Understanding Place and Language in Olive Senior's "Gardening in the Tropics"
Understanding Place and Language in Olive Senior's "Gardening in the Tropics" "On a hilltop, at that, you find yourself drowning, a movement of ebbing and flowing. You recognize early (or too late) that you failed to detach From that mooring. Always, cruelty of choice. Here's the knife. Yourself: Executioner Midwife" - Olive Senior, "Leaving Home", Over the Roofs of the World Gardening in the Tropics exploded onto the literary scene from the pen of Jamaican novelist and poet Olive Senior in 1994. A collection of poems, paralleling the Tropical Garden and landscape with European tropes of an Edenic garden, Gardening in the Tropics covers a wide range of themes, inclusive of which are displacement, loss of personal, national and cultural identity, and a response to colonial and imperial oppression. Her exploration of these themes is however layered and multi-dimensional. In addition to being filled of threads of post-colonialism, her literature also surrounds a fixation on migration and the African diaspora- the historical movement of Africans and their descendants throughout the world. This is consequent of Senior's migration to Canada during the 1970's where much of her works were written. From this remote location, she was able to garner a different perspective on Caribbean life and society, and in essence reconcile a Caribbean past with a North American present
Exploring the genre and style of the Political Interview - Paxman and Galloway interview
Exploring the genre and style of the Political Interview Introduction Politics is an area in society which is accepted as an important aspect of our lives. It governs our country and, as a result, affects how we conduct our everyday affairs. Since the commercial availability of television, politicians have had the opportunity to express party views, promote their manifesto and justify controversial actions. Live interviews have allowed the nation to put forward questions they want answered, significantly progressing the basis on who we decide to vote for to govern our country. These interviews are perhaps most notable on Newsnight, hosted by Jeremy Paxman. Paxman became a presenter of Newsnight in 1989 and has since been a pioneer in the interrogative style used to unnerve his interviewees. This topic is of particular interest due to the nature of the interaction between a representative of the audience (the interviewer) and the politician. In many cases, it is evident that politicians adopt a tactful stance when answering questions in order to prevent perceptions and retain popularity. Interviews often gain entertainment value when questions are put forward that place the interviewee in a difficult stance, and more so when an attempt is made to divert the topic to suit the interviewees position. This is a typical method used in order to gain control of conversation, and
Language Aquisition Notes
LANGUAGE ACQUISITION Theorists * Cognitive - Jean Piaget - can only understand lang when you understand concept (e.g. can talk in past tense when you know about time) * Behaviourist - Skinner learn through imitation - doesn't explain where new sentences come from * Nativist - Chomsky - Language Acquisition Device (LAD) - works out what is/isn't acceptable lang use using innate programmed patterns (which are general). exact rules learnt through trial and error. His theory supports the fact that children around the world seem to develop at a similar pace, irrespective of race/culture/mother tongue. (This also 'defies' Skinner's model) Also, the fact that there is a universal grammar amongst all languages of the world. & the fact that children consistently create new forms of language that they would not have heard before. * Conversely, John Macnamara - said that rather than having an in-built language device, children have an innate capacity to read meaning into social situations. It is this capacity that makes them capable of understanding and learning language, not the LAD. * Interactive - caretaker, motherese etc - slower pace than adult convo, simplified, repetition, short sentences, often caretaker asking 'where is___?', 'that's a___', tag questions to involve child ('isn't it?') * Example for importance of social interaction: Bard and Sachs. Studied a boy
Journeying in Hardy's "At Castle Boterel"
After Emma's death Hardy embarked on a journey to some of their old haunts in Cornwall to rediscover their old love. Considering in detail one poem, discuss ways in which Hardy uses the symbol of journeying in his poetry. "At Castle Boterel", one of the greatest of Hardy's Poems of 1912-13, is an intensely personal poem, yet expresses universal truths on the subjects of loss, reclamation and time. An example of Hardy at his most emotionally evocative and philosophically profound, it chronicles his spiritual, intellectual and emotional journey following the death of his wife. The background to the composition of "At Castle Boterel" is that of a physical journey itself - Hardy's pilgrimage to Cornwall. In the poem this journey is juxtaposed with a past journey, separated by time but not space, taken in a parallel March many years before. The comparative weather conditions belie Hardy's nostalgia for the past: the bleakness of the present "drizzle" and "fading byway" draws a sharp contrast with the "dry March weather" of the former journey. The use of the vivid present in "We climb the road" emphasises the clarity of the memory, blurring, as in many of the Poems of 1912-13, the boundaries between past and present, memory and reality. Hardy's pilgrimage was not just a literal journey, for it was a quest to overcome the boundaries of Time and death through his poetry, an
Critical Appriciation of the Two Minuets Hate in 1984
Write a critical appreciation of pages 16-18 "in its second... uttering a prayer". How does the two minutes hate contribute to your understanding of the nightmare world in which Winston lives? The two minutes hate is almost a celebration of a cult, a sort of gathering of religious fanatics to honour their ruler, Big Brother. Orwell uses it to show the expressions of anarchy amongst the 'leaping and shouting' people and how this would be their only chance to express their human feelings in the nightmare society in which they are forced to live. Winston's dystopian world is displayed in Orwell's unsympathetic parody of the two minutes silence in commemoration of WWII and epitomises the 'frenzy' of emotions, the terror and violent culture that Winston has to tolerate. His elaborate view of religious or political fanatics scrutinises these kinds of obsessions and demonstrates how it can over-power a person's life. Control is one of the main components of the two minutes hate. The people are helpless, they are 'like that of a landed fish' in the robotic machine that is Big Brother. They cannot escape from 'the voice' that 'continued inexorably' and there is no escapism to be had in the 'frenzy' of voices yelling at the screen. This reflects a nightmare that is inescapable until we awake. Winston longs to awaken in a society capable of love, without suffering, but it seems he
In "Much Ado about Nothing", Shakespeare presents us with a conventional and unconventional heroine in Hero and Beatrice. Which do you prefer?
In "Much Ado about Nothing", Shakespeare presents us with a conventional and unconventional heroine in Hero and Beatrice. Which do you prefer? In "Much Ado About Nothing", Shakespeare presents us with both the (Elizabethan) conventional and (the more modern) unconventional heroine in Hero and Beatrice, using a variety of effective literary methods, to demonstrate the extreme differences in character. A central theme in "Much Ado about Nothing" is that of the literary tradition of a heroine within the social conventions surrounding women. The literary tradition of the time (and indeed, in many cases, up to the present day) bestows the conventional heroine with beauty, modesty and etiquette, submissive and obedient to men's will. Literary convention also presents the heroine with a variety of obstacles which, through no fault of her own, she is forced to overcome. Ultimately, she prevails and the Shakespearean tale typically ends with a joyful marriage ceremony, often an alliance between two families. However, modern literary tradition breeds the unconventional heroine, an independent, assertive and articulate young woman, overcoming prejudice and injustice. In "Much Ado About Nothing", Shakespeare presents us with both the Elizabethan conventional and (the more modern) unconventional heroine in Hero and Beatrice, using a variety of effective literary methods, to demonstrate
Death of a Salesman: Is Willy Loman a tragic hero or a tragic victim?
Lara Jackman 2AA. Mr. Roberts Is Willy Loman a tragic hero or a tragic victim? Centre No:49005 Candidate No:7244 The "quintessential American tragic hero"1 or "a passive victim of corrupted propagandist society"2; this is just one example of the conflicting views surrounding Arthur Miller's Willy Loman in "Death of a Salesman". Consumed with a flawed vision of the American Dream, this character is certainly a contemporary figure and his life remains symbolic and relevant to this day with regards to the pitfalls of capitalist values, as it was fifty years ago. Indeed, Willy Loman is unique in the sense that it is difficult to categorise him as one particular character stereotype; it depends on the individual's point of view. Some critics argue that he is neither a tragic hero or victim, but rather a "victimizer of himself and others"3 and "a coward"4. Certainly, there are numerous interpretations that have been explored over the years and it is due to the wide scope for analysis Willy offers that "Death of a Salesman" remains a favourite to discuss amongst critics to the present day. The idea of Willy Loman as a "tragic hero" has been the subject of heated debate for decades. Some of the classic features of a tragic hero, as determined by Aristotle, can undoubtedly be applied to Willy Loman and therefore support the idea of a heroic
To what extent can Blanche Dubois be considered a tragic hero?
Blanche DuBois is often referred to as a 'tragic figure.' How does Williams' presentation of this character allow her to be seen in this way? Aristotle defined 'Tragedy' around 330BC: "Tragedy, then, is an imitation of a noble and complete action; . . . and achieves, through the representation of pitiable and fearful incidents, the catharsis of such incidents." In a tragedy, the tragic hero is tested by suffering; as a result they're forced to face the consequences. Some will be crushed by their misfortune and may even die; others will somehow overcome their difficulties. Aristotle also states that the character must be of noble character - defined not by birth but rather by moral choice. This does not mean that they're perfect. There would be a sense of outrage if the individual were not marred in some way and yet still suffered. Conversely, a tragic hero can not be completely heinous. Aristotle felt the best type of tragic hero will fall somewhere between the two extremes - ". . . a person who is neither perfect in virtue and justice, nor one who falls into misfortune through vice and depravity, but rather, one who succumbs through some miscalculation." When the character is presented to the audience, there is empathy as their flaw (Hamartia) humanises them; a sense that it could happen to anyone because of this Hamartia, which while contributing to the character's lack
Explore the presentation of Iago in Shakespeare's Othello.
Explore the presentation of Iago in Shakespeare's Othello. "O damned Iago! Oh inhuman dog!" Iago is one of the most central and many-layered of Shakespeare's villains, though he is also the subject of some controversy. Has Shakespeare created a "motiveless malignity," as Coleridge suggested (Shakespearean Criticism, 1960), or is Iago deeper and more destructively sharp and vindictive? Shakespeare presents a deep-rooted paradox within Iago - his single-minded conviction and confidence alongside an uncertainty of motive. Iago's importance and his role as Othello's 'poisoner' is perhaps the first thing to consider. Is he simply a catalyst, aiding the inevitable, or does he deliberately orchestrate Othello's end on his own? The duality of Iago is also a vital device used by Shakespeare to illustrate his character - Iago is such a gifted actor that no other character even has the opportunity to suspect that he is dishonest. The juxtapositioning of honesty and lies, good and evil, jealousy and trust, are also key techniques employed by Shakespeare to demonstrate Iago's power. The depth of both Shakespeare's and Iago's language and use of imagery and extended metaphor is also suggestive of how layered the character is. It is difficult, perhaps impossible, to fathom Shakespeare's original intentions for Iago. What must be noted is how different he is from the character in the tale
'Cleopatra is often interpreted as the designing woman who brings down a worthy soldier and ruler, but this view is simplistic.' How do you, in the 21st century, respond to Shakespeare's dramatic presentation of Cleopatra?
'Cleopatra is often interpreted as the designing woman who brings down a worthy soldier and ruler, but this view is simplistic.' How do you, in the 21st century, respond to Shakespeare's dramatic presentation of Cleopatra? Cleopatra can only be described as 'designing' when her character is examined on an entirely superficial level. Beyond the obvious fluctuations in mood and volatile behaviour she exhibits throughout the play, there lies an intensely vulnerable and accessible woman, more so than ever to a modern audience. She is, in a sense, a woman well ahead of her times, both that of the Imperial Roman Empire and that of James I in which she was originally portrayed. Her volatility, particularly in the early stages of the play, is easily misconstrued as a Machiavellian tendency to manipulate for the satisfaction of her own whims. On first experience of the play, her request of Antony to 'tell me how much' he loves her seems foolish, even embarrassing, a public taunting of an important man. However, on subsequent re-examination, when the depth of her feeling for Antony (particularly in her anguish at his death) has been demonstrated, her 'taunting' gains another dimension. This question is more than trivial to her, however she might behave; she needs his reassurance. She is desperate to cling on to Antony's love, incredibly sensitive when it is threatened. Her first
