics, folks, economy of America and China are not the same, so the food culture of the two countries are not the same. Chinese culture starts from 1,700,000 years ago. When someone says something about Chinese food culture, they must praise the color, taste, smell, shape of the Chinese dish and the types of the dish. Most of people in China are used to have rice and wheat as their daily main food resource. Meat is not the major food for us. Chinese people always believe that rice, wheat, vegetable, fruit are the best for our health. In contrast, meat would give more troubles to our health, for example, heart attack, high blood pressure, and etc. It is because the population pressure, we should have the rice and wheat for the main food, we do not have enough meat to eat. We eat vegetable to help pharynx the main food, for the main food is not delicious, the function of vegetable in china is like salt. Chinese cook should decorate the food, so the food which is not delicious becomes more delicious and wonderful. Because of handicraft industry in china is develop, the technology of processing the food is the second to none in the world. These are the characters of Chinese food culture. The technology of processing the food in China is very develop, a lot of food that the foreigner thought is unable to eat can be made when you see it, your appetite will develop at once. We eat every thing if possible. we do not have any taboo. The writings about aid the famine are a lot, so we can know which potherb can be eaten when the famine comes. Dining is the first require in China, we thought eating food is a happy thing. We can not eat full and dress warm in the past years, so eating has the special position in Chinese lives. American people mostly have meat as their food resource. The most important is that they mostly have beef, chicken, shrimp, turkey, instead of pork and lamb. The food style gives American people much more energy than we have. They are much stronger than us. That is the fact! For meat is delicious in nature, American do not need to decorate their food, it limits the development of the cook. When they are rich, they use the dining tools to represent their rich. They do not purse eat because it is easy content for them, they purse love instead. Americans do not daintily the details of the food, it is not excessive too, it is in a popular style, it is voluntary the whole day. In restaurants, you can easily find hamburger, steak, ribs with a little rice and a piece of bread, because their live style are so fast. The styles that Chinese and Americans eat are very different too. In China, any dinner party has a form that everyone sits around the table. We use round table in the banquet, it means solidify, manner and having the common habits. The delicious dinner is placed in middle of the table. People toast for each other and take vegetables to others. It shows the respects and comity among people in front of the fantastic thing. Although this kind of eat method has obvious shortages in sanitation, it matches the common thought â€Å"reunion† of our race. In American dinners, though the food and wine are important, actually that is a setoff. The purpose of the party is making friends. They make friends by chat with their neighbor. It also represents Americans personality and respect. When Americans have meals, they do not allow people make a noise, they do not allow take vegetables for others, do not allow smoking, do not allow compelling others drinking wine, do not allow take off clothes in public, do not allow discuss sickening. If you have finished food in a restaurant, you should leave a ten per cent tip for lunch, fifteen per cent for dinner. The tip should be calculated on the basis of the total before the addition of tax. The method we drink tea is the quintessence of our country, it has a long standing. When we drink tea, we emphasize clear and elegant. We daintily the matching of the tea and tea cups. There are many kinds of tea cups in China. Chinese rarely hold on tea party, if there are some, the hosts themselves pour tea for the guests. Chinese like drinking tea instead of drinking coffee. But Americans like drinking coffee, they also drink tea, they hold tea parties sometimes. The conversation is the core of the party. The tea party is a place where can train the diplomat. The dining tools between the two countries are different. Chinese use chopsticks. The thin and long chopsticks cannot be used to cut food, so we usually use our teeth to act as knives. We hold our food, meat or vegetable, with the chopsticks, send them to the mouths, bite off a part of it and remain the other part on the chopsticks. That’s the usual way we eat. We are also used to hold up our bowls when having rice or soup. The etiquette in the America requests that when eating, bowls and plates cannot leave the tables. Food should be cut by knives to fit into the mouths. Of course your mouth cannot touch the plates or bowls. So the regular process is like this. You cut your steak on the plate with fork and knife, send the meat cube into the mouth with fork and nothing will be returned back but the fork alone.