Atmosphere and setting in the 19th century stories Essay Example for Free

Air and setting in the nineteenth century stories Essay Consider environment and setting in the nineteenth century stories you have perused, and talk about how the creators have made dread and climate. I will examine how three Gothic stories composed by creators in the19th century make dread and climate. The three stories which I will consider are The Monkeys Paw, by WW Jacobs, The Body Snatchers, by Robert Louis Stevenson and furthermore The Signal Man, by Charles Dickens. The gothic classification was mainstream in the late eighteenth and nineteenth hundreds of years and was an entirely in vogue part of lives in that period. Practically all gothic stories included comparative perspectives which made the air creepy and frightening. Most gothic stories included components, for example, cemeteries and dead bodies making a feeling of death and murdering of individuals. The climate in gothic stories is frequently the caring that alarms you for instance rainstorms, mist and practically all gothic stories are set in the corner of the night. Some gothic stories may incorporate a heavenly angle, curses, spells, wishes, phantoms , this was extremely well known in this time on the grounds that the Victorians were very in contact with the extraordinary side of their lives and accepted emphatically within the sight of apparitions and post-existence. Gothic stories would for the most part incorporate components of shock and authenticity to make the story increasingly reasonable. A gothic story will consistently be brimming with anticipation and pressure to make the peruser tenser and scared concerning what is going to come straightaway. The setting of a gothic story was in every case significant, the setting would for the most part be in a remote, intriguing or segregated setting for instance the first story of Frankenstein which was written in the late eighteenth century by Mary Shelly was set in the Italian alps, an exceptionally remote setting which around then was known to be spooky. Brutality, gore and bloodiness was constantly remembered for the gothic sort and was consistently a huge part of the story. Gothic stories never included a lot of characters, this was a method of keeping the story short as well as all the more terrifying as it is consistently more terrifying when you are all alone or in gatherings of a few as opposed to a huge gathering. The Victorian period is well known for its interest with death and the grim. The Victorians accepted that individuals had a decent passing encircled by their families, having come to terms with god and surrender to their destiny or a terrible demise, which was unexpected. The Victorians likewise made an enormous business around memorial services. An excellent burial service was a method of demonstrating their riches and regard. Individuals even had adornments made with the hair of their friends and family who had passed on as method of recollecting that them and to show that they would consistently be with them. In the late18th and lord nineteenth hundreds of years clinical science made enormous advances. Be that as it may, specialists in preparing required carcasses to gain from. Frequently the assemblages of hanged hoodlums were utilized for this reason. Regardless of hanging being a moderately visit occasion, the quantity of bodies accessible was in every case nearly nothing and the interest for bodies was enormous. The resurrectionists figured out how to bring in cash here, by uncovering new carcasses and offering them to clinical schools. This made the pace of bodies for clinical use increment; anyway in 1832 the Autonomy demonstration was passed which implied that any helpless who kicked the bucket in the workhouses, and whose bodies stayed unclaimed, could likewise be utilized for clinical use. Until this demonstration was passed individuals who could manage the cost of it would twofold or significantly increase line their final resting places or have unusual gadgets to forestall the cover of the final resting places being taken off. The nineteenth century saw an expansion of death rate which implied that there was constrained space in the cemeteries especially in the enormous urban areas. The congregation yards got stuffed because of this numerous individuals started constructing private walled graveyards for their families and dear companions. The Victorians were all inspired by the powerful creatures. S㠯⠿â ½ances turned out to be extremely famous and mediums grew progressively ridiculous strategies to astonish and confound their customers. In Victorian England, close by the creating logical standards of examination and investigation, allegations of black magic were as yet normal and still paid attention to very. As we become increasingly ready to comprehend the physical and the touchable, the extraordinary and indefinable turns out to be significantly progressively baffling. One of the Gothic stories I am examining is The Monkeys Paw composed by W.W. Jacobs exhibits components of the gothic sort. The Monkeys Paw is W.W. Jacobs most celebrated story and is viewed as an exemplary of ghastliness fiction. The story opens with the White family going through a comfortable night together around the hearth. An old companion of Mr. Whites stays with them. Sergeant-Major Morris, home after over twenty years in India, engages his hosts with fascinating accounts of life abroad. He additionally offers to Mr. White a preserved monkeys paw, said to have had a spell put on it by a heavenly man that will give its proprietor three wishes. Morris cautions the Whites not to wish on it at everything except obviously they do, with unpleasant results. Jacobs utilizes anticipating, symbolism and imagery in this story to investigate the outcomes of taking a risk. His cautious, conservative production of setting and environment add anticipation to the story, while his utilization of discourse and slang (one of Jacobss trademark) help perusers to feel that the characters are certified. The setting of the story is the sort which is considered in the components of the gothic type. The story is set when there is terrible climate and when the breeze is blowing unequivocally THE NIGHT was cold and wet, indicating us the climate is wet and chilly, one of the primary components of gothic story composing. The house wherein the story is set is in no place of all the brutal, slushy, off the beaten path spots to live in, this is the most exceedingly terrible. Disclosing to us that the story is set in a remote and detached setting with nobody else around, they are separated from everyone else in the corner of the night with the breeze yelling, Jacobs had set the story well and with detail to the climate and setting of the story, this quickly causes the peruser to feel like there is something eccentric going on or will occur. When the man shows up at the entryway, the perusers wonder who it is for some time, however that contemplation is before long set aside when the Monkeys Paw is presented and we wonder why the man is so uncertain about giving it to anybody, is there something terrible about the Monkeys paw? Does it bring misfortune? We never know until the monkeys paw is really utilized and we are kept in anticipation, not comprehending what's in store, the component of tension in gothic composing is depicted well in this story. We are informed that the monkeys paw must bring something terrible when the sergeant significant says yet I caution you of the outcomes. This shows the monkeys paw must bring a type of misfortune, a portion of the tension is removed yet we are as yet thinking about what these outcomes are and what the monkeys paw will bring. Later in the story we know about what the outcomes are and obviously they all as violent as one another and all incorporate components of the Gothic sort which Jacobs has included, Jacobs exhibits the entirety of the components of the gothic class in his story, shows a run of the mill loathsomeness and every one of its components. The Body Snatchers and The Signal Man are two other gothic stories which additionally depict the gothic class and a knowledge into the historical backdrop of the Victorians and the way that they rewarded the dead. The Body snatchers, composed by Robert Louis Stevenson, is a story which is set especially around the Victorian period, it depends on body grabbing which was to a great extent mainstream in the nineteenth Century, and was in incredible requirement for clinical reasons and exploration. Stevenson starts by setting the seen and presenting characters. The primary section of the story appears to be exceptionally comfortable and a customary night in the bar with the typical four men plunking down having a beverage, it is a standard event and those four men would consistently be there consistently yet blow high , blow low, come downpour or day off ice, we four would each be planted in his own specific rocker Stevenson starts the story on an extremely common point which is by all accounts nothing strange and the peruser doesnt feel like anything dubious is going on. The characters are presented in detail, particularly Fettes so apparently he is a key character in the story. He is depicted in a great deal of detail and is by all accounts a man who everybody knows and is a need to the town and the bar, everybody knows what his identity is anyway we could be offbeat of him when the story states we had no information on his character and forerunners this shows numerous individuals knew about the man however very few individuals knew how he thought and his history. The main realities thought about fettes are arbitrary ones e.g he has specialist information, anyway they know nothing about his history. He doesnt appear to be dependable, he drinks, indecencies, acts of unfaithfulness. His extraordinary information is unclear this virus be hazardous. The characters in the story know each other in odd manners for example what they drink and how the beverage it. What was occurring is the bar was a cycle-it happened regular. The setting in the primary section appears to be too typical something will occur. However, the start of passage two One dim winter night sets the recognizable Gothic scene, cool, desolate, winter , dull , frightening, this develops strain and we can recount to that the story is going to be advised and things will start to turn out to be progressively unpredictable. There is a break in the daily schedule of the typical evenings it was the first run through this proposes something strange will happen , we dont know precisely what this is nevertheless we realize that there is a character that the men are uncertain of in the bar wiped out man in the George anyway when the keeps an eye on named is referenced Fettes, who is flushed, abruptly awakens su bsequent to hearing it yet at the final word he appeared to stir Fettes and the man are connected how? sh

Dehumanization in The Women Who Clean Fish Essay -- Women Who Clean Fi

Dehumanization in The Women Who Clean Fish   Erica Funkhouser's ladies who clean fish can scarcely be sorted as ladies by any stretch of the imagination. However they probably are completely named Rose or Grace shaping a huge logical inconsistency in itself. They are presented as people giving the dream that they are of some significance however very soon they are viewed as simply workers. They become a unidentifiable mass, each as basic as the following. Be that as it may, they don't stay unidentifiable always and before the finish of the sonnet the ladies become totally fishlike. The Women Who Clean Fish delineates this dehumanizing change into fish.   The names Rose and Grace don't fit into this sonnet as a result of the setting in which they are utilized. At the point when rose is seen or heard it is the representation of a rich bloom toward the finish of a long slim stem, embellished with sensitive petals that is unmistakably noticeable and a moment image of excellence rings a bell. By definition, effortlessness signifies an uprightness that originates from God. Immediately a radiant, tasteful lady by the name of Grace is pict...

Evaluating Training Programs Development and Correlates

Question: Talk about the Evaluating Training Programs for Development and Correlates. Answer: Presentation The Ulysses program is considered being a program for authority improvement that accomplices with PricewaterhouseCoopers towards the upgrade of the administration possibilities. By joining the Ulysses program to PwC has prompted the part of appearing the broadening of group in the global field. The Ulysses program is related with the perspective to distinguish just as train forthcoming pioneers who will discover offbeat answers for immovable difficulties. Learning in the Ulysses Program is intended for happening at different levels, for example, at the individual, group and hierarchical level. The picking up of information that happens is moved back to the organization just as its customers after the returning individuals from the group will continue their occupations, and in their official questioning meetings with the worldwide leading body of PWC. These meetings will give an input circle that will allow PWC for constant refinement of the Ulysses model for completing the administration prerequisites in a superior manner inside a powerful worldwide organization (Jehanzeb 2013). After the starting of the Ulysses program, members were intensely weighted in regard of accomplices from the US just as Europe. Competitors in regard of taking an interest in the Ulysses Program are designated by the leader of every one of the associations regional workplaces all through the world relying upon the authority capability of the accomplices (Arneson 2013). The objectives in regards to the Ulysses program are related with the part of recognizing just as creating future pioneers of PWC for taking on senior initiative duties at national just as worldwide levels inside 5-10 years. The objectives additionally incorporate the part of building a worldwide system identifying with PWC initiative ability just as expanding the limit of PWC for benefiting from its differing just as transnational nature of working. Also, the objective is related with the arrangement of the pioneers for directing the organization in a universal universe of vulnerability just as strain among differing interests just as gathering of partners. The objective is additionally connected with the part of empowering the business area for moving towards a model of business that is viewed as being increasingly mindful just as feasible (Grohmann 2013). The Ulysses Program is related with creating capable pioneers that are having the ability to accept senior positions of authority at the nearby just as worldwide levels. For building a global initiative system, there is the necessity to comprehend the importance of qualities to create trust-based relationship with a fluctuated scope of partners. For helping the PWC pioneers for understanding the changing business jobs to impact the financial, political, social just as ecological government assistance of networks just as business sectors all through the globe Also, for building up a model in regard of PWC that will be empowering the cutting edge for driving in a dependable way inside a worldwide organized organization (Arneson 2013). Fitting the Ulysses program inside the idea of supportable administration Maintainable administration is clarified as the use of supportable practices in the classifications related with organizations, to oversee them in a way that will profit the present just as people in the future. The Ulysses program is having the capacity towards making PwCs technique for business just as targets effective. The PwC groups come in ordinary contact with indigenous individuals, to make a shared culture conflict. Exchanges with the neighborhood populace will cultivate the exchange of information just as common comprehension. The Ulysses program does the presentation of another phase of skill just as certainty into people to make a reasonable monetary arrangement for killing destitution (Ford 2014). The Ulysses program is viewed as extraordinary in its strong plan just as reason for changing PwC into a worth based network, rethinking the significant worth commitment identifying with the business foundations. One of the significant difficulties in regards to the advancement of ability is planning pioneers for the future in regard of the social, social, natural, just as key business challenges in a situation that is questionable just as mind boggling (McCullum 2013). Qualities and shortcomings of the Ulysses program The Ulysses program will introduce qualities just as shortcomings to offer administration improvement programs in regard of its accomplices. Inside the brief timeframe period that applicants are joined up with the program, they will be creating authority aptitudes that will be outfitting them with successful system as future PWC pioneers undertaking responsibility in regard of longer spans of 5 to 10 years. This is a similarly shorter time of preparing in examination with other conventional techniques where courses are taking 3 to 5 years (Stahl 2013). The future chiefs of PWC are predetermined towards forming a plan of action that is having greater responsibility just as supportability and permitting joint endeavors among business just as community social orders. Another bit of leeway, which is presented by the Ulysses program, is having direct connection with the improvement of pioneers who, thus will have the capacity for building organizations (Maak 2014). The program along these lines, focuses on opening execution just as to grasp assortment making its models successfully outfitted with worldwide business situations. Associations comprehend the way that it is exceptionally testing towards accomplishing administration. It has been demonstrated fundamental in regard of the organizations in having hands-on experience, for example, PWC that has placed staffs into volunteer projects that will test their cooperation just as capacities and do their prepping in regard of future jobs of authority. There can happen the obtaining of the intellectual capacities, yet the best perspective is having the degree for applying those aptitudes identifying with authority just as cooperation in a genuine condition. Moreover, the Ulysses program will construct a universal system identifying with PWC administration ability, planning pioneers for managing the organization all inclusive related with various just as differed interests in regards to gatherings of partners (Ehnert 201 4). The shortcomings may be related with the monetary viewpoints since it is viewed as exorbitant for sending staffs to another country, paying for their settlement just as costs, alongside their pay rates. Then again, if the results are affirmed, these costs may be viewed as speculations. The Ulysses program is respected to be an exorbitant program that will grab away PwCs unique charm as the huge driving firm for preparing global world pioneers. Adequacy of the Ulysses program The adequacy of the Ulysses program can get learned with the assistance of different focuses, for example, meeting the objectives related with business, turnover of staffs, improvement of staffs just as exhibitions. All the two dozen staffs that were sent in regard of the preparation are as yet working with the association, half of those staffs have gotten advancement and lion's share of them are having extra duties. This is showing lower turnover just as viable staff execution. In addition, the staffs are exceptionally happy with the preparation. The lesser staffs are seeing changes in the style of authority of their seniors, for example, having greater adaptability. The organization is seeing sure positive results in worldwide systems administration also (Hartman 2013). The Ulysses program is furnishing the members with more extensive universal viewpoints having importance to any association that is having the nearness of its business work all through the globe. Ulysses got accomplishment to do the advancement of a co-getting the hang of setting just as transparently worked with the members in regard of their relational improvement aptitudes. Besides, fusing differed social viewpoints had the capacity of upgrading group acknowledgment, quality just as expanded inventive perspectives that turned out to be a piece of the PwCs social angles. To assemble relationship with customers just as partners across fringes will bring expanded affiliation that will bring about extra achievement. What's more, the Ulysses program is permitting an extension in regard of the accomplices for realizing what they can complete without their standard assets for inclining toward (Pless 2014). The Ulysses program urges them in attempted ventures that are well outside their proficiencies. The PwC accomplices previously did the adjustment of their encounters identifying with the errand to do the administration of people just as customers. End In this task, with respect to preparing and improvement, a conversation has been made identifying with the key part of the Ulysses program in regards to PricewaterhouseCoopers. It has likewise been talked about in regards to the ways by which the Ulysses program will be fitting inside the idea of economical administration. The qualities just as shortcomings in regard of the Ulysses program has likewise been examined and furthermore the ways by which the Ulysses program has been considered being viable has been depicted. Ulysses got accomplishment to do the advancement of a co-getting the hang of setting just as transparently worked with the members in regard of their relational improvement aptitudes. In addition, joining changed social angles had the capacity of improving group acknowledgment, quality just as expanded imaginative perspectives that turned out to be a piece of the PwCs social viewpoints. Reference Arneson, J., Rothwell, W. what's more, Naughton, J., 2013. Preparing and advancement capabilities re-imagined to make serious advantage.Training Development,67(1), pp.42-47. Ehnert,

Madwoman in the Suburbs A Feminist Critique of Gillian Flynn’s Gone Girl - Literature Essay Samples

As the biggest literary phenomenon of 2012, Gone Girl, penned by former television critic Gillian Flynn, was at one point a household item, commonplace among coffee tables, airplanes, and offices alike. Ubiquitous among both the older and younger generations, the novel stood as the subject of intense speculation and countless debates. Having waned in recent months, the widespread media scrutiny surrounding the novel may have baffled some, but nevertheless resurfaced due to the 2014 release of the movie adaptation, also written by Flynn. The root of the argument has remained the same, however, with many still wondering if Gone Girl is as truly groundbreaking as it first seemed. While some insist that it should be heralded as a feminist text for the complex portrayal of the psychotic female protagonist, Amy Dunne, other critics have painted Flynn as a misogynist because of the inherently unflattering, vengeful image of Amy that plays right into the societal stereotypes that her charact er abhors. While dualistic in these circumstances, it cannot be denied that through Amy’s cunning manipulation of her husband and society at large, Gone Girl offers a subversion of male power and a rearranging of standard women’s roles uncommon in the history of literature. Moreover, the reader is forced to acknowledge and scrutinize the gender roles which pervade the novel by means of Amy’s sexist husband Nick, his mistress Andie, and other background characters. When applied to feminist criticism, these featured gender dynamics, along with Amy’s succession of female archetypes, such as scorned lover, madwoman, and femme fatale, provide an interesting exploration into how the work as a whole is made complicated when viewed through a patriarchal lens. Anti-feminist critiques of Gone Girl simplify the character of Amy into that of a misandrist and a lunatic, essentially limiting her to the role of Gilbert and Gubar’s â€Å"madwoman.† They state that the madwoman is â€Å"usually in some sense the author’s double, an image of her own anxiety and rage† (Moi 78) and go on to elaborate that â€Å"in projecting their anger and dis-ease into dreadful figures, creating dark doubles for themselves and their heroines, women writers are both identifying with and revising the self-definitions patriarchal culture has imposed on them† (Moi 79). Flynn herself has admitted to having sadistic urges as a child, confirming in her autobiography, aptly titled I Was Not a Nice Little Girl, that the character of Amy Dunne was partially based off her own inner monologue. In the piece, she also argues that women have been systematically taught to suppress their violent impulses, and so by integrating them into her own na rrative, she came to the realization that â€Å"libraries are filled with stories on generations of brutal men, trapped in a cycle of aggression. I wanted to write about the violence of women† (Flynn, Powells). Flynn expounded on this idea in response to critics casting her as a misogynist, maintaining that she feels there needs to be more villainous women in literature. Self-identifying as a feminist, she clarified â€Å"the one thing that really frustrates me is this idea that women are innately good, innately nurturing. In literature, they can be dismissably bad – trampy, vampy, bitchy types – but theres still a big pushback against the idea that women can be just pragmatically evil, bad and selfish† (Flynn, The Guardian). The reception of her work by critics and by the general public alike reveals how the operation of patriarchy seeks to place female characters into specific boxes, however Flynn typifying â€Å"the most recurrent theme of Anglo-Ameri can feminist criticism† rebels against this phenomenon through her â€Å"feminist rage,† which embodies â€Å"the author’s ‘female rage’ against patriarchal oppression† (Moi 61). Perhaps what Flynn is trying to suggest is that literary equality can only be achieved once the female figure can be just as implicitly malevolent as the male, which as of now still goes against the grain of literary tradition. The problematic nature of anti-feminist reception towards Amy therefore becomes clear through the scrutiny of Flynn’s work, as it’s obvious that what is being criticized is the act of having a female character fulfill more than one role in a text. Gillian Flynn’s characters are shown to struggle with established literary tropes which are abundant throughout the novel and aid in its progression. Images of the â€Å"angel and the monster, the sweet heroine and the raging madwoman,† which all stand as â€Å"aspects of the author’s self-image, as well as elements of her treacherous anti-patriarchal strategies† (Moi 60) drive the unconventional narrative and impart themselves onto the unreliable narrators until the self-aware aspect of the roles become a reality. Since childhood, Amy’s life has been one large attempt at fulfilling the roles that society demands from her. The reader comes to learn that ‘Diary Amy’ was merely a facade of a dutiful wife (I am fun. I am playful. I am game. I feel naturally happy and entirely satisfied. I am a wife!) (Flynn 39). When her true self is first revealed, Amy confesses, â€Å"the way some women change fashion regularly, I change personalities.à ¢â‚¬  (Flynn 222) By switching her personalities to fit into societal expectations, her character represents a manifestation of how â€Å"women are denied the right to create their own images of femaleness, and instead must seek to conform to patriarchal standards imposed on them† (Moi 57). She first strives to find an identity separate from her â€Å"paper-bound better half† (Flynn 26), the embellished ‘Amazing Amy’ books written by her parents, disclosed when she states â€Å"I’ve never been more to them than a symbol anyway, the walking ideal. Amazing Amy in the flesh. Don’t screw up, you are Amazing Amy.† (Flynn 259) The girlhood burden of having to personify a flawless fictitious character has driven Amy crazy, and thus continuously throughout the novel the reader sees her assuming desirable female archetypes that she feels she must inhabit. Once Amy meets the laidback, misogynist Nick at a party, she immediately adopts the role of the ‘Cool girl,’ recalling: â€Å"That night at the Brooklyn party, I was playing the girl who was in style, the girl a man like Nick wants: the Cool Girl. Men always say that as the defining compliment, don’t they? She’s a cool girl. Being the Cool Girl means I am a hot, brilliant funny woman who adores football, poker, dirty jokes, and burping, who plays video games, and drinks cheap beer, loves threesomes and anal sex, and jams hot dogs and hamburgers into her mouth like she’s hosting the world’s biggest culinary gang bang while somehow maintaining a size 2, because Cool Girls are above all hot. Hot and understanding, Cool Girls never get angry; they only smile in a chagrined, loving manner, and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl† (Flynn 222). Amy’s preoccupation with the ‘Cool girl’ role is one of the most ingrained roles in patriarchal society. The ideal, pure women is expected to be exactly what a male wants, which Gilbert and Gubar touch upon in The Madwoman in the Attic, asserting, â€Å"from the eighteenth century on, conduct books for ladies had proliferated, enjoining young girls to submissiveness, modesty, selflessness; reminding all women that they should be angelic† (600). Women thus have a societal obligation to enjoy all that men enjoy whilst maintaining a perfectly ‘feminine’ image, and as a result, as discussed in Feminist Literary Theory: A Reader, â€Å"all such visions of women are contaminated by male-defined notions of the truth of femininity† (Felski 38). The expected role of women is to subjugate their own desires while appeasing those of a man, and accordingly women allow their identities to be determined by someone else’s desire. Amy recognizes this disparity, expressing â₠¬Å"it’s tempting to be Cool Girl. For someone like me, who likes to win, it’s tempting to be the girl every guy wants†¦but then I had to stop because it wasn’t real, it wasn’t me† (Flynn 223-224). Amy’s critique of patriarchal society is that women allow themselves to be erased and replaced by someone else, which feminist criticism posits as a fundamental examples of ‘otherness,’ in which the silent image of a woman is controlled by a man. By coming to the revelation that she does not wish to be confined by the Cool girl image, she decides instead to use her next form of programming to get what she wants. Amy kills the version of herself designed to please Nick, thereby becoming the novel’s paragon of self-awareness. As conceived by Gilbert and Gubar, She kills herself into a perfect image (597) of what the media will exploit. By willingly creating a new image as the vulnerable woman ordinarily assumed by society, Amy once and for all disposes of the Cool girl and becomes the ‘Gone girl.’ Amy’s ‘Gone girl’ image is arguably the most important in the book, because it capitalizes on society’s tendency to pigeonhole women as the helpless victim in the clutches of their abusive husbands. As a direct response to Nick’s philandering, Amy assumes all power in the marital relationship by framing him in this way, however she does so with no enjoyment. The role of the wronged woman is one she despises, stating: â€Å"I know women whose entire personas are woven from a benign mediocrity. Their lives are a list of shortcomings: the unappreciative boyfriend, the extra ten pounds, the dismissive boss, the conniving sister, the straying husband. Ive always hovered above their stories, nodding in sympathy and thinking how foolish they are, these women, to let these things happen, how undisciplined. And now to be one of them! One of the women with the endless stories that make people nod sympathetically and think: Poor dumb bitch.† (Flynn 234) Amy exhibits her strength as a female character by using the patriarchal oppressive force to her advantage. Asserting that women shouldn’t allow themselves to be used as a doormat, she states that she â€Å"gave, and he took and took. He Giving Treed me out of existence† (Flynn 238). This represents a rejection of the â€Å"realm of the Gift,† in which the ideal woman â€Å"gives without a thought of return† (Moi 111). At this point in the novel, Amy has completely replaced her role as the selfless, ideal woman with that of the monster woman, who â€Å"acts on her own initiative, has a story to tell- in short, a woman who rejects the submissive role patriarchy has reserved for her† (Moi 57). By utilizing the pre-written, feminine roles that society has assigned to her against her will, Amy definitively comes out on top in the power relationship between the sexes. Flynn’s choice in having Amy follow these socially constructed expectations can be viewed on either side of the feminist spectrum, but it’s undeniable to the reader that idea of subsumption and destruction of gender roles is being put forth in a flagrant and unavoidable manner. While Amy challenges the divisions between each archetype, Nick is shown trying to decipher and uphold his own throughout the text. According to Gilbert and Gubar, as a female voice, Flynn was able to effectively use the â€Å"female textual strategy† of â€Å"assaulting and revising, deconstructing and reconstructing those images of women inherited from male literature† (Moi 59) to write for Amy, however Nick’s character is presented as downright sexist and more one-dimensional, though still challenging society’s expectations for him to live up to his seemingly unsympathetic ‘killer husband’ disposition. The reader first sees him portray a role when, on the day of Amy’s ‘disappearance’ he admits, â€Å"like some awful piece of performance art, I felt myself enacting Concerned Husband† (Flynn 23). Similarly In front of Diary Amy, Nick claims to be â€Å"the sitcom-husband version† (Flynn 211) of himself, while in front of the police he plays the part of the â€Å"hero narrative: the husband who sticks by his wife† (Flynn 180) through thick and thin. Flynn often depicts him as emotionless and inappropriately reacting to situations, which all stems from his father’s influence on his life. His stunted emotions during the investigation are proof of this, as he is haunted by his father’s axiom that â€Å"men don’t cry† (Flynn 64) and must later remind himself to â€Å"act the way a man acts when he hears the news† (Flynn 202) that Amy is pregnant. In Nick’s patriarchal ideology, masculinity is constituted by being unemotional and detached, as he detested stooping to the â€Å"womanly art of articulation† (Flynn 133) and â€Å"lauded the emotional solidity of midwesterners: stoic, humble, without affectation (Flynn 146). Nick tries desperately to avoid growing into the image of his misogynistic father, but his recurrently sexists thought s are not few and far in between. For example, after talking to Amy’s â€Å"best friend† Noelle Hawthorne, he experiences â€Å"the unkind thought, one of those that burbled up beyond my controlWomen are fucking crazy. No qualifier: Not some women, not many women. Women are crazy† (Flynn 131). Fulfilling his â€Å"daddy’s-boy attitude† (Flynn 130), Nick repeatedly refers to women as ‘bitches’, ‘cunts’ and ‘whores’, and must fight his propensity for violence against them (â€Å"I wanted to smack her, right then, the obliviousness, the girliness of her†) (Flynn 96) in order to maintain the â€Å"Good Guy Nick† (Flynn 204) narrative. His role is defined as the quintessential ‘nice guy’, who is laidback and universally liked, and he embodies these traits by appearing flippant and phlegmatic. However this only reflects his external identity, as the reader knows that his internalized misog yny resides just below the surface. Amy and Nick’s reunion at the end of the novel sheds light on her roles of the ‘perfect wife’ and ‘mother figure’, and can also be applied to the theory â€Å"Infantile fantasy.† As stated in Feminist Literary Theory: A Reader, a heroine will â€Å"rebel against the tyranny of the loved men,† and yet â€Å"the qualities which make these men so desirable are, actually the qualities which feminists have chosen to ridicule: poweremotional distanceand singular love for the heroine (the inability to relate to anyone other than the sexual partner)† (Coward 174). In this example, we see why Nick cheating on Amy was a necessary obstacle in their twisted hero/heroine narrative. According to Coward, â€Å"a rival for the hero’s affections is almost obligatoryand the crunch point in the narrative often comes when the heroine sees the hero and the other woman embracing† (Coward 175). Exactly paralleling the reveal of her true se lf and the subsequent transition into the gone girl, Amy follows Nick to Missouri and watches him with â€Å"the mistress† Andie, as â€Å"he pressed her up against a tree- in the middle of town- and kissed her† (Flynn 233) Andie personifies the typical ‘whore’ image within the novel, however her character only serves to drive the plot along, and eventually â€Å"we discover that the hero was thinking about the heroine all along† (Coward 175). Nick confesses this fault at the end of the novel, stating â€Å"the indulged mama’s boy in me wouldn’t be able to find peace with this normal woman, and pretty soon she wouldn’t just be normal, she’d be substandard, and then my father’s voice-dumb bitch-would rise up and take it from there† (Flynn 397). Admittedly, Nick stays with Amy because he can’t live without the tension and excitement that she adds to his life. Due to the relationship he shares with his p arents, on one hand being â€Å"always mothered† by his mom and receiving â€Å"the best of everything† (Flynn 8, 24) as a child, and on the other hand being turned into a constant people-pleaser by his pejorative, unsatisfiable father, it’s safe to assume that Amy fulfilled the â€Å"mother role† after his own mother died. On Amy’s neurotic perfectionism, Nick notes that she â€Å"made me believe that I was exceptional, that I was up to her level of play† (Flynn 214). Amy clearly bolstered Nick’s egotism, and vice versa, and coupled with his misogynist tendencies and her sociopathic behavior, their characters belonged with no one but each other in the end. The popularity of Gone Girl landed Gillian Flynn with the heavy burden to appease all with her representation of women. One of the main facets of feminist criticism is that female characters should not have to uphold the societal expectations of women in literature, and this is exactly what Gillian Flynn sought to do. Very few popular female writers have successfully created complex, evil characters with intriguing motivations, and Flynn stood by her choice to create them despite receiving constant flack for her past works. Amy as a character may borrow from established literary tropes, but by acknowledging them and turning them on their head, Flynn did something not commonly seen in literary history. Breaking from literary tradition, Gone Girl critiques and subverts one-dimensional figurines and in the process creates an intelligently self-aware, layered villain that, because of its rarity alone, should be considered a feminist text.

American And Dutch Missionaries During The 19th Century

In late 19th Century, American and Dutch missionaries started to getting in to Korea to share a gospel. Some of them just got killed without sharing any good news. Among many of the missionaries, there was one missionary who got killed as soon as he got landed. This missionary is very special in Korean church’s history. Because right before he got executed, he gave small bible to the executioner. On that time, excutioner’s were the ones who were poor and illiterate. However, since the quality of the paper was really good, he tore up the each of the papers to use as a wallpaper. And that house became the first church in Korea. Anyways, in the earlier history of Korean Christianity, there was a funny story. It was also happeened to the Jewish christians also, however, as we do every first Sunday of the month, all the christians around the globe share a communion at least once a month. As Christ said, â€Å"For my flesh is true food and my blood is true drink,† (v.5 5) non-christians accused christians as cannibalists. Non-christians did not know what it means to have a flesh and blood of Christ. So I like to ask you all that, do you know what it means? Do you know what the church means? Moreover, do you know what is the church? Some of you might wonder how can I talk about church, even though today’s scripture talk about Holy Communion. So this is how United Methodist stated on Holy Communion, â€Å". .We believe the Lord s Supper is a representation of our redemption, a memorial ofShow MoreRelatedIntegration of Spanish Empire2531 Words   |  11 PagesPortuguese, who desired to maintain their monopoly on East Asian trade.  The Philippines  was administered as a province of New Spain (Mexico) until Mexican independence (1821). Manila revolted the attack of the Chinese pirate Limahong in 1574. 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Six Characters In Search Of Author Essay Example For Students

Six Characters In Search Of Author Essay Pirandellos masterpiece, Six Characters in Search of an Author iswell known for its innovative techniques of characterization, especially in thefullness of character as exhibited by the Stepdaughter and the Father, but it isespecially renowned, and rightfully so, for the brilliant staging techniquesemployed by its author. Pirandello uses his innovative staging techniquesspecifically to symbolize, within the confines of the theater, the blending ofthe theater and real life. Chief among these, of course, is the way in which theauthor involves the audience in his production, to the point which, like amedieval audience, they become part of the action, and indeed, a character inits own right. The use of lines provided in the playbill was the first of itskind; never before had an author dared to ask the members of the audience toperform, even though unpaid, and indeed, paying for the experience themselves. But without those lines, how much less impressive would that moment be when theDirector, understandably at the end of his rope with the greedy characters (whohave been from the start trying to coerce him into writing a script fornon-union wages), shouts Reality! Fantasy! Who needs this! What does thismean? and the audience, in unison, shouts back, Its us! Werehere! The moment immediately after that, when the whole cast laughsdirectly at the audience, pointing at them in glee, is nearly unbearable for anaudience, as shown by the riot after the first performance, when the audiencenot only ripped the seats out of the theater, but stole the popcorn. Pirandelloalso used a technique he inherited from the Cirque de Soleil,involving a trapeze hung from the catwalk. But though the trapeze was not initself his own invention, its use during the intermission as a means to annoythe audience was absolutely innovative. He had gotten the idea from watching theinhabitants at the mental institution in Switzerland where his wife wasrecuperating from a Venetian holiday. The Swiss hospital, renowned for itsexperimentation, had started a program of gymnastics, meant to boost thepatients self-esteem. The Stepdaughters foray above the audiences heads,during the intermission, is a direct reflection of that Swisstechnique; no one before Pirandello had dared to use it in the theater before,but it not only symbolized neatly the problems with defining reality inherent inthe text, but kept the audience from actually getting a rest during theintermission, since they couldnt tell when it started and began. Last, thoughstill important, would be Pirandellos nod to Brecht, with his medieval circularstaging. With the voices of the Actors, the Director, and the Characters comingat them from all sides, and with the members of the cast actually clamberingover the audience members as if they (or indeed their seats) were not there,Pirandello masterfully tied the audience members inextricably in to the action,bringing home the meaning. For the main truth of Pirandellos play is that notonly is there no difference between art and reality, there is no reality, orperhaps more specifically, no art, at all, and indeed, no members of the castanymore than there are members of the audience. In the final analysis, the onlydifference between the cast members in Pirandellos play and the members of hisaudience is that one paid to get in and the other got hired.

Finding Essay Topics Ideas

Finding Essay Topics IdeasAre you having trouble finding essay topics ideas that are interesting? Have you considered writing an essay but have been unable to find anything you really enjoy? I know this from experience. When I was in college, I worked as a librarian and there was no option for writing, except for homework, which meant that I spent a lot of time on papers I really didn't care for.I also had a roommate who enjoyed writing. He always seemed to come up with some interesting topic or idea that was really interesting to him. Still, it wasn't like he was sitting at his desk day after day working away.Many writers believe that they can get by without using their own personal interests, but it is important to keep in mind that your subject matter has to be more important than just what you like. If you choose an interesting topic to write about, the point of the assignment will go farther if it's a topic that you find interesting.Consider doing research to find out what topic s interest you. There are plenty of people out there who write about things that interest them. The ability to find this out is one of the best things that you can do when you're searching for essay topics ideas. If you can talk to other writers, you can talk to them about their subject matter and find out what topics that they find interesting.By talking to other writers you will be able to see what topics they are interested in, and what topics are interesting to them. The best part about talking to them is that you will have the opportunity to pick up a few ideas of your own. By looking at essays by other writers, you will be able to make your own essay topic more interesting. That is one of the most important parts of writing a great essay.You should keep in mind that youare not going to come up with an essay topic because it's something that you personally find interesting. This is not how to write a good essay, and that's why it's important to stay away from personal topics in the first place. Instead, you are going to find a topic that is interesting for you.Finally, keep in mind that it will take some time to find the best topic for your assignment. Instead of choosing a topic right off the bat, do some research. You will find that you can go on forums and read about topics that interest you, and by writing about these topics you will come up with a very interesting topic.Just remember, it's all about finding a great topic for your essay. It can be tough to come up with one. Use your research skills and a little creativity, and you'll find a topic that is great for you.