Stay Healthy During Examinations Essay Example for Free

Stay Healthy During Examinations Essay Introduction I. When the final exams, many student will push themselves to study and do not care about their surroundings. II. This means infinite hours of studying, insufficient amounts of sleep, and irregular diet and exercise. The end result problems are occurs, high sickness rates amongst college students. III. Staying illness-free during the final exam season is not easy feat, but is vital in order to maximize performance. IV. Today I will to introduce you to three ways how to keep healthy during exam Comfortable place, time and body, have a healthy eat, and have enough sleep and rest. (Transition: Let’s start by looking at comfortable place, time and body.) Body I. A comfortable place, time and body can help you to focus and can avoid stress when you are studying. A. Make a study time table and follow it. Â  i. Set aside time for friends, family and other activities but you must have your own time table. ii. You must know what you must to do during your weekdays and weekends. Make sure not wasting your time. B. Besides that, have a study space will help you a lot. i. Find somewhere that you are able to go and do your assignment and study in peace and quiet. ii. Find somewhere space you will comfortable with it, because some students have their own ways. C. Take your own break and not push yourself. i. It possible if you are can study without taking some break to release your tension and relaxed your mind. ii. The reason for that is to give your mind a rest and peace. (Transition: Like comfortable place, time and body, keep healthy eat are also the way to stay healthy during examination.) II. Besides that, you must keep your healthy diet during examinations. You must take some food even though you are do not have enough time. A. Find and eat healthy food. i. Find something that can help your brain more active and developed your good memories. ii. Take time away from study to eat, and put your healthy first. B. Be active and do not pressure your brain. i. Go out and do something active, such as go walk, jog or a run. It is can make your brain more active and release your tension. ii. If your mental are healthy, it will lead your mind in peace. (Transition: Now that we have looked at comfortable place, time and body and keep healthy eat, let’s turn to have enough sleep and rest. III. Make sure that you get an enough sleep time and rest during in examinations week. A. Sleep time is more important because it will help your body and brain rest. i. Nowadays, many students do not care about their sleep time. Almost all students like to stay up during a night. ii. Without sleep you will be tired, irritable and cranky. B. Cut down the caffeine. i. It means that, many students like to take caffeine to prevent them from sleepy and want to stay up during a night. ii. It also disrupts your sleep patterns. Conclusion I. As we have seen, health is more important to us and we must keep our healthy with a true ways. II. I have focused on comfortable place, time and body, have a healthy diet and have an enough sleep and rest. III. Make sure that, you as a student have be healthy during your exam. You just wasted your time if you not keep your body health. Bibliography Linda Formichelli (2012). Expert strategies for staying healthy at college. Retrieved January 26, 2013, from http://www.webmd.com/fitness-exercise/features/expert-strategies-staying-healthy-at-college Tasha Giuda (2011, December 14). Top tips to stay healthy during exam season. Retrieved January 26, 2013, from http://www.foxnews.com/fncu/current-interns/blog/2011/12/14/top-tips-stay-healthy-during-exam-season Siobhan (2012, October 25). Staying healthy during exams. Retrieved January 26, 2013, from http://siobhanb.blogspot.com/2012/09/staying-health-during-exams.html

The Reflections Of Caribbean Poetry English Literature Essay

The Reflections Of Caribbean Poetry English Literature Essay As a collective group, the Caribbean people celebrate an eclectic melding of the differences inherent in our ancestry with an appreciation of the influences wrought upon us by the history of the islands, and our development may be chronicled through an examination of the poetry and poetic styles of the poets who seek to give a voice to the diverse, yet collective identity of the Caribbean throughout our growth. The poetry of the region reflects the distinct composite factors which characterize the evolution of the people and the Caribbean islands: the difference is evident in the persons who composed the poems, the subject matter, form, style, the target audience, and the ideological interests which were served. Initially, in the eighteenth century, at one end of the spectrum there were poets who ascribed to the scribal traditions of the English verse as it had developed by that period. These poets hailed from the white master class and dealt primarily with a glorification of the adventure of colonization in the Caribbean. The target audience was the imperial Motherland England, and by extension the other European nations. The pattern of the poems followed the blank verse, pastoral modes, personification, and a poetic diction consistent with the European poets of the era, such as Milton. The subject matter praised an idealized notion of the natural beauty of the Caribbean islands as in Weekes Barbados (1754): When frequent Rains, and gentle Showrs descend, / To cheer the Earth, and Natures self revive, / A second Paradise appears! the Isle / Thro-out, one beauteous Garden seems; (Burnett [1986], 102). The poems therefore are typified by a grandiose, eloquent style, liberally interspersed wi th classical allusions which celebrated the supposed grandeur of the West Indies. Singleton, in his A General Description of the West Indian Islands (1767), illustrates this feature: There hollow noises, murmuring thro the vault, / Surprize the listning er; whilst from the deeps / The hoarse Cerberean yell dreadful ascends, / Three times full-echod from the distant hills. (106). Juxtaposed with the idyllic Caribbean scenes described, these poets, such as Weekes in Barbados (1754), represent in their works a form of superficial humane concern for the slaves, coupled with an acceptance of slavery as the ultimate lot of the slave: Close watch, ye Drivers! Your work-hating Gang, / And mark their Labours with a careful Eye; / But spare your cruel, and ungenrous Stripes! / They sure are Men, tho Slaves, and colourd Black; (102). The poems celebration of the grandeur of the tropics [italics mine] is really a celebration of the supposed grandeur of British colonialism in the Caribbean. In m ost cases the poems work to uphold the slave-based socio-political system of the West Indian plantation society. (Baugh, 227-228). At the other end of the spectrum, there are the anonymous, simple expressions of the black slaves their folk songs, ballads, chants and work songs which articulate their observations and emotions while enduring the slavery experience. For example, there is the poignant lament: If me want for go in a Ebo, / Me cant go there! / Since dem tief me from a Guinea, / Me cant go there! (3). In a frustrated tone, wracked with displacement and restriction of movement, the poem solemnizes the plea of the slave while voicing the collective strife of the slaves on the islands. Markedly contrasting with the poetry of the scribal tradition, the poetry of the presumably uneducated Negro slave appeared to be fresh, insightful and engaging in its simplicity. The poems celebrated the oral traditions of the Africans and were imbued with a creative potential which was forged from the melding of the English and West African languages. Thus, even though the poems were written primarily in English, there were distinct African qualities (for example, the folksong tradition), which was only enhanced by the combining of the European ballad tradition: Guinea Corn, I long to see you / Guinea Corn, I long to plant you / Guinea Corn, I long to mould you (4). Significant to note is that the poets focus is on the Guinea Corn of hie native homeland, and not on the sugarcane of the plantations which exploited his labour. Topically, the slave would not have thought to romanticize the natural beauty of the islands in which they now lived under such persecution. Rather, focal points of their poems may have been entrenched in the desire to retain their native identities and in finding ways of re-defining their identities in the new context of the Caribbean. While it stands to reason that the dichotomy shown here epitomizes the expected disparity of thought and should, in fact, highlight the distinctions among the Caribbean people, the evolution of the Caribbean towards the abolition of slavery gave birth to an innovative poetic voice, one which emerged as a spokesperson chronicling the debacle of the slave trade and the slave experience: Was there no mercy, mother of the slave! No friendly hand to succor and to save, While commerce thus thy captive tribes oppressd, And lowering vengeance lingerd oer the west? Yes, Africa! Beneath the strangers rodà ¢Ã¢â€š ¬Ã‚ ¦ à ¢Ã¢â€š ¬Ã‚ ¦From isle to isle the welcome tidings ran; The slave that heard them started into man: Like Peter, sleeping in his chains, he lay, The angel came, his night was turnd to day; Arise! his fetters fell, his slumbers flee; He wakes to life, he springs to liberty. (Montgomery [1807], 1-5, 76-77). This poetic voice also interwove the African oral tradition into the fabric of the European poetic form, creating a new composite form which, for the first time, attempted to bridge the gap between the Standard English language and the language of the slaves. In his pioneer attempt, Moretons Ballad (1790) is an example of this: Altho a slave me is born and bred, / My skin is black, not yellow: (Burnett, 112). With this initial foray into the experimental Creole art form, the fact that poets of Caucasian descent were willing to both pen and publish poems in this native dialect spoke loudly to the impending communal focus of poetry in the Caribbean isles, and by extension, the duality of distinct peoples writing for the same purpose: to record a shared history and to give a unique voice to Caribbean literary works. That is not to say that all poems written in this time period were imbued with a humane outlook on the Africans. Many poets who were members of the privileged class ventured into this field, using the local vernacular in their scribal works, however the intent of poets such as Cordle and Mc Turk was a humorous depiction of the everyday life of the African in an attempt to appease the target audience which was still predominantly European. A prime example of Mc Turks use of the vernacular to poke fun at the African people can be seen in his poem, Query (1899): Da Backra one fo go a hebben? / Da Backra one fo raise like lebben? / Da wa a-we po Negah do? / Make a-we no fo raise up too? (13). It may be noted however, that poets such as Mac Dermot, whose work displayed a Tennysonian sound and feel, as was inevitable due to continued reliance on European form, in Cuba (1950s), showed the redemptive power of Caribbean unity: But we like lovers twain / Are one in joy and pain, (132). The poets and poems of this era depicted, in essence, informative social history documents, however their depiction did not negate the fact that, inevitably, two distinct histories were being interwoven through the medium of the poetry which was written. Without openly acknowledging the fact, the poets became a part of the discourse of history that they shared with historians and travel writers (Baugh, 230). The veer towards the vernacular in poetry which still embodied European forms, and also now American forms in the writing, was extremely valuable as a reflection of social realities which no longer distinguished between the people who populated the Caribbean islands, but rather reflected the shared nature of the their heritage. This fact became more noticeable as the Caribbean and its people continued to evolve. The turn of the century was earmarked by poets such as Claude Mc Kay and Una Marson, whose poetic content highlighted the didactic shift towards a focus on black consciou sness and, in Marsons work, a predominantly feminist interpretation of the social relations of the era. Although his later works were penned entirely in Standard English and exhibited the lineage of Milton and Wordsworth, the protest sonnets of Mc Kay, such as If We Must Die reflected both the black United States American situation and the Caribbean situation of the time; the racial theme is engaged poignantly, connecting the Black diaspora and speaking for the Black community generally, rather than singularly from the Caribbean perspective: If we must die, O let us nobly die, / So that our precious blood may not be shed / In vain; then even the monsters we defy / Shall be constrained to honour us, though dead! (Burnett, 144). If one examines Mc Kays Creole poetry, there is, in contrast to earlier works by Cordle and Mc Turk in which the African man was patronized, a definitive consciousness of the black people: I born right don beneat de clack / (You ugly brute, you tun you back?) / Don tink dat Im a come-aroun / I born right way in panish Town. (Brown, 7). The new female consciousness presented by Marson was also linked to black awareness on a holistic level. This black awareness fuses with class consciousness in Marsons simple diction and syntax, while her rhyme draws heavily from the Blues tradition of the American poetic form: I like me black face / And me kinky hair. / I like me black face / And me kinky hair. / But nobody leves dem, / I jes dont tink its fair. (Burnett, 158). What was seen to emerge was poets working conjointly to produce a new West Indian poetic tradition. Thematically the poets wrote in the context of the changing sociopolitical consciousness, exhibiting a new level of seriousness, characterized by a nationalistic slant, an exploration of the social realities of the time, and profoundly proclaiming a search for a shared Caribbean identity. The poems which grew out of the early to mid-twentieth century gave more attention to the search for a unique voice and although typified by derivations from the modern English and American poets of the time, for example, Auden, Eliot and Pound, there was a decided split from the European tradition. Nowhere does this split show itself to be more evident than in the secular works of Louise Bennett. Written entirely in the Jamaican Creole, Bennetts work legitimized the Creole in a way that no-one elses had as yet. Employing the primarily dramatic monologue, interspersed intermittently with the short narrative form, and with heavy reliance on the oral traditions, Bennett engages the reader vicariously in the grassroots wisdom of her personae. Her sharply probing yet objective eye exposes the naÃÆ' ¯vetà © of the Caribbean people. Her tone which is sometimes chastising, is at all times, even in the midst of her reliance on comedy as a medium of exposition, satirical as she figuratively holds up a mirror to societys foibles. Her ideas dwell on the peoples articulation of self and their place in the history of the Caribbean. Distinguishing identity becomes an inevitable condition as the people define themselves. In her works, for example, Colonization in Reverse, the reader can see how Bennett acts as a reporter and commentator on an event of both historical significance and psychological interest to the Caribbean people the exodus of Caribbean nationals to England during the post-war period: Wat a joyful news, Miss Mattie, I feel like me heart gwine burs Jamaica people colonizing Englan in reverseà ¢Ã¢â€š ¬Ã‚ ¦ à ¢Ã¢â€š ¬Ã‚ ¦Oonoo see how life is funny, Oonoo see de tunabout? Jamaica live fe box bread Out a English people moutà ¢Ã¢â€š ¬Ã‚ ¦ (Brown, 32). The delivery is characterized by a high degree of verbal and gestural expressiveness however the irony and counter-irony of the situation chronicle the poem. The dialect which is used as the medium of delivery serves mainly to highlight the unfolding drama of West Indian consciousness as the speaker debates the issue of a counter-colonization of England, and the West Indian nationals search for an identifiable history. To many of the West Indian poets such as Bennett, the tradition of English poetic form which was inherited as a part of our colonial history became progressively constrained and oppressive as the islands and their people moved towards self-realization. The need for a Caribbean poetry which encapsulated the essence of the Caribbean peoples shared history and drive towards progress and self-actualiaztion became the fore-runner of thematic influence for the poets topics. The desire for a poetry which spoke of, to and for West Indians was begun by poets like Bennett and realized in poets such as Derek Walcott and (Edward) Kamau Brathwaite. Their poems expressed a possibility for the creation of a new Caribbean world differentiated by its very divergence from Europe and America. Walcotts vision essentially delineates the social realities which have to be transformed in order for a new world vision to transcend into reality. His poetry reinvented the Caribbean landscape through the languag e which defined the qualities of the Caribbean life and people. The vision, which was also influenced by the plight of the Middle Passage extends to all races that comprised the Caribbean. Walcotts poetry did not highlight distinctions among the people, rather when he speaks of race he refers to all Caribbean people, and this vision further extends to embrace all human suffering and the need for survival. The Native Americans tragedy served only to deepen his concern for the Black diaspora, his outrage and lament not singularly focused on the Cherokee Trail of Tears nor the Gulag Archipelago, but a lament for the injustice of all systems of abuse and slavery which prioritized the financial gain of the enterprise above the inhumanities inflicted on the individual. Walcotts poetry can be said to subsume the whole history of grief inherited by the Caribbean people. History itself, for him, becomes a centrally comprehensive theme, such that the gnarled, sea-almond trees on any Atlantic- facing Caribbean coast represent for the poet the resiliency of the people, their capacity to endure, and to build a culture out of a common catastrophe: à ¢Ã¢â€š ¬Ã‚ ¦their leaves broad dialect a coarse, / enduring sound / they shared together. (Walcott, 23). Brathwaite shared Walcotts vision as he clearly established [a] single-minded pursuit of an alternative tradition for West Indian poetry. He grounded it in the retrieval and recognition of African cultures and of communal knowledge lost or submerged in the Middle Passageà ¢Ã¢â€š ¬Ã‚ ¦ (Baugh, 255): à ¢Ã¢â€š ¬Ã‚ ¦memories trunked up in a dark attic, he stumps up the stares of our windows, he stares, stares he squats on the tips of our language black burr of conundrums eye corner of ghosts, ancient his- tories; (Brathwaite, 165). For Brathwaite, his poetry utilizes black musical expressions from both sides of the Atlantic and combines them with black vernacular and Standard English to re-enact or evoke significant moments of Black experience. His goal may be seen as to renew a sense of community and shared purpose among the dispersed African peoples. Brathwaites poems are simultaneously a lament and a celebration of the black diaspora, his heroes and speakers composites of all the changing faces and voices of the new Caribbean. Renewal and community emerge as the desired home out of a legacy of exile and fragmented identity. For both Walcott and Brathwaite, their representations of contemporary society resound with the understanding of the colonial legacy bequeathed to the Caribbean people. The latter half of the Twentieth Century heralded the emergence of yet another poetic voice. This voice was that of the West Indian feminist who sought to establish the importance of the contribution of the female figure in the West Indian community. Poets such as Merle Collins and Lorna Goodison spoke out forthrightly against male-dominated power structures and engaged questions of the womans role in issues of history, class and race. Goodisons poetry for example resonates with a deep sense of history, generates a sense of creativity and focuses on the multi-dimensional roles of women in the society, sharing with Brathwaite and Walcott that vibrant sense of identity evident in her works which characteristically display Caribbean and African-American people music within a social and native consciousness that this type of music includes: Mother, there is the stone on the hearts of some women and men something like an onyx, cabochon-cut, which hung on the wearer seeds bad dreams. Speaking for the small dreamers of this earth, plagued with nightmares, yearning for healing dreams we want the stone to move. (Goodison, 4). Poems such as this encapsulate the breadth of the female form, claiming the womans place as the cultural regenerator of the people. Also extending the range of artistic use of the oral tradition into the current century, infusing it with the urgency of new, deprived generations and speaking the language of the street, the poetry of poets such as Linton Kwesi Johnson gained new popularity as dub poetry, a poetry which could trace its lineage to the oral inventiveness of the tenement yards and ghettos. However, although the poetry is at times interspersed with impressions of violence, it affirms the deep cultural significance and identification of the Caribbean people with social protest: dem is awftin decried an denied dem is awftin ridiculed an doungraded dem is sometimes kangratulated an celebrated dem is sometimes suprised an elated but as yu mite have already guess dem is awftin foun wantin more or less dus spoke di wizen wans af ole dis is a story nevvah told (Brown, 274). The writers explored here are not all of one and the same generation. Nonetheless they identify in crucial ways the Caribbeans origins; their sense of location is creatively problematic and their postcolonial sensibility appears uneasily chronicled. However the idea of a divided immigrant to the Caribbean does not hold true. Rather, one can literally trace the development of the Caribbean, and its continuing development, through the voice which these poets give to their works of art. There is a specially defined relationship of the Caribbean national to his home and identity, however multi-faceted it may appear to be. His colonial redefinition is still incomplete but the process, however delayed, is inevitable. Poets of the West Indies, through their thematic content, their use of language, their adaptation of form and their ability to acquire a target audience which was, in effect, a locally appreciative entourage, all shared in the singular rhetoric which captured the shared experi ence of the Caribbean people and gave to the islands a unique form of identity. As Eric Roach notes in his poem Love Over-grows a Rock (1992), the hope for the Caribbean peoples future lies summarily in transcending insularity through a shared regional identity and dream: à ¢Ã¢â€š ¬Ã‚ ¦So, from my private hillock / In Atlantic I join cry: / Come, seine the archipelago; / Disdain the sea; gather the islands hills / Into the blue horizons of our love. (Rohlehr, 284).

Contrast The Representation Of Friday In Foe And Robinson Crusoe English Literature Essay

Contrast The Representation Of Friday In Foe And Robinson Crusoe English Literature Essay According to G Scott Bishop, it is important to read post-colonial literature in English, and see the reactions to the discussion of colonialism held by the English, as they reflect the way our historical actions created the world. Taking the plot of the father of the novel (Judith Hawley, spoken, 7th October 2010), and a novel focussed around colonialism, Robinson Crusoe, the post-colonial Foe deconstructs it to expose the lies and injustices that are seen in Robinson Crusoe, but never challenged. The change in cultural norms, from Britain in 1719 to South Africa in 1986 has been vast, and the challenging differences between the two novels purported to tell the same story is shocking. The central point of these differences is not, as some would suggest, Susan Barton, the interloper character, and female narrator, but more Friday, a character who is the same across the books, and yet incredibly different. Defoe used Friday to explore themes of religion, slavery and subjugation, all o f which were supposed to a natural state of being at that time in history, and Coetzee uses him to explore more strongly themes of slavery, black identity, and the voice of the oppressed. In neither book is Friday left simply to be a character, he is instead always used as a device through which the reader can explore other topics. Your master says the slavers cut [your tongue] out; but I have never heard of such a practiceà ¢Ã¢â€š ¬Ã‚ ¦ Is it the truth that your master cut it out himself and blamed the slavers? (Coetzee, J.M, Foe.) The fact that this question is never answered, and that all attempts to force Friday to communicate fail drastically leave the reader wondering whether the slavers that captured Friday removed his tongue, or whether that was done by the colonialist Cruso, who felt there was no need of a great stock of words, (Coetzee, J.M, Foe). This contrasts vastly with Defoes Crusoe, who said I began to keep my journal; of which I shall here give you the copy (though in it will be told all these particulars over again) as long as it lasted; for having no more ink, I was forced to leave it off. This implies clearly that Defoes Crusoe gave a lot more care and interest to language than Coetzees Cruso. Defoes Crusoe, much as he appreciated journaling in his own language whilst alone, also took pleasure in teaching Friday to speak, In a little time I began to speak to him; and teach him to speak to meà ¢Ã¢â€š ¬Ã‚ ¦ I likewise taught him to say Master; and then let him know that was to be my name: I likewise taught him to say Yes and No and to know the meaning of them. Defoes Crusoe was certainly concerned with language, but never investigated the language that was Fridays own, erasing Fridays history by naming him, and teaching him English. In this way, he could only voice the thoughts that Crusoe had given him language to speak. This was challenged by the voiceless Friday in Coetzees work, a character who literally couldnt speak. In this, it could be argued that Coetzee was asserting that it was not his right to give voice to an oppressed black character, and let Friday stand for the victims of apartheid and slavery, where Defoe (due to the beliefs of society at his time) believed that it was right and natural for Crusoe to claim the position of Master to Friday, and to speak for him. Hearing the voice of the ethnic minorities in both Foe and Robinson Crusoe is important, but so is acknowledging their different racial identities. Friday in Foes work, in standing for the victims of apartheid and slavery, is a black African character he was black, negro, with a head of fuzzy wool (Coetzees Foe), whereas Crusoes Friday, not standing for those causes, is portrayed as being an anglicised version of a Caribbean man, who had all the sweetness and softness of a European in his countenance. This implies that Friday was somehow better than the average Caribbean tribesman by dint of looking somewhat European, but at the same time, the first language Crusoe taught him was that he was his master. He was an improvement on the average savage, since his appearance was somewhat European, but still his race left him to be the natural servant of Crusoe. This Friday is very much a dramatic device used to portray Crusoes development as a religious man; [Crusoe] began to instruct him [ Friday] in the knowledge of the true God. This allowed Defoe to expand on Crusoes earlier mentions of religion, in his conversion, and in the hegemony of the time, caused Crusoe to be seen as a good and moral character, who treated his slave well, and brought him up to be religious (McInelly Colonialism, the novel and Robinson Crusoe). In Coetzees work, Friday is allowed to be sullen and unpleasant, easy to see, but hard to like, he is created to be the embodiment of all the oppression experienced by a racial group, to only be able to take in, never to give out ideas or understanding, to be central to a story he can have no part in. The silence of Coetzees Friday could also be said to reflect the reader, who, like Friday can only react and respond to situations. Katherine Wagner however argues against this, saying that criticism and silence are mutually exclusive terms. Coetzees Friday can only be silenced, but Defoes Friday has no room to criticise, and no part in making decisions for Crusoe, because in that time, a slave wouldnt have that option at all, Coetzees Friday can take no part, being unable to speak. His isolation and treatment as second class is made far more visible by his disability, a device Coetzee used to avoid speaking the black voice, as a privileged white man, whilst still drawing attention to the plight of slaves. Crusoe, Cruso and Barton were all seen to treat Friday very differently, but all see him as a possession in their own way. Crusoe did this most blatantly, in claiming, naming Friday and instructing him to call him Master, with Defoes Friday being portrayed as making signs of subjection, servitude, and submission to Crusoe without even any bidding. This added to the moral message of Robinson Crusoe, because it showed the savage being tamed, and later taught religion. This contrasts strongly with the Cruso created by Coetzee, who was sullen (J M Coetzee, Foe) in his service, who obeyed Cruso, but did not have the childish excitement or comically expressed pidgin (Chris Boignes, Lost in a maze of doubtin) portrayed in places by Defoe. Barton also claimed him, despite trying to treat him as an individual if Friday is not mine to set free, whose is he (J M Coetzee, Foe), and on some level saw him clearly as her property, forgetting that maybe it was not her right to set him free either. ( Chris Boignes, Lost in a maze of doubtin). The representation of Friday in these two texts is vastly different, and one could hardly believe that the two were in fact the same character. With different histories, and different personalities, in fact all both have in common is playing the role of the non-white slave in the text, to serve a literary purpose, in both reflecting the views of wider society towards non-white people, and in showing the development of other characters. This is not to say that either Friday was one-dimensional, in particular Coetzees Friday was multi-dimensional and complex, but more that despite the character complexity, despite his being resistant to being interpreted (Bishop C Scott, J. M. Coetzees Foe), and how central they were, both were created to serve only a purpose. 1. Bishop, C. Scott. J. M. Coetzees Foe. World Literature Today 64.1 (1990): 54. Print. http://www.jstor.org/sici?origin=sfx:sfxsici=0196-3570(1990)64:1%3C54:JMC%22%3E2.0.CO;2-H 2. Wagner, KM. Dichter and Dichtung + Foe by Coetzee, John Susan Barton and the truth of autobiography. English studies in Africa 32.1 (1989): 1-11. Print. http://pao.chadwyck.co.uk/articles/displayItem.do?QueryType=articlesResultsID=12B06460CF2F1F413filterSequence=0ItemNumber=1journalID=4273 3. Joanna Scott. Voice and trajectory: An interview with J. M. Coetzee Salmagundi.114/115 (1997): 82.22. Print.  Ã‚  Ã‚   http://lion.chadwyck.co.uk/searchFulltext.do?id=R01511343divLevel=0area=abellforward=critref_ft 4. Bongie, Chris. Lost in the Maze of Doubtin: J. M. Coetzees Foe and the Politics of (Un)Likeness. Modern Fiction Studies 39.2 (1993): 261-0. Print. http://pao.chadwyck.co.uk/PDF/1286892456412.pdf 5. Brett C McInelly. Expanding Empires, Expanding Selves: Colonialism, the Novel, and Robinson Crusoe. Studies in the Novel 35.1 (2003): 1. Print.   http://lion.chadwyck.co.uk/searchFulltext.do?id=R01665469divLevel=0area=abellforward=critref_ft 6. Cohen, D. Fashioning Friday (Robinson Crusoe). Queens Quarterly 115.1 (2008): 9-11. Print.   http://www.highbeam.com/doc/1G1-179351988.html 7. Wheeler, Roxann. My Savage, My Man: Racial Multiplicity in Robinson Crusoe. ELH 62.4 (1995): 821. Print.  Ã‚  Ã‚   http://www.jstor.org/sici?origin=sfx:sfxsici=0013-8304(1995)62:4%3C821:SMRM%3E2.0.CO;2-Q 8. Ritchie, DE. Robinson Crusoe as Narrative Theologian. Renascence essays on values in literature 49.2 (1997): 94-17. Print. http://find.galegroup.com/shax/retrieve.do?contentSet=IAC-DocumentsresultListType=RESULT_LISTqrySerId=Locale(en,,):FQE%3D(tx,None,39)robinson+crusoe+as+narrative+theologian$sgHitCountType=NoneinPS=truesort=DateDescendsearchType=AdvancedSearchFormtabID=T013prodId=SHAXsearchId=R1currentPosition=1userGroupName=rho_ttdadocId=A19983243docType= 9. Donoghue, Frank. Inevitable Politics: Rulership and Identity in Robinson Crusoe. Studies in the Novel 27.1 (1995): 1-0. Print http://lion.chadwyck.co.uk/searchFulltext.do?id=R01532799divLevel=0area=abellforward=critref_ft 10. Ngugi Wa Thiongo. The language of African literature. Decolonising the Mind. London / Portsmouth N.H James Currey / Heinemann 1986 11. Judith Hawley Robinson Crusoe (University Lecture) 7th October 2010

Enlightenment Essay -- History, Slaves, Puritans

The period of Enlightenment in America was host to a society that widely accepted the practice of slavery. It was a custom that was looked favorably upon by most; especially in the South where the economy would have collapsed without it (Davis 1). The slaves were not all cooperative with their bondage however, and there were revolts such as the Stono Rebellion in 1739 (â€Å"Stono Rebellion† Aptheker 1). The treatment of the slaves altered according to their masters severity and the general laws of the area they worked in. Slavery was a struggling debate during the 18th century, and the differing views ended with the Revolutionary War that lasted during 1775 to 1783. Slavery was widely accepted in America during the 1700s. It was an efficient method for farmers and landowners to receive the workers they needed to tend their land and animals. Because of the time period and current immigration boom, slaves often found themselves working with indentured servants. This mostly white majority of people came to America seeking a better life, but were bound to their masters who helped fund their way into the colonies ("New England slavery at the turn of the 18th century." Berlin 1). Indentured servants suffered at the hands of their masters; but unlike slaves, they were not treated as another species or being socially inferior (â€Å"New England† Berlin 1). Many Puritans were uncomfortable with the keeping of slaves and turned to the Bible as a way to justify the practice of human bondage (â€Å"New England† Berlin 1). One of the main conflicts of the Puritans was whether the slaves should be converted to Christianity. Those opposed to this position believed that blacks had no souls to save (â€Å"New England† Berlin 1). They also believed that conversio... ...pears that Jefferson’s gripes are mainly about African Americans rather than their position as slaves, and has the fear of inter-breeding between the whites and blacks. The Enlightenment era was made up of a vast majority of those who accepted slavery, but in the end lost their humanity. It proved a useful tool for farmers and land owners, and it also created much controversy in many topics including religion and human rights. Rebellions were raised and political debates were pursued, and in the end this masterful and inhumane ritual brought a united nation into civil war. Slavery was not a solution for a country so much as it was an ignorance to a race of people. America twisted it’s Puritan values and made them appear supportive of it’s misbehavior. It was not for many years that our nation realized it’s hypocrisy, and it took a war to reach an understanding.

Montage in Films and Music Videos Essay -- Film Review, Montage

In the 1920s, artist like Sergei Eisenstein, Dziga Vertov and Vsevolod Pudovkin started experimenting with the new technique in their abstractfilms which is known as montage. Montage which is a synonym for Editing is a technique where two or more shots are juxtaposed which create a new meaning thatis not existent looking at the shots individually (Manovich, 2001). Few of the early examples of films using this technique are The Battleship Potemkin(1925) by Eisenstein and Man with a Movie Camera(1929) by Vertov.Montages are widely used in many other TV production areas like Advertisement, Dramas, News Programs and Music Videos. The Music Videos make excessive use of montages for the imagery in theirsongs; one of the examples is The Buggles- Video Killed the Radio Star (1971) which was the first music video to be shown on television at launch of MTV in 1981. Both Films and Music Videos use different approach towards editing of their shots, which plays a major role in maintaining balance between audio and visual information. The main difference between Hollywood classical films is that they are narrative while Music Videos are non-narrative in nature. Films present series of events in different ways that imply connection between one event and the next. It basically follows the cause-and-effect relationship where one action is the result of another (Manchel, 1990). Editing in films binds the narrative by assembling sequences, layers of imagery, the story, music, effects and the pace to shape the story into a final product.Editing in music videos is done to setup a mood, feeling and emotional state which disconnects the audience from the traditional narrative. There may be or may not be a story, but the main focus of music videos is ... ...have already begun to see – more as a means to playful firing visual fascination. The opposition of realistic film visual culture and non-narrative montage tradition has begun to breakdown. It is leading towards hybridization of realistic and stylized editing. Thus at one extreme there is a montage phenomenon of music video and on the other hand the editing technique of traditional cinema comes together. Montage is no longer a dominant aesthetic according to the new computer culture, as it was throughout the twentieth century, from the avant-garde of the 1920s up until postmodernism of the 1980s. New editing techniques like composting has emerged which combines different spaces into a single environment seamlessly creating a virtual space. Compositing is an example of the alternative aesthetics of continuity and it is considered counterpart of montage aesthetics.

Lrc Paper

1. What are the three ways that students may receive counseling services through the LRC? You can receive counseling from the student center in three different ways- over the phone, in person and online through their online counseling center. 2. What heading are the Health Tools and Health Challenges found under? Health tool and Health challenges can be located under the â€Å"Thriving† heading. 3. Where is the Assess Your Health tool located?To access â€Å"Assess Your Health† tool you go to thriving, then to health tool and assess health tool is located to the right of the page. 4. What are the five categories on the Live Healthy Page? The five categories are How healthy are you, lifestyle change, physical fitness, prevention and screening and lastly tips for healthy living. 5. Where can resources and articles about good nutrition be found on the LRC? Information about good nutrition can be found under healthy eating located in the thriving tab. . What are three of th e health topics that can be found on the LRC? There are many health topics on LRC but three of them are â€Å"action items to lower your blood pressure, action steps for sun protection, and kids in action. 7. What are two categories found under the Medical Care heading? Two categories found under medical care heading our medical and dental care. 8. Where on the LRC would a person find information on addiction and recovery?To find information on addiction and recovery you would go to the Balancing tab and it will be located at the very bottom labeled â€Å"Addiction and Recovery†. 9. Where on the LRC would a person find information about health issues related to aging? You would locate the aging tab and then select Health and there is a lot of information related to health and aging. 10. What are three psychosocial health topics that are available on the LRC? Under balancing and relationships there’s many categories that cover psychosocial health like friendships, rela tionships and divorce.

African American Women in Hollywood Essay

In early film many African American actresses portrayed roles as mammies, slaves, seductresses, and maids. These roles suppressed them not allowing them to show their true talents. Although they had to take on these degrading roles, they still performed with dignity, elegance, grace and style. They paved the way for many actresses to follow both blacks and whites. These women showed the film industry that they were more than slaves, mammies, and maids. These beautiful actresses showed the film industry that they are able to hold lead parts and even carry the whole cast if need be. Phenomenal actresses such as Hattie McDaniels, Pearl Bailey, Ethel Waters, Nina Mae McKinney, and Dorothy Dandridge, to name a few, are African-American stars who paved the way for so many African-American actresses today despite the hardships that they were faced with. These women displayed beauty, intellect and talent, which allowed the stars that followed that they do not have to just settle for stereotypical roles. In early film there was much propaganda and even today, which lead to these demeaning roles that they had to betray, Professor Carol. Penney of Yale-New Haven writes, â€Å"Film is one of the most influential means of communication and a powerful medium of propaganda. Race and representation is central to the study of the black film actor, since the major studios reflected and reinforced the racism of their times. The depiction of blacks in Hollywood movies reinforced many of the prejudices of the white majority rather than objective reality, limiting black actors to stereotypical roles† (1). Hattie McDaniels, a trailblazer amongst African-American film, acquired many firsts for African-American actors. McDaniels was the first African-American to sing on the radio, first to receive an Oscar for best supporting actress in Gone with the Wind. She was also the first African-American to star in a sitcom in 1951 that featured an African-American actress in the title role (Pax 1). â€Å"McDaniels appeared in more than three hundred films during the twenties and thirties. Her career was built on the ? Mammy’ image, a role she played with dignity† (Smith 7). She received much flack from the blacks because of the roles she played in film and on radio. Blacks felt that she was degrading the race but her reply was to these views were, â€Å"Hell I’d rather play a maid than be one† (Encyclopedia of World Biography 406). After her acclaim role as Mammy in Gone With the Wind, McDaniels was never paid anything less than $31,000 for a performance. This was much for an African-American as well as a white entertainer. Even though she broke that barrier McDaniel was still oppressed by racism not only on film, but also off film. She was faced with racial legal problems when trying to acquire a home in Los Angeles. At that time there was a limited black land and home ownership right. Though she won the suite she still was subjected to racial hostility from her neighbors. McDaniels experience oppressions of many types during her career, but she continued to take the mammy roles but played them with dignity and respect. In spite of her being the mammy, McDaniels made sure that her characters had the â€Å"upper hand†. After McDaniels death the mammy roles died with her. Pearl Bailey, the â€Å"Ambassador of Love† career took off on Washington’s U street at the age of fifteen years of age. She started off as a singer and appeared in many nightclubs. In the mid-30’s she performed with the Noble Sissle’s Band in the Village Vanguard and Blue Angel Club. In the 40’s she was the lead singer for Count Basie, Cab Calloway and Cootie Williams. She debuted on Broadway in St. Louis Blue; she won honors for as Broadway’s best newcomer. After her debut on Broadway films she performed in Variety Girl, Isn’t It Romantic, Carmen Jones, and Porgy and Bess. â€Å"In 1967 she won a Tony Award for heading the all-black cast of Hello Dolly! A role that allowed her, she said, ? to sing, dance, say intelligent words on stage, love and be loved and deliver what God gave me? and I’m dressed up besides'†(Black History: Virginia Profiles 1). Hello Dolly! allowed Bailey to be beautiful. Former President Ronald Reagan awarded Bailey was with the Medal of Freedom in 1988. She was also a special delegate to the United Nations under Ford, Reagan and Bush. While in her sixties Bailey went back to college and received her degree in theology from Georgetown University (2). Ethel Waters, â€Å"Sweet Mama Stringbean†, started her career in Vaudeville and nightclubs. In the 1921 Waters performed her first debut album â€Å"The New York Glide† and â€Å"At the New Jump Steady Bump†. In the mid-twenties she was coined as a pop singer (Red Hot Jazz 1). â€Å"On stage she was in successful productions of Africana, Blackbird of the 1930, Rhapsody in Black, and Cabin in the Sky† (Penney 8). She also starred in Pinky in 1949 this was a message film on racism. Waters did not receive recognition for her work until she portrayed Berenice Sadie Brown in The Member of The Wedding. â€Å"The Member of the Wedding was more than simply a movie. It was very important repects a motion-picture event. Foremost, it marked the first time a black actress was used to carry a major-studio white production. Secondly, the movie was another comeback for Ethel Waters. Her autobiography, His Eye Is On The Sparrow? she told all the lurid details of her life the turbulent events in the autobiography convinced patrons that Ethel Waters, who always portrayed long-suffering women, was indeed the characters she played? Now patrons rooted for her to succeed? to triumph†(8). During Waters’s career she was nominated for an Oscar best supporting actress in the film Pinky. She also received the New York Drama Critics Award for best actress. Ethel Waters’s last performance was in the film The Sound and the Fury in 1959. She continued singing and touring with evangelist Billy Graham until her death in 1977 (Red Hot Jazz 1). Nina May McKinney was â€Å"the screen’s first black goddess† (Penney 3). â€Å"She was the first black actor in the film to be recognized as a potential mainstream star† (7). McKinney was also the most successful African-American actress in the 1920’s and 1930’s (South Carolina African American History Online 1). McKinney’s career started as a New York City nightclub dancer and later received a role in Lew Leslie’s Blackbird Revue. In 1929, King Vidor, of MGM Studios, casted McKinney as Chick, a promiscuous young woman in Hallelujah. â€Å"In the famous cabaret scene McKinney, as Chick, danced a sensuous dance which has been copied by leading lady Lena Horne in Cabin in the Sky to Lola Falana in The Liberation of L. B. Jones† (Penney 7). In Hallelujah, â€Å"Chick represented the black woman as an exotic sex object, half woman, half child. She was the black woman out of control of her emotions, split in two by her loyalty and her own vulnerabilities. Implied throughout the battle with self was the tragic mulatto theme? In this stereotypical concept the white half of her represented the spiritual; the black half-animalistic† (7). Hallelujah was considered the â€Å"‘ace of all-black pictures’? The film had a strong plot, but unfortunately the message was? blacks should stay in their place. Though McKinney received much praise for her role as Chick she did not generate leading roles in the American film industry. â€Å"She was relegated to assuming routine black characters or to partaking in independently produced, low budget all black movies, as was the pattern for most of the outstanding African-American actors and actresses of the era? McKinney acted in a few other films in the 1940’s. Her most notable role was in Pinky. McKinney was also a stage actress and performed at the famous Apollo Theatre in Harlem. Barred from opportunities and stardom in Hollywood, she soon departed the United States and took her great talents to Europe? in Greece she was known as the Black Garbo? she also starred with the great actor Paul Robeson in the film Sanders of the River† (South Carolina 2). Later in McKinney’s life the great star returned to the States and died in New York City in 1967. Dorothy Dandridge is amongst Hollywood’s beauties in the 1940’s and 1950’s. Though she receives much recognition today as the most beautiful and talented actresses of her time, but at that time she was seen as just another Black actress. Followed in the footsteps of the great Nina Ma McKinney, though they possessed the beauty and the charisma as other female actresses of their time their color was still seen first. Like many actors and actresses of her time Dandridge career went through many highs and lows because of her race. Dandridge’s career began as a singer with her sister Vivian, they were known as the Wonder Children and later the group became a trio by the name the Dandridge Sisters. She played in many movies in the 1940’s such as: Yes Indeed, Sing for My Supper, Jungle Jig, Easy Street, Cow Cow Boogie, and Paper Dolls to name a few. She was not recognized until her performance as Carmen in Carmen Jones. Her co-stars were Harry Belafonte, Pearl Bailey and Diahann Caroll. She was the first Black to be nominated for an Oscar for best actress (African-American Almanac 248). Dandridge’s role as Carmen lead to more opportunities for African-Americans in films. Dandridge was the first African-American woman to be held in the arms of a white man in the film, Island in the Sun. She was also the first African-American to have an interracial kiss in The Decks Ran Red (Pioneer Actress 2). Though the film Carmen Jones allowed Dandridge to have a lead role she the character was the stereotypical mulatto woman with a high sex drive and filled with deceit. Penney writes, â€Å"The irony that overshadowed Dandridge’s career was that although the image she marketed appeared to be contemporary and daring, at heart it was based on an old classic type, the tragic mulatto. In her important films Dorothy Dandridge portrayed doomed, unfilled women. Nervous and vulnerable, they always battled with the duality of their personalities. As such, they answered the demands of their times. Dorothy Dandridge’s characters brought to a dispirited nuclear age a razor-sharp sense of desperation that cut through the bleak monotony of the day. Eventually- and here lay the final irony- she may have been forced to live out a screen image that destroyed her† (10). Dorothy Dandridge broke many barriers during her career. She opened the doors for black romance in films. She crossed over the racial lines with interracial relationships on and off screen. Later in Dandridge’s career she found it hard to get work. She filed for bankruptcy and later committed suicide. Dandridge made it possible for African-American women to be seen as beautiful and not exotic and sexual. In conclusion, many African-Americans actresses were blackballed by the industry. They were not able to achieve the success that they were entitled to because of the era that they were living in. These stars were oppressed because of the color of their skin and not because they did not possess talent. They were limited to roles that did not allow them to be the damsels or have leading roles. And if they were cast as the lead the film stereotyped the Blacks as shiftless, deceitful, or ignorant. These are just a few of the great African-American women in film that made it easier for African-American women to get into the industry. Though today African-American people are still seen shiftless, drug addicts, gang bangers, killers, whores, and criminals, but now they have more access to the industry because now African- Americans are able to write and direct films that depict them in a better light. Film today has changed for the past from mammies. Now African-American women are teachers, doctors, lawyers, business tycoons and what have you. Yet, they are still oppressed because they are only able to produce what the movie studios say that they can produce. Today there are films like Soul Food, Love and Basketball, Rosewood, Bamboozled, and many more that have messages and have African-American women in lead roles and not being in the background. These great stars allowed Black girls to see their own kind on a big screen and feel that they are beautiful too. Work Cited The African-American Almanac, 1997. Detroit: Gale Research, 1997. Encyclopedia of World Biography. Vol. 10&16. Detroit: Gale Research, 1987. â€Å"Ethel Waters. † Online. 10 March 2005. Available: www. http://www. redhot jazz. com/waters. html. â€Å"Honoring Black History Month. † Pax Stars. Online. 10 March 2005. Available: www. http://www. pax. tv/bios/one-bio. cfm/hattie-mcdaniel. â€Å"Nina Mae McKinney. â€Å" South Carolina African American History Online. Online. 11 March 2005. Available: www. http://www.scafam-hist. org/aahc/. â€Å"Pearl Bailey. † Black History: Virginia Profiles. Online. 13 March 2005. Available:www. http://www. gatewayva. com/pages/bhistory/1996/bailey. shtml. Penney, Carol. â€Å"Black Actors inamerican Cinema. † Yale-New Haven Teachers Institute. Online. 12 March 2000. Available: www. http://www. yale. edu/ynhti/cirriculm/units. â€Å"Pioneer black actress Dorothy Dandridge has a famous cast of modern-day admirers. † Online. 12 March 2005. Available: www. http://ohio. com/bj/fun/tv/0299/002827htm.