Morrisons Bluest Eye Essay: Self-Definition -- Toni Morrison The Blue

In Toni Morrison's The Bluest Eye, published in 1970, the struggle begins in childhood. Two young black girls -- Claudia and Pecola -- illuminate the combined power of externally imposed gender and racial definitions where the black female must not only deal with the black male's female but must contend with the white male's and the white female's black female, a double gender and racial bind. All the male definitions that applied to the white male's female apply, in intensified form, to the black male's, white male's and white female's black female. In addition, where the white male and female are represented as beautiful, the black female is the inverse -- ugly. Self-definition is crucial, not only to being, but to creating. As Gilbert and Gubar so astutely note in The Madwoman in the Attic, "For all literary artists, of course, self-definition necessarily precedes self-assertion: the creative 'I AM' cannot be uttered if the 'I' knows not what it is" (17). One way of describing this work of self-definition is as "learn[ing] to understand what around and about us and what within us must live, and what must die" (Estes, 33). But female definition has not been this sorting out process of self-definition. Instead, it has been a static male definition "by default" or "by intent." If the female is to create herself, she must begin with a process of self-definition whose first step is, of necessity, a negation of the hitherto established male definition of "female." Virginia Woolf calls this "killing The Angel in the House" (PFW 286). Before she can say "yes" by creating a positive form she must first say "no" to the false positive form created by a patriarchal society. Before she can reclaim herself from the negative space of t... ...s vital and true. Â   List of Works Cited Dickinson, Emily. The Complete Poems of Emily Dickinson. Ed. Thomas H. Johnson. Boston: Little, Brown and Company, 1960. Estes, Clarissa Pinkola. Women Who Run With the Wolves. New York: Ballantine Books, 1992. Gilbert, Sandra M. and Gubar, Susan. The Madwoman in the Attic. New Haven: Yale University Press, 1984. Morrison, Toni. The Bluest Eye. New York: Penguin Books, 1994. ---, Playing in the Dark. Cambridge: Harvard University Press, 1992. Portales, Marco. "Toni Morrison's The Bluest Eye: Shirley Temple and Cholly." The Centennial Review Fall (1986): 496-506. Rubenstein, Roberta. Boundaries of the Self. Chicago: University of Illinois, 1987. Woolf, Virginia. "Professions for Women." Collected Essays. Vol.2. London: The Hogarth Press, 1966. 284-289. Â  

Sustainable and Successful Innovation :: Business, Iraqi Manufacturing System

Today, almost all organizations face a dynamic environment characterized by rapid technological change, shortening product life cycles, and globalizations. Organizations need to be more creative and innovative than before to survive, to compete, to grow, and to lead (Jung et al., 2003; Tierney et al., 1999). An issue is that, for many sectors in general and manufacturing sectors in particular innovation seems unpredictable, mysterious, and apparently unmanageable (Tidd, Bessant, & Pavitt, 2005). The general problem is that sustainable and successful innovation is so difficult to be achieved by many firms (Marane, 2011; Al-Muafaq, 2009). In the increasingly competitive environment, firms turn to innovations to increase their performance, market share, market exposure and potential for revenue earning, but the stakes are high (Scantlebury & Lawton, 2007). While success in innovation may lead to greater revenues earning, value, and market shares (Hult, Hurley, & Knight, 2003), mistakes can lead firms to the complete breakdown carefully crafted business strategy (Cozijnsen, Vrakking, & Ijzerloo, 2000). It becomes imperative for firms to develop the capability to innovate at a faster rate and in a sustainable level (Fruhling & Siau, 2007). Organizations are increasingly investing more resources on research and development, yet studies have shown that investment by itself does not guarantee the development of organizational performance and organizational innovation capability (Wol ff, 2007). The specific problem is that, Iraq manufacturing sector has a crucial role in gross domestic products of the country over the periods it placed the second rank to support the notional economic and contributes GDP more than 33% (Iraq annual report 2010). This sector is not spared by the challenges and effects of sustainable, competitive advantages and low level of innovation. In this context, they are suffering more than other organizations in terms innovation capabilities in manufacturing sectors in Iraq. Manufacturing investment commitment to innovation may not produce valuable outcomes unless leaders of firms know how internal and external factors are related to organizational innovation capability (Drake et al., 2006). The Iraqi manufacturing system has been suffering a lot of operational as well as marketing related problem. The poor innovation of the Iraqi manufacturing system was behind the call made by the former Iraqi prime minister to call for improving the manufacturing innovation throughout the restructuring processes (Marane, Asaad, and Mohamed, 2010).

Far from the Madding Crowd Essay

† He admits to Bathsheba at the beginning of the novel that, â€Å"But I can’t match you, I know, in mapping out my mind upon my tongue. † He is not a man of words, unlike Troy and Boldwood, but proves that â€Å"actions can speak louder than words†. He is unable to speak the flattery that Troy can, or be as persistent and persuasive as Boldwood is, but in his devoted actions to Bathsheba, by being the hard and diligent worker that he is, he is rewarded in the end, by giving the opportunity to offer Bathsheba the love that he had talked of to her when he had first met her. In contrast to Gabriel, Francis Troy is a man who appears to understand only what he can get out of love. He does not believe in treating women fairly, and which is expressed as he says, â€Å"treat them fairly and you are a lost man,† when referring to women. Hardy also writes about his consistency when telling the truth; â€Å"He was moderately truthful towards men, but to women he lied like a cretan. † By lying to women he found it easy to get what he wanted, as Hardy describes him; â€Å"he spoke fluently and unceasingly. † At the beginning, Hardy remarks that a woman’s greatest fault is her â€Å"Vanity. † Troy, as he possesses such ease with the words he uses, has learnt that a woman’s weakness is her vanity, and knows that by flattering them he can get what he wants. This is precisely what he did with Bathsheba, and like her, he felt some sense of triumph when he saw that he had succeeded in weakening the women he flattered, as she did with the men she flirted with. However, instead of making the women he met feel confident, his flattery merely destroyed them, as they became dependent upon him to feed their vain needs. Troy did not have the emotional sense of love, but instead he felt the physical attraction to the women he met. This meant that he only got involved with beautiful women, as it was their beauty that attracted them to him. Even after having left Bathsheba for so long, when he saw her again at Greenhill Sheep Fair, it was her beauty that â€Å"found unexpected chords of feeling, to be stirred again within him†¦ † The way in which Troy judged by appearances was perhaps inevitably the cause of his failed marriage to Bathsheba, because he had not got to know Bathsheba as a person, but simply looked at her, as a symbol of beauty. In some ways it could be said that he looked at the women as trophies that he had won. Troy was also a man driven by wealth. Bathsheba, who had come into wealth after the inheritance of the lease of Weatherbury Farm, would have been even more attractive to him as she now had money. We know that he was driven by money, as he used to bet on the horses, which put considerable financial strain on Bathsheba. This was probably the reason why he did not marry Fanny, due to her financial instability. Money was also the reason why he did not return to Bathsheba initially after landing at Liverpool, as Hardy writes, â€Å"what a life such a future of poverty would be. † This, unlike the love felt by Gabriel, was a selfish form of love, because he only ever though of himself. He had a very superficial view of love, which required wealth in order to make him happy. Troy’s opinions of love did not include the idea of commitment, and another reason for the failure of his marriage could be due to his womanising and flirtatious behaviour. We learn near to the end of the novel that his opinion of marriage is negative and he sees it not as the beginning of two people’s lives together, but as he says himself, â€Å"all romances end at marriage. † He also did not believe in the idea of equality, and shared responsibilities in a relationship, as he abandons Fanny with the great burden of an unborn child to deal with alone. This is probably due to his carefree opinion of sex, which he also valued as much as he did love. Troy did not value love as anything special, and this could be put down to the fact that he had a very unstable background, and an uncertain upbringing. His profession would also have something to do with his opinion of women, and as a soldier, he probably never had to deal with women and did not understand them. This is why he tried to possess them, and this destroyed them. Hardy has some very clear opinions that he wishes to get across to the reader in this novel. He uses the characters as tools, to create a picture for the readers, expressing his personal views on love. He rewards those characters that see love as a simple but precious thing, and he shows how much he admires Gabriel Oak for his powers of endurance, by rewarding him with Bathsheba in the end. In contrast, he punishes those characters that take love too lightly. An example of this is the attitude of Troy which end is death in the end. Hardy warns us of the great power of love and how dangerous it can be. The obsession that Boldwood felt for Bathsheba, is another feeling that he condemns, and shows how life can be ruined because of obsession. This is shown by the lifelong imprisonment of Boldwood. Hardy’s opinions of love are really exposed at the end of the novel, when he describes his own thoughts about how truelove can develop. He uses Bathsheba and Gabriel as an example of how true love can develop. They were â€Å"tried friends† who enjoyed â€Å"good-fellowship and comraderie. † The main message Hardy is trying to get across to us is that love cannot hide behind a fake face. He writes that in order for a successful relationship to take place, you must know the â€Å"rougher sides† of each other’s character. This is the love Hardy describes to be â€Å"the only love which is as strong as death- that love which many waters cannot quench, nor the floods drown. â€Å"

Key characteristics and the pioneers in avant-garde music

Minimalism originated in the sass, as a movement that sought to stray from the previous decade of self-expressionism as well as the contemporary trends of intellectual complexities found in serial music. Marked by repetitive mitotic and rhythmic patterns, it sought to emphasize simplicity in both melodic lines and harmonic progressions. In contrast to serial music's favored chromatic compositional techniques, minimalist music was wholly diatonic and consonant in nature. Textural consistency and layered melodies/rhythms gave way to gradual changes, highlighting the ‘process' of music, tater than a particular musical goal or specialized form.Seemingly lacking a climax, each composition unfolded by a series of repeating motives and additive rhythms extended over long periods of time. Influenced by Asian and African music, minimalism understated dramatic structures and sounds, instead emphasizing the reduction of musical structures. During the sass, a group of young American compos ers vouched for the return of basic elements of music, without dramatic structures and abstract expressionism. Many were influenced by the compositions of John Cage, including several leading gurus of the minimalist movement: Terry Riley, Steve Reich, and Philip Glass.A graduate of Berkeley, Riley opposed the chromatic and twelve-tone writings of serial music. Like many of his contemporaries, Riley experimented with tape loops in his compositions and bridged the gap between the new avian-garden and the piqued interest of rock music. Riley was specifically interested in composing works for â€Å"live† audiences, as these proved more effective in conveying the so-called avian-garden sounds. Successful in its reception, this kind of experimental music appealed to the public as t grew in popularity and acceptance; his music was inclusive and non-elite.Varying degrees of musical experience and backgrounds were encouraged. An excellent example of this can be found in his compositio n, In C. Written in 1964, In C did not necessarily require the skills of highly trained musicians to be performed. The piece lasts 44 minutes, although one would not suspect it to be so lengthy as it only contains fifty-three â€Å"modules† in total. Any number of instruments could play at a given time either at the original pitch or at any octave transposition. Each of the fifty-three modules were to be â€Å"looped;† in other words, they should be repeated ad labium before moving on to the next module.Moreover, articulations and dynamics were to be performed ad labium. The work finally concluded when all of the performers had arrived at the last module. While it appears that Riley music contains a sort of â€Å"anything goes† mentality, it is quite the contrary in some respects. In choosing instruments for the actual performance, Riley suggested that all players maintain an eighth-note pulse, which was audibly heard by an instrumentalist who played the top oct ave of CSS, most likely plan n a piano or xylophone. Furthermore, Riley favored more homogeneous sound; thus, instruments that consisted of specific timbres and ranges were discouraged.In C was a prime example in proving that minimalist music was not music void of regulations and rules; rather, it stemmed from â€Å"algorithms. † Riley considered these algorithms fundamental to his music even if they appeared loose by nature. Interestingly enough, the C-pulse in Riley work was not his own idea, but instead that of another contemporary, Steve Reich. Reich was born in 1936 and his compositions were heavily influenced by non- Western traditions. He studied African drumming, which involved complex counterpoint, and Balinese gametal music, with its complex layering and fast interlocking patterns.Quite different in background from Riley, Reich was born into wealthy and high-class family in New York. Having had traditional piano lessons growing up, an impressive education at Cornell with a major in Philosophy, and graduate studies at the Jailbird School in traditional' composition, Reich eventually found his path in composing twentieth-century music. Upon listening to recordings of Stravinsky Rite of Spring, Bach's Brandenburg Concertos, and bebop in succession, Riches developed a new musical obsession, what theorists would call, â€Å"subtractive pulse. † It is steady, audible pulse that is practically palpable (found in, In C).Eventually, Reich experimented â€Å"phase shifting. † with multiple tape loops, Just as Riley did, and the idea of gradual Phase shifting is a compositional technique in which a repetitive motive is played on two instruments, in a steady but not identical tempo. Eventually, the instruments ‘shift' out of unison and the musical result resembles a ringing or echo effect, but ultimately, returns to unison. The gradual ‘shifting' is initially subtle, due to the fact that the beginning Tempe are virtually identica l, but over time, the differences in Tempe increase and become much more apparent.In some live performances, the gradual phase shifting is entirely too subtle, thus forcing the performer to either add or remove a note, resulting in a shift by a single beat. Piano Phase was Riches first attempt at gradual phase shifting in a live performance. Later, Reich experimented with more immediate and less gradual changes in his Clapping Music. Philip Glass, also influenced by African and Indonesian music, collaborated with Reich for many performances, as they both sought to ‘minimalism' the compositional techniques of Western music, counterpoint, and part-writing.Maintaining commonality in elements of limited range of pitch and accentuation on constant melodic and rhythmic repetitions, Glass's music initially resembled Riches in many ways; however, his compositional techniques differed somewhat towards his latter years. While Reich used melodic and rhythmic repetition to gradually trans form his music, Glass utilized â€Å"additive Hitachi† processes, a technique that augmented small melodic units over the course of the piece. This was distinctively different from Riches ‘phasing' strategies.For instance, in Glass's Music in Fifths, the original eight-note motive is expanded by the addition of several notes and subsequently grows to two hundred notes. Similar to Reich, Glass's compositional style began simpler, but eventually evolved into slightly more complex minimalist techniques. At first, his choice of textures were limited to unison and octave doubling, as evidenced in Music in Fifths but later, he rated more complex textures in choral voices found in his Music in Similar Motion.His more recent music has evolved using simple harmonic progressions of a traditional style, but still adheres to the idea of reduction and perpetual repetition. During the sass, Glass began scripting works for the stage, including several operas: Einstein on the Beach (19 75), Straight (1980), and Keenan (1983). At this time, skepticism surrounded the existence of opera in modern times. Nonetheless, Glass's operas were tremendously significant in re-igniting enthusiasm for this genre. Of course, anthropometry opera contrasted greatly to those of Western traditions, as it consisted of non-narratives and musical theatre settings.Glass often performed in his own ensemble, the Phillip Glass Ensemble, mainly consisting of amplified woodwinds, keyboard synthesizers, and solo vocals. Minimalist music revolutionized the way listeners heard music during the twentieth-century. Due to its simplistic sonorities, repeating rhythms and melodies, minimalist music could often be heard as a type of trance' music. Its pulse unwavering, audible, and undeniably transparent, the listener is brought into an almost ‘hypnotic' Tate of mind. This sort of listening results in a somewhat passive participation, rather than active aural and emotional involvement.Undoubtedl y, minimalist music has an almost static quality to its sound, with its pulsating rhythms and steady tempos. Oriel's fascination with subtractive pulses, catapulted the interest of avian-garden music amongst amateur and professional musicians alike. A pioneer in the minimalism movement, Philip Glass certainly understood the intent of this music to its listeners. To fully grasp his compositional works, he required the audience to hear music as a ‘presence,' free room any sort of structural expectation or dramatic form.It was often heard as anti- climatic, and worked best for dramatic actions on stage or on screen. Common among the composers of this period was the ideology of ‘less is more. ‘ Reduction and striping of the ‘old' styles were accentuated in performances, and listeners were subject to a new kind of musical experience compared to previous centuries past. Taking advantage of current technologies including records, broadcasts, and electronic instrumen ts, Riley, Reich, and Glass incorporated these technological advances into their music.Typically, electronic instruments and pitches were utilized in minimalist music, as these particular sounds highlighted the monotony and reiteration of melodic and rhythmic ‘cells. ‘ Prior to the twentieth-century, instruments were played and heard by way of inflection and nuance, whereas minimalist music omitted any sort of variance in expressive sound. Academic surrealist composers often dismissed the work of the non-academic avian-garden minimalists, but to the minimalist composer, music could be void of numbers and musical ‘maps. ‘ Past Western traditions were based on rules and structures, cost of which minimalist composers rejected.The ideology that music should stem from reduced musical elements, and that their growth should be gradual and rather organic, pinned this musical genre as experimental and innovative. Transformation was marked by gradual processes and supe rfluous elements were disregarded and deemed unnecessary. The â€Å"process† of development was more important than the end result, much like the idea that Joy and self-evolution is found in the Journey and not Just in achieving it. Minimalism opposed the conservative or nostalgic and sought no return to older styles.

Pride And Prejudice:Why is the news of the elopement of Lydia and Wickham in Chapter 46 Essay

Why is the news of the elopement of Lydia and Wickham in Chapter 46 such an important moment and how does it affect what follows in the novel? A very key moment in the novel is when Elizabeth is informed of the elopement of Lydia and Wickham by two letters from Jane (while she is visiting Pemberley in Chapter 46). The two letters instead of one create more suspense and anticipation. This chapter is very important because that single event changes everything and has far reaching effects on relationships (such as Elizabeth and Darcy, Lydia and Wickham, Jane and Bingley, the Bennet family and its distant relations), attitudes, and the development of characters in the story. It changes the perspective of many characters and the truth behind appearances begins to emerge. Everything in the novel builds up to this decisive moment of crisis where things could go either way; good or bad. The build up to this chapter is very crucial as Elizabeth and Darcy slowly come closer and are on the most civil terms before the news of the elopement breaks, which makes the situation sadly ironic. Elizabeth goes from rejecting him to having her prejudices lifted when he gives the letter, correcting her misconceptions and finally to respecting him and having a deep gratitude towards him: ‘She respected, she esteemed, she was grateful to him.’ Darcy even invites her to meet his sister and she begins to start thinking of ‘bringing on the renewal of his address.’ This is why it’s so ironic when the news arrives of Lydia’s scandalous elopement because just when Elizabeth’s feelings reach a new high point for Darcy, she is hit with the realisation that he may never want to be associated with her again: ‘Never had she so honestly felt that she could have loved him, when all love must be in vain.’ However, Darcy does show great concern for Elizabeth when he arrives unexpectedly during her breakdown; an ironic and dramatic moment as he’s almost like her saviour coming to rescue her. His concern for her is an important factor showing the closeness of the two characters, and so the reader may be contemplating whether to agree with Elizabeth or not, on her opinion that ‘her power was sinking’. When Elizabeth gives him an account of the situation and how ‘nothing can be done’, according to her interpretations, he ‘shook his head in silent acquiescence’ and is seen to be ‘walking up and down the room in earnest meditation, his brow contracted, his air gloomy.’ Elizabeth thinks that this was evidence enough that his feelings are changing. But in fact, she misunderstands his actions which is ironic as she thinks she ‘instantly understood it’. In fact, Darcy proves her wrong and does help the situation, showing the strength of Darcy’s love for Elizabeth which is the main reason that the elopement accelerates their love affair, instead of completely destroying it. It is ironic how Elizabeth regrets making Mr Darcy ‘acquainted with their fears for her sister’ in earlier chapters, but if he hadn’t known, the situation would have deteriorated. Elizabeth had clearly underestimated him as instead of looking at Elizabeth’s status with scorn, he helps the Bennet’s escape from disgrace. Elizabeth learns about this through Mrs Gardiner’s letter: ‘â€Å"He left Derbyshire only one day after ourselves, and came to town with the resolution of hunting for them.†Ã¢â‚¬â„¢ Such a quick reaction meant that he had probably decided his intentions during his and Elizabeth’s unexpected encounter. The elopement acts as a catalyst instead of hindrance as it develops trust, understanding and gratitude between the couple. Elizabeth, of course is grateful for his ‘unexampled kindness’ to her sister but Darcy also has his reasons to thank Elizabeth. Darcy’s character is altered by the elopement, and his need to redeem himself before Elizabeth is a major part of how the effects of the elopement managed to take a positive turn for some people. Darcy undergoes a huge change in his behaviour after Elizabeth rejects his proposal as he says: ‘â€Å"You showed me how insufficient were all my pretensions to please a woman worthy of being pleased.†Ã¢â‚¬â„¢ He views the rejection as a ‘lesson, hard indeed at first, but most advantageous’. His behaviour improves in Pemberley as he’s shown as ‘polite and unassuming’ opposed to the previous comments of his ‘disagreeable countenance’ in Meryton. But it is nothing compared to the test that the elopement put his character through. He must have suffered to lower himself and negotiate with people who nearly destroyed his sister’s life; Mrs Younge and Wickham. ‘Every kind of pride must revolt from the connection’, but he does it to prove himself to Elizabeth: ‘â€Å"The wish of giving happiness to you, might add force to the other inducements that lead me on.†Ã¢â‚¬â„¢ He also feels responsible for the fact that because of his ‘mistaken pride’, Elizabeth’s sister was going through something that his sister had been saved of; which is why he felt it ‘his duty to step forward and endeavour to remedy an evil which had been brought upon by himself.’ It shows how he is trying to make up for his past mistakes which brings light to his good nature. However, for characters like Wickham and Lydia, the elopement does quite the opposite as their real images are finally revealed to the public. For Lydia, although her disgraceful behaviour really accentuates her flaws and the full extent of her shameless nature is shown, the elopement doesn’t tell us anything new about her character. Even previously, as Elizabeth notes, ‘Lydia had wanted only encouragement to attach herself to anybody†¦her affections had been continually fluctuating, but never without an object.’ Not many people had high expectations for her as Mr Bennet says, when Elizabeth is pleading to forbid Lydia to go to Brighton: ‘Lydia will never be easy till she has exposed herself in some public place or another’. It’s ironic as Mr Bennet’s predictions actually take place in Brighton. With Wickham, it’s a completely different matter as he always had a very ‘gentlemanlike appearance’ and an ‘agreeable manner’ but after the news of the elopement everyone realises, as Colonel Forster says, ‘W. was not a man to be trusted’. A few people, like Elizabeth, Jane and Darcy were already aware of Wickham’s true personality but most were not. Later on, when the town finds out about his debts to ‘every tradesman in the place’, they declare him to be ‘the wickedest young man in the world.’ The elopement itself is a shocking development as there was ‘â€Å"no symptom of affection on either side†Ã¢â‚¬â„¢, as Elizabeth mentions, before Lydia goes to Brighton. From this, we can make an assumption that neither of the couple has strong feelings for one another as it seems a very rushed decision made in the heat of the moment rather than a well thought out marriage plan. In fact, in Jane’s letter, Denny says that Wickham ‘never intended to go there, or to marry Lydia at all’ (‘there’ in this context meaning Gretna Green: a place where young couples got married). Lydia did believe she was going to get married, as Elizabeth thinks: ‘She did not suppose Lydia to be deliberately engaging in an elopement, without the intention of marriage’. But there was enough evidence to suggest that her little understanding would be her downfall: ‘neither her virtue nor her understanding would preserve her from falling an easy prey’. She definitely didn’t understand the repercussions of this scandalous affair and doesn’t seem to full grasp the meaning of a woman’s honour; something that was very important in the 19th century. As Mary says in her reflections: ‘â€Å"Loss of virtue in a female is irretrievable- that one false step involves her in endless ruin†Ã¢â‚¬â„¢. Thankfully, the couple end up getting married due to a payment of â€Å"considerably more than a thousand pounds† by Darcy but their characters seem the least affected by the whole incident. ‘â€Å"Lydia was Lydia still; untamed, unabashed, wild, noisy and fearless.†Ã¢â‚¬â„¢ Lydia undergoes no change and thinks that ‘â€Å"my sisters must all envy me†Ã¢â‚¬â„¢. She has absolutely no shame for her behaviour and instead, she continuously flaunts her married status around at every opportunity available: ‘â€Å"Ah! Jane, I take your place now, and you must go lower, because I am a married woman.†Ã¢â‚¬â„¢ But, she doesn’t take the responsibilities that come with her married status very seriously. Although she seems to have an immense liking for Wickham, â€Å"he was her dear†, she still seems to be engaged with other men, ‘â€Å"Tell him I will dance with him at the next ball we meet, with great pleasure.†Ã¢â‚¬â„¢ Wickham is unchanged too, still keeping up appearances: ‘His manners were always so pleasing†¦his smiles and his easy address†¦Ã¢â‚¬â„¢ Despite this, Elizabeth is able to tell that ‘Wickham’s affection for Lydia, was just what Elizabeth had expected to find it; not equal to Lydia’s for him.’ He simply married her for the money. It seems like the beginnings of a terrible marriage: ‘â€Å"Small as their chance of happiness†Ã¢â‚¬â„¢ and ‘â€Å"So imprudent a match on both sides†Ã¢â‚¬â„¢. Their marriage has an uncanny resemblance to that of Mr and Mrs Bennet; characters of opposite natures and views, uncomplimentary personalities and a marriage that happened due to uncontrollable passion, not love: ‘How little of permanent happiness could belong to a couple who were only brought together because their virtue’. Mr and Mrs Bennet, partly due to their unsuccessful marriage, prove to be terrible parents by the elopement. Jane’s letter gives us an insight in to the state at Longbourn. Mrs Bennet is described as quite unhelpful in the situation: ‘My poor mother is really ill and keeps her room.’ A good mother would try to at least provide comfort to her family and remain calm, steady and strong. Something Mrs Bennet does quite the opposite of, which is quite typical of her: ‘Could she exert herself it would be better, but this is not be expected’. Mrs Bennet influences Lydia to be flirty and exuberant from early on and it has a terrible effect. Mr Bennet, on the other hand, actually tries to handle the situation although he is grieved by the incident: ‘I never in my life saw him so affected.’ He tries to retrieve Lydia: ‘My father is going to London.’ But, it seems like an anger induced decision, ‘his excessive distress will not allow him to pursue any measure in the best and safest way’, which is not the way a good, responsible parent should react. Especially, because Mr Bennet was partly to blame for the whole incident as he never gives enough parental attention to Lydia and agrees to send her to Brighton even after Elizabeth’s pleas to withdraw the offer, simply because ‘â€Å"We shall have no peace at Longbourn if Lydia does not go to Brighton.†Ã¢â‚¬â„¢ This shows that he was lazy and couldn’t be bothered to deal with Lydia in the house, so it was easier just to send her away at that point. In the long run, of course, it made things much more difficult but both parents don’t seem to learn from this terrible incident at all. Mrs Bennet is delighted and happy as soon as the marriage between Lydia and Wickham is almost confirmed and is completely ignorant of past grievances caused by Lydia: ‘She was disturbed by no fear for her felicity, nor humbled by any remembrance of her misconduct.’ It was almost as if there had been no scandal in the whole affair: ‘No sentiment of shame gave a damp to her triumph.’ Even the want of new clothes trumped the ignominy of the elopement: ‘She was more alive to the disgrace, which the want of new clothes must reflect on her daughter’s nuptials, than to any sense of shame at her eloping and living with Wickham, a fortnight before they took place.’ The effect on Mr Bennet is a little different as in the beginning, he is extremely guilty: ‘Who should suffer but myself? It has been my own doing, and I ought to feel it.’ But after being ‘rendered spiritless by the ill-success of all their endeavours,’ in London, he gives up and leaves Mr Gardiner to continue the search for Lydia, going back to his indifferent shell: ‘he naturally returned to all his former indolence.’ Although he feels no guilt doing that, one should think he would feel it after Mr Gardiner’s hard work pays off and he fixes a marriage between Lydia and Wickham, while he just lazed around. This does not happen though, instead, he feels pleasure: ‘That it would be done with such trifling exertion on his side, too, was another very welcome surprise.’ Finally, another aspect the elopement has an effect on, is the distant relations such as Mr Collins and Lady Catherine de Bourgh. Mr Collins writes a letter to the Bennet family about the elopement, portraying his harsh characteristics. ‘The death of your daughter would have been a blessing in comparison to this’, he writes selfishly, because at least that wouldn’t disgrace his household. He also mentions that all relations of the Bennet family will be disgraced, including Lady Catherine’s agreement to add more power: ‘This false step in one daughter, will be injurious to the fortunes of all others, for who, as Lady Catherine herself condescendingly says, will connect themselves with such a family.’ As a solution, he writes in a very unforgiving and non-Christian manner to banish Lydia: â€Å"throw off your unworthy child from your affection for ever, and leave her to reap the fruits of her own heinous offence.† He doesn’t change his views even after Lydia and Wickham’s marriage: ‘You ought to certainly forgive them as a Christian, but never admit them in your sight, or allow their names to be mentioned in your hearing.’ For Lady Catherine, however, the Bennet’s disgrace is a weapon as she tries to use it against Elizabeth, in warning her to keep off Mr Darcy since she hears of their relationship: ‘â€Å"I am no stranger to the particulars of your youngest sister’s infamous elopement†¦Are the shades of Pemberley to be thus polluted?†Ã¢â‚¬â„¢ Ironically, it has the inverse effect and her visit becomes the means of uniting Elizabeth and Darcy, as Elizabeth’s reluctance to rejecting him, gives him new encourag ement: ‘â€Å"It taught me to hope†¦had you been absolutely, irrevocably decided against me, you would have acknowledged it to Lady Catherine, frankly and openly.†Ã¢â‚¬â„¢ In conclusion, the importance of the elopement is only truly understood after experiencing the aftermath, as the immediate effects and late effects of the elopement vary greatly for most people. It also has a different effect on different characters. For Elizabeth and Darcy, and Jane and Bingley, it is like a blessing in disguise but for Mr and Mrs Bennet, and Lydia and Wickham, it fails to have any good effect on the situation or characters. Instead, it reveals their flaws to others. This is the same for Mr Collins as he is shown as unforgiving of the disgrace extended to his household, and Lady Catherine’s insolent side is unveiled. The elopement changes the whole story and most characters revel in the change, thanks to Mr Darcy, with exceptions such as Lady Catherine and Miss Bingley.

New Jim Crow Annotated Bibliography Example | Topics and Well Written Essays - 750 words

New Jim Crow - Annotated Bibliography Example This source supports the fact that new Jim Crow is prevalent in our society even though not readily accepted by the community. This book assists the reader to understand that racism has taken a new form from the previous practices. This article critically examines the height of racism and how racial biasness has taken a new course through criminal justice. It talks about the challenges faced by the blacks because of their skin color and socioeconomic class they are purported to belong to. It goes further to discuss the role of race and class in criminal justice and points out why belonging to the second-class results to unequal justice with the whites. This article supports the argument that new Jim Crow has taken root in our society through mass incarceration, whereby it states how blacks’ imprisonment is seven times that of whites (Cole 22). This argument is supported by the findings in this publication that found why for every one black graduate from college, 100 have been arrested. It also tends to support the argument that racism still exists in many forms. It points out how crime has been used to victimize the minority. This book highlights and genuinely talks about the flawed Justice System in US. It critically questions the trust of American criminal justice system that for a very long time has been praised by many for being fair and equal to all. This book argues that racial biasness is present although it has been disguised form the rest of the world by freedoms and rights stipulated by the constitution. It shows the degree of unequal treatment by the justice system and links the police to enhancing this biased treatment of the blacks. This book explains how 70% of drivers stopped in Maryland and searched were blacks and how they only constitute to only 17.5% of the overall drivers (LCCR & LCEF 3). This book seems to concur with the argument that new Jim Crow is prevalent in the modern US society, by pointing how

Is The Lost Honour of Katharina Blum a feminist film If so,why Movie Review

Is The Lost Honour of Katharina Blum a feminist film If so,why - Movie Review Example A Nobel prize-winning writer, Bà ¶ll had composed an exposition scrutinizing the Bild-Zeitung (the generally circled every day tabloid that was the trade bovine in for spendable dough the yellow press realm of Axel Springer) for fanning mass craziness with its scope of the Baader-Meinhof group. The paper then marked Bà ¶ll a terrorist sympathizer, and he and his family were subjected to police provocation, hunts, and wiretaps. Bà ¶lls reaction was to compose The Lost Honor of Katharina Blum (subtitled "How Violence Can Arise and What It Can Lead To"), about a young lady whose life is crushed when the police associate her with harboring a terrorist (Taubin, 2003). As Katharina is dragged into cross examination and mortified by the police, its unimaginable not to consider this in light of all around archived treatment of ladies in the wake of sex outrages and assault allegations. These points and appeals highly stress the film’s feminist orientation. The specialists tear separated her loft, address her thought processes and history, and make intimations about her. They dont such a great amount of ask as interest, such a great amount of test as demand. She is blameworthy not until demonstrated pure, but rather essentially liable. As an inseparable unit with the states power goes the press, sensationalizing, lying, and talk mongering. This is an immediate analogy for the way ladies are slut-shamed, disgraced in private and open, and as the film advances, it weaves into it layer upon layer (Black, 2015). Some of political movies rise above their historical minute. Yet viewing Volker Schlà ¶ndorff and Margarethe von Trottas The Lost Honor of Katharina Blum today leads to the powerful experience. There is little contrast between this portrayal of West Germany in 1975, when the nervousness about terrorism disintegrated essential majority rule values, and what we are afraid of is going to happen — might undoubtedly be now happening —