Raja Rao Essay Example

Raja Rao Essay Raja Rao From Wikipedia, the free encyclopedia Jump to: navigation, search There are many people with the name Raja Rao. For instance, there might be an other raja rao with other famous accomplishments. Please do not consider this as though THIS Raja Rao is not famous but ther might be other famous people with the name. Please continue to read this article. Raja Rao (Kannada: ) (November 8, 1908 – July 8, 2006) was an Indian writer of English language novels and short stories, whose works are deeply rooted in Hinduism. Raja Raos semi-autobiographical novel, The Serpent and the Rope (1960), is a story of a search for spiritual truth in Europe and India. It established him as one of the finest Indian stylists. Contents[hide] * 1 Early life and career * 2 Nationalist Novelist * 3 Later years * 4 Notes * 5 Bibliography * 6 Web References * 7 External links| [edit] Early life and career Raja Rao was born on November 8, 1908 in Hassan, in the state of Mysore (now Karnataka) in South India, into a well-known Brahmin (Hoysala Karnataka) family. He was the eldest of nine siblings two brothers and seven sisters. His native language was Kannada, but his post-graduate education was in France, and all his publications in book form have been in English. His father taught Kannada at Nizams College in what was then Hyderabad State. The death of his mother, when he was four, left a lasting impression on the novelist the absence of a mother and orphanhood are recurring themes in his work . Another influence from early life was his grandfather, with whom he stayed in Hassan and Harihalli. Rao was educated at Muslim schools, the Madarsa-e-Aliya in Hyderabad and the Aligarh Muslim University, where he became friends with Ahmed Ali. We will write a custom essay sample on Raja Rao specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Raja Rao specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Raja Rao specifically for you FOR ONLY $16.38 $13.9/page Hire Writer He began learning French at the University. After matriculation in 1927, Rao returned to Hyderabad and studied for his degree at Nizams College. After graduation from Madras University, having majored in English and History, he won the Asiatic Scholarship of the Government of Hyderabad in 1929, for study abroad. Rao moved to the University of Montpellier in France. He studied French language and literature, and later at the Sorbonne in Paris, he explored the Indian influence on Irish literature. He married Camille Mouly, who taught French at Montpellier, in 1931. The marriage lasted until 1939. Later he depicted the breakdown of their marriage in The Serpent and the Rope. Rao published his first stories in French and English. During 1931-32 he contributed four articles written in Kannada for Jaya Karnataka, an influential journal. [edit] Nationalist Novelist Returning to India in 1939, he edited with Iqbal Singh, Changing India, an anthology of modern Indian thought from Ram Mohan Roy to Jawaharlal Nehru. He participated in the Quit India Movement of 1942. In 1943-1944 he coedited with Ahmed Ali a journal from Bombay called Tomorrow. He was the prime mover in the formation of a cultural organization, Sri Vidya Samiti, devoted to reviving the values of ancient Indian civilization; this organization failed shortly after inception. In Bombay, he was also associated with Chetana, a cultural society for the propagation of Indian thought and values. Raos involvement in the nationalist movement is reflected in his first two books. The novel Kanthapura (1938) was an account of the impact of Gandhis teaching on non-violent resistance against the British. The story is seen from the perspective of a small Mysore village in South India. Rao borrows the style and structure from Indian vernacular tales and folk-epic. Rao returned to the theme of Gandhism in the short story collection The Cow of the Barricades (1947). In 1998 he published Gandhis biography Great Indian Way: A Life of Mahatma Gandhi. In 1988 he received the prestigious International Neustadt Prize for Literature. The Serpent and the Rope was written after a long silence during which Rao returned to India. The work dramatized the relationships between Indian and Western culture. The serpent in the title refers to illusion and the rope to reality. 1] Cat and Shakespeare (1965) was a metaphysical comedy that answered philosophical questions posed in the earlier novels. [edit] Later years Rao relocated to the United States and taught at the University of Texas at Austin from 1966 to 1983, when he retired as Emeritus Professor. Courses he taught included Marxism to Gandhism, Mahayana Buddhism, Indian philosophy: The Upanishads, Indian philosophy: The Metaphy sical Basis of the Male and Female Principle. In 1965, he married Katherine Jones, an American stage actress. They have one son, Christopher Rama. In 1986, after his divorce rom Katherine, Rao married his third wife, Susan, whom he met when she was a student at the University of Texas in the 1970s. Rao died on July 8, 2006 at Austin, Texas, at the age of 97. [2] [3] [4] USE OF INDIAN SENSIBILITY IN RAJA RAOS NOVEL: Indian Method of Story-telling: The method of describing of the novel is characteristically Indian. The Indian grandmother can be considered to be the earliest and most typical of story tellers. Achkka is the storyteller of the novel, who is just like a grandmother. She tells the story to every new comer to Kanthapura. According to Raja Rao, â€Å"Achakka’s exceedingly long sentences, use of blanks, and expressions like ‘this’ and ‘that’, ‘here and there’ are meaningful. She gives us complete character-sketch of Sankar, Bhatt and Rangamma. They are very much informative, as well as vital for the narrative. In this way, one episode leads to another, and so the tale tends to be interminably long. This also makes the narration episodic. There are so many episodes in the novel. Thus, the narration is characterized by verbosity and garrulity, which are the features of the Indian folklore. Raja Rao wanted to stress this admired tradition. As a result he didn’t feel it necessary to divide the novel into chapters. In his Foreword to Kanthapura Raja Rao clarifies that the novel is to be judged with reference to the conventional Indian tradition and not with reference to Western methods of story-telling and theories and of the novel writing. Use of Religion: Indian philosophy is basically religious and even politics is also spiritualized in India. India’s so many prominent social reformers and political leaders were great religious figures. In India, communal and political goals have been attained with the help of spiritual activities. The same thing happens in the novel, in the case of Gandhi and his freedom struggle. According to a Narsimhaiah, â€Å"there are at least three strands of experience in the novel: the political, the religious and the social. † To the uneducated villagers, Kenchamma is a kind and helpful goddess. Their attitude is extremely religious. As the story progresses the three threads of experience become one: the religious, social and political issues become one and the same. Theme of Shakti Worship: Shakti-worship is a basically Indian theme and it is present throughout the novel. In this Gandhian freedom struggle, the ladies of the Kanthapura play a key role. The author has painted them as energetic forms of Shakti. It can be said that Indian women are solid as rock, and they can easily bear the pain. Shakti(energy) rises in them, and each of them is inspired at a particular time. One noticeable thing in the novel is that in the last phase of nonviolent struggle, it is a lady named Ratna, who takes over from Moorthy and leads the movement. Use of Indian similes, maxims and Idioms: Raja Rao is master in using Indian similes, proverbs and idioms in his writing. He uses Indian maxims and similes to create an awareness of peasants. In most of his works, he hadn’t used â€Å"Babu English†. He makes use of English words according to his demands. The language of the novel is flooded with the Indian phrases, Indian similes and rustic color. You can find so many sentences in the novel that are exactly translated from Kannada into English. Sometimes, there is breaking up of the English syntax to express emotional disturbances and feelings. Many words are taken from local Indian languages. The author has used them ‘as they are’. He didn’t feel it necessary to translate them into English. In the novel, you can get words likeAhimsa, Dhoti, Harikatha, Mandap etc. Raja Rao has repeatedly used village proverbs, and folklores according to his requirement. For example, (1) Every squirrel has his day, (2) our hearts beat like the wings of bats, (3) and yet he was as honest as an elephant, (4) the youngest is always the holy bull, (5) does a boar stand before a lion or a jackal before an elephant? Likewise, you can find so many proverbs and sayings from the language of illiterate people in the novel. For example: (1) The policemen are not your uncle’s sons, (2) the first daughter milks the cow when the mother is ill, (3) saw you like a rat on your mother’s lap, (4) there is neither man nor mosquito in Kanthapura (5) you cannot straighten a dog’s tail, (6) land, lust and wifely loyalty go badly together. Sometimes Raja Rao doesn’t hesitate to use a rude and offensive language of the villagers. He uses this type of language when it is necessary. Though, his use of this type of language is more controlled and sensible. [edit] Notes 1. Nobel laureate Czeslaw Milosz published his only poem in the English language for Raja Rao. 2. He was awarded Indias third highest civilian award, Padma Bhushan in 1969. 3. A new novel, Daughter of the Mountain, is to be published in 2008. 4. In January 2007, it was announced that Raja Rao has been selected to receive the Padma Vibhushan Indias second highest civilian award. edit] Bibliography Fiction * Kanthapura, 1938 (reprint ISBN 0-8371-9573-X) * The Cow of the Barricades, and Other Stories, 1947 * The Serpent and the Rope, 1960 (ISBN 0-87951-220-2; reprint ISBN 0-8371-8437-1) * The Cat and Shakespeare  : A Tale of India, 1965 * Comrade Kirilov, 1976 * The Policeman and the Rose: Stories, 1978 * The Chessmaster and His Moves, 1988 (ISBN 81-7094-021-4) * On the Ganga Ghat, 1989 (ISBN 81-7094-050-8) * The Best of Raja Rao, 1998 (ISBN 81-855 86-81-0) Non-Fiction Changing India: An Anthology (edited with Iqbal Singh), 1939 * Whither India? (edited with Iqbal Singh), 1948 * The Meaning of India essays, 1996 (ISBN 81-7094-257-8) * The Great Indian Way: A Life of Mahatma Gandhi biography, 1998 (ISBN 81-7094-308-6) * Tomorrow, co-edited with Ahmed Ali, Bombay, 1943-44. Upcoming Work * Daughter of the Mountain (Volume 2 of the Chessmaster trilogy) to be published in 2008. * A Myrobalan in the Palm of Your Hand (Volume 3 of the Chessmaster trilogy).

How to Deal With Suckers and Watersprouts on Trees

How to Deal With Suckers and Watersprouts on Trees In horticulture, the terms  sucker  and  watersprout  refer  to vigorous new shoots that grow from root stock or dormant bud tissue on trunks and branches. They are mostly a problem on fruit trees and some types of landscape trees. Suckers and watersprouts may occur on any tree when the tree has experienced stressful conditions, such as drought, severe pruning, or loss of a limb.   Watersprouts vs. Suckers Watersprouts and suckers are similar, but not exactly the same. They differ primarily in their location on the tree. A sucker is effectively a new propagation of a tree, but one that originates at the basil root level rather than by a seed. Suckers typically sprout up from below ground level, or very near the ground. They grow up as an extension of the roots. On grafted trees, such as many fruit trees, the sucker will sprout up below the level of the graft. If left to grow, the new tree will have the characteristics of the root stock tree, not the grafted stock. Such suckers should be removed when they appear. Certain species of trees typically propagate themselves through this type of reproduction, and suckers are also common on them. Privet and hazel trees are two such species. Here, too, suckers are considered invasive  and should be removed. Left unattended, suckers can gradually overtake a yard.   A watersprout is a form of shoot that originates above ground,  on the trees trunk or branches at the location of latent bud tissues. Watersprouts are very likely to arise in response to pruning or damage to the tree, such as branches broken off in storms. They are undesirable because the tissues in a watersprouts are not as strong as normal branches. In fruit trees, watersprout branches normally produce little, if any, fruit.   Sucker sprouts and water sprouts can sometimes provide clues to a  trees health. Both types of sprouts may indicate that there is injury or dead wood above the level of the sprouts. This is likely when a tree without a history of such sprouting begins to send out suckers and watersprouts. They are a compensatory mechanism, an attempt by the tree for to find vigor when it is not being provided by other vegetation.   How to Remove Suckers and Watersprouts It is best to remove suckers and watersprouts immediately. These shoots  divert energy from upper growth on the tree, and removing them will promote development  of the upper greenery. Suckers and watersprouts  can also quickly ruin the aesthetic appearance  of a tree.  Ã‚   Some care should be taken when removing suckers and watersprouts  to ensure clean edges. Tearing away sprouts can leave ragged edges where bacterial or fungus can take hold, so cutting them away with sharp tools is a better strategy.   Mix one part bleach and 10 parts water in a bucket.Dip your hand pruner or lopping shares into the bleach solution to sterilize the blades.  Cut away the sprout with the blade held at a 45- to 60-degree angle, as close as possible to the trunk, tree branch, or tree base. The goal is to cut inside any bud areas where new sprouts might emerge. Take care not to damage the trunk or main branch.   Where suckers or watershoots are extremely  prevalent, or when they appear suddenly on a tree with no history of them, it may indicate a major problem with the tree.  Removal of the tree  may be your only solution when suckers are too numerous. You will then need to apply a brush killer to control the sprouts that may come up from the remaining stump.

Is Russia a Democratic State under Putin Research Proposal

Is Russia a Democratic State under Putin - Research Proposal Example In Russia however, since the end of the era of Stalin, which was clearly dictatorial and totalitarian, the succeeding governments through their rule have not demonstrated democracy in a clear manner. Putin has come under sharp criticism from the international fraternity regarding his governance approach in Russia. It thus becomes hard to tell whether or not Russia is a democratic state under Putin. Therefore, it is important to conduct a study in an attempt to address this uncertainty. This study will mainly focus on the situation of Russia under the leadership of Putin with regard to its adoption of democracy. Democracy is however a broad term thus will need to be broken down for effective analysis. In this regard therefore, it becomes important to adopt an analytical framework. In this case therefore, the analysis of level of democracy in Russia under Putin will be based on the 2004 UN General Assembly’s seven principles of democracy. The state of Russia will thus be analyse d based on its performance in (i) the separation and balance of power (ii) independence of the judiciary (iii) a pluralistic system of political parties and organizations (iv) the rule of law (v) accountability and transparency (vi) freedom of the media, and (vii) respect for political rights (Meyer-Resende 2011, 5). If the results show that the country performs well in all these seven areas, it will be indicative of its high level of democracy. On the other hand, if results show that the country performs poorly in these areas, it will indicate that the country is not democratic. The issue of democracy in Russia has been a major area of interest for many scholars of Political Science as well as different international organizations and the world at large. This is mainly because of the position of Russia and the contribution it makes to the world economy among other areas.

A Modest Proposal Essay Example | Topics and Well Written Essays - 750 words - 5

A Modest Proposal - Essay Example The majority of the people who were born in Ireland were Roman Catholics and they used to work as labors of agriculture or tenant farmers. The owners of the land known as landlords required a high compensation for leasing their land. These landlords were usually Protestants and were considered to be the ruling class. The majority of them were not the natives of Ireland by birth nor did they use to live over there permanently. If some labors lost the job they were doing, their position in a job was soon taken over by the other people who are poor living there. Ireland, at that time had the same level of starvation as it can be seen in today’s third world countries along with no social security system. Swift’s â€Å"Modest Proposal†Ã¢â‚¬â„¢s beginning is based upon the real poverty of the people living in Ireland. Swift presented this pamphlet in a sympathetic manner, but provided the facts and details which indicated an excessive population beyond the capacity of the farmers. mentioned about selling children for slavery as a possibility of living, but is against this as nobody will ever buy children who are younger than twelve years of age rather than being against for this possibility due to its cruelty and wrongness.

Applied management accounting Essay Example | Topics and Well Written Essays - 1000 words

Applied management accounting - Essay Example Furthermore, since its NPV of $20,149.83 is greater than the NPV of Machine 2 therefore we will give it a higher priority because of higher NPV. This equipment has a payback period of 3 years and 11 months therefore it lags behinds in terms of recovering the initial capital expenditure than Machine 2 or Machine 3. However, the payback period is not the ultimate criterion in accepting and rejecting projects therefore we will first look at this project’s NPV. This project has the highest NPV of $169,311.58 therefore we will invest in this Machine as it has the power to add greatest value to the company. However, this is the most risky project as the larger cash flows will be generated during the long-term which are most of the time difficult to exactly predict due to uncertainty. The Net Present Value Method takes into account the time value of the money plus it also determines how much of the wealth will be added to the company’s net worth. Or we can say that it gives us an idea of the profitability of the project The payback period calculates how much time it would take the project to recover the capital expenditure invested in the project. It is useful when the time horizon is short as it becomes vital to know how quickly the investment will be recovered. The payback period does not incorporate the time value of money. Another inherent flaw in this method is that it does not take into account the future cash flows which will be available after the initial expenditure has been

The Global Journey In The Sin Dejar Huella Media Essay

The Global Journey In The Sin Dejar Huella Media Essay Sin dejar huella (Without Leaving a Trace, 2000) is a film written and directed by Marà ­a Novaro. It is based on a journey undertaken by two female fugitives Ana and Aurelia travelling along the back roads of Mexico from Ciudad Juà ¡rez to Cancà ºn. Sin dejar huella is similar to Novaros other film productions: it is structured around a physical, objective journey and Novaro makes clear allusions and references to the melodramatic themes of motherhood, female friendship and invisible male figures in contemporary Mexico. Sin dejar huella belongs to the niche genre of the womens road movie and has triggered comparisons with Ridley Scotts tragicomic feminist road movie Thelma and Louise (1991). Cohan and Hark outline the road movie as representing a questà ¢Ã¢â€š ¬Ã‚ ¦for a better life, a new social order, or fulfilment.  [1]  However, the journey across Mexico in Novaros feature film transcends the conventional spiritual quest of finding yourself and Bildungsroman as associated with this movie genre. It differentiates itself from the melodramatic undertones of her earlier film productions and the lightheartedness of Scotts 1991 feature specifically through the interplay of amalgamating elements from the cultures of different regions  [2]   the local and global influences and behaviour in Mexico through which Novaro addresses her socio-political concerns of poverty, social neglect, globalisation and the pace of modernity. In this respect, certain parallels can be drawn between Sin dejar huella and Dennis Hoppers Easy Rider (1969) in which, as one critic points out: The search for America undertaken by Captain America and his sidekick Billy is not geographical, it is literally a quest to find out where Americas head is at. The people and places represented in that quest are evocative of different states of consciousness co-existing unpeacefully in this country and all over the world. Each stop on the road is an encounter with a different awareness of what is real and what is of value. Novaro uses the velocity of the high speed chase in the narrative to ignite the film from within, effectively creating a momentum through which she engages the audience and, similar to Hoppers 1969 feature, enters an incisive discourse to find out exactly where Mexicos head is at. This essay is an attempt to investigate Sin dejar huella within the context of the glocal  [3]  ; focusing on the mise en scà ¨ne and the characterisation of the protagonists, I will consider how aspects of the local, regional and global or the micro-meso-macro are pooled together to generate an image of contemporary Mexico. More specifically, I will analyse the changing roles of Ana and Aurelia and the development of camaraderie between the two initially polarised characters as they progress through their journey: I will attempt to draw a correlation between the local and global influences they confront and are forced to adapt to, in particular from their positions as women living on the margins of Mexican society, and how this leads to a level of co-dependency and a drive for the formation of their relationship, representative of a creation of a new identity in Mexico. Firstly, it is significant to consider the influences and reasons for Novaros interplay with the local and global in Sin dejar huella, and how they enable the film to explore aspects of globalisation in Mexico. Mexicos entry into NAFTA  [4]  in 1994 and President Salinas de Gortaris free-market policies led to a fall in national film production and distribution. Subsequently, agreements and alliances were established between Spanish and Mexican production companies in the late 1990s with the aim to fortalecer los lazos de coloboracià ³n  [5]   to locally produce films and television programmes (where it would have been cheaper) and extend their reach beyond the national, and towards regional and global markets. The preconditions of these agreements were to incorporate Mexicans and Spaniards at the level of both cast and crew, generally in proportion to the percentage of funding offered by each country  [6]   essentially an obligatory interplay and exchange between the lo cal and the global. Sin dejar huella was part of this new wave of transnational cinema production: it was co-produced by Mexicos AltaVista Films and Spains Tornasol Films, and Aitana Sà ¡nchez-Gijà ³n a widely recognised Spanish-Italian and Hollywood film actress  [7]   was cast as the female co-protagonist in the film. The representation of distinct upbringings and ways of life in Spain and Mexico are underlined through the mise-en-scà ¨ne, characterisation, and the cooperation between the two protagonists in Sin dejar huella, which relate to the idea that the interplay between the local and the global stems from the preconditioned film production requirements and transnational influences. From the outset of the narrative, the costume and the dià ¡logos humorà ­sticos  [8]  between Ana and Aurelia draw immediate attention to their differing local and global consumer attitudes: Ana wears luxury Western designer accessories, such as high-heeled sandals, a Longines watch and Gucci sunglasses which are emphasised in repeated medium frame talking head shots. Aurelia, conversely, wears cowboy boots relating to the traditional outfit of the Mexican vaquero and has neither heard of these global brands, nor recognises their monetary value: she comically mistakes Gucci for Fuchi and exchanges the Long ines watch for only enough money to buy a telephone call-card. As the narrative progresses, it is significant to note that the women share and barter their clothes and accessories. The economic and information exchange between Spain and Mexico and the establishment of friendly ties between the two countries in the film production, and also represented in the on-screen local-global trade could in fact be a constructive and encouraging image of Mexicos entry into global economic activity. However, although the incorporation of Sà ¡nchez-Gijà ³n was a mere compliance with the conditions of co-producing, and the economic activity in the narrative representative of a progressive image of the Mexico-Spain film alliance, a close cinematographic analysis of the maturity of Ana and Aurelias relationship, and the shifting image of what it means to be a Mexican woman would reveal that the interplay between the local and the global transcends these practical factors. The doll is a widely recognised and iconic symbol of the feminine ideal; it is a beautifully constructed, motionless object that is subject to gaze and adoration. In the opening ten minutes of Sin dejar huella both Ana and Aurelia break away from this anachronistic and illusory symbols of Mexican femininity in the physical destruction of doll figurines: for Ana it is a ceramic figure of dama de Kolpecà ©, una tejedora, figura de Jaina del periodo clasico maya  [9]  she was exporting as a replica Mayan artefact to the Museum of Denver, Colorado; for Aurelia it is the bride figurine from her wedding cake and under which she had stashed cocaine for her narcotraficante boyfriend. Despite the physical exterior of the figurines a bride and a weaver it is the interior of the figurines are the sources of their corruption that have led them to embark on this quest the drugs and the forgery what the women have to resort to/ the realities of life as a woman in Mexico despite the education and (what appears to be) a stable marriage life on the margins is and are the factors that have driven them to embark on this quest to find out that what is actually contained within the dolls (for Ana it is a Mexican peso and in Aurelia ´s case, drugs), Destruction of what the doll represents and evocative of their search to find a new alternative definition of femininity in contemporary Mexico, albeit perhaps a broken and less defined image. This journey away from the expectations of womanhood that they have essentially been forced to conform to by default is exemplified in the road sign No hay retorno since there is effectively no turning back; Ana and Aurelia had to break this image, showing almost a progressive image and a development. Before the women have even met each other in the narrative they are united The physical destruction of the dolls as the towards achieving their liberation is representative of the journey these women will undertake as they continue through the journey across Mexico This dichotomy the two women face between subserving the image and breaking away to achieving exactly what they want, serves as a vehicle towards the formation of their friendship and an establishment of their co-dependency. In every scene in which their friendship is developed the fundamental human needs are brought to the forefront, despite the local-global differences that surround them: When Aurelia witnesses Ana drinking water from a public fountain, Aurelia is shocked and offers to buy her bottled water. It is ironic in their reversal of attitudes and financial situations: Ana is the more globalised traveller, yet is faced with a situation in which she cannot pay for a basic human requirement, Aurelia, a woman who has grown up working in the sweat-shops of Northern Mexico ironically is aware of the problems of drinking tap-water. It is at this moment that a level of dependency arises from Ana onto Aurelia. This dependency that emerges is particularly significant in reference to Aurelia ´s mocking comment in the car Loz ezpaà ±olez hablan azà ­, emphasising the lisp common in Spanish speech, which draws attention to their global differences. This dependency is transformed into a friendship between the two women as witnessed at the Playa Paraà ­so where a sign embedded in the sand which reads Sà ³lo se encuentran amigos aquà ­ is focussed on and the women subsequently bathe in the sea water. Their physical immersion into the water perhaps could be inferred as a religious imagery of soul cleansing or baptism or the two women united by the water, a vital ingredient for life, and an element that is necessary for all regardless of their race or nationality. This visual imagery is significant in Novaro ´s interplay between the local and the global because the sea is the factor that connects the local and the global, national and international altogether not solely in a conceptual manner but also geographically. This concept of the connection between nations through water (*) is represented in the scene that motivates Aurelia to embark on the journey itself in which she watches a man (like Ana and Aurelia) take of his clothes and cross a river to El Paso, Texas. The notion of water as an immersing factor in representing the ability to cross / traverse across onto a new, better world is also what differentiates the women when confronted by borders each women reacts differently as a result of their upbringing and where they essentially originate from. Ana, as a  ´globe-trotter, having lived, worked and loved in many countries confronts borders as a means of surviving financially she trades false Mayan artefacts to the Museum of Denver, America. Aurelia, conversely, views borders as a liberating factor: a chance to improve her lifestyle and provide her children with the opportunity for a better life. The relationships with men are significant factors that differentiate the women Ana ´s characterisation as a femme fatale as emphasised by the mise-en-scene in her dress is chased by a lecherous cop, Mendizabal : he smells her hair and almost fetishises his search for her, and in fact his hunt for her is like him wanting a foreign woman as a trophy to hang up. Ana is somewhat feared by men as a result of her education and her dress. Their relationship with men Ana and Mendizabel goes beyond the femme fatale as her costume would suggest she does not want to use her beauty, charm or sexual allure to ensnare Mendizabel She does however torture her lover denying confirmation of her affection and driving him to the point of obsession and exhaustion so that he is incapable of making rational decisions it ultimately leads to his death he is killed by the wrong person She is in fact feared by Mendizabal Aurelia and BILLY AND JUANITO even her sexual relationship is with a 19year old boy Her relationship with men is reflected on to youth of mexico perhaps a progressive image of Mexico? Education of Juanito Sex scene he goes for her breasts nurturing mother Aurelia is the madre coraje will risk anything for her children using the traditional methods of education, good-schooling ensuring change, Juanito holds strong morals Heralclio Chuc progressive image of Mexico heading towards globalisation and a romanticised image of the past vs. the irony of the indigenous culture still existing within the forces of global.. Margins of society left out and the irony that they have tore-create their roots/ portray themselves as existing in the past attempt to regenerate their history (illegally) In an interview with Fernando Brenner, Novaro stated that: Querà ­a mostrar un Mà ©xico muy contrastante: el sur y el norte. Y dos mujeres muy diferentes. Ademà ¡s una de ellas tenà ­a que tener mà ¡s capacidad para ver a Mà ©xico, precisamente por no ser mexicana. Ése fue mi punto de partida, y una sensacià ³n que tengo no me siento mexicana en la zona Yucatà ¡n, como le pasa a muchos mexicanos, pues estamos en la regià ³n maya. Y sea que esa vivencia, la de ser una extranjera en mi patria, convive con mi encanto por estar en mi paà ­s. Foreign influence in Mexico Road movie genre inexorably transcultural The movement in the movie itself parallels this shifting image of Mexico Last paragraph the image of a changing mexico isnt negative a progressive image of the change and that the foreign influence isnt always going to be negative However, despite the fast-pace change of modernity/ global influence, there is still a level of humanity this doesnt change Ana steals the money but brings it back, mariachi band at the end she remembers Survival basic human needs they converge in this respect because they both rely on each other/ are dependent on each other food, drinking, sleep

Canto 8 of Dante’s Inferno Essay -- Dantes Inferno Essays

In recent discussions of Canto 8 of Dante’s Inferno, many scholars have argued about Dante the pilgrim’s controversial abuse of one of the wrathful sinners of the fifth circle, Filippo Argenti. The altercation between the two is viewed in numerous lights. From one perspective it is seen as unjustified (ira mala) because Dante is seen as guilty of the sin being punished for in this circle, but also because his response was wrongly motivated. Others state that Dante’s anger was righteous (ira bona) because there was proper reasoning behind it. Kleinhenz, one particular scholar, argues that Dante’s outburst at Filippo Argenti is a result of the praise Dante received after initially criticizing the sinner. In his book, Inferno 8: The Passage Across the Styx, he maintains that Virgil’s praise â€Å"is perhaps wrongly motivated and consequently, that Dante’s reaction to Fillipo Argenti in this canto is equally erroneous†. Kleinhenz allude s to this point in his interpretation of Luke 11:27, where a woman who is praising Jesus is correct in her exaltation of the Mother and Son, but her praise is inappropriate to the situation. By analyzing the parallels between Virgil’s praise and the biblical verse, Kleinhenz argues that both Virgil and Dante’s actions are inappropriate and therefore ira mala. John A. Scott, however, views Dante’s outburst as being justified. In his book,Understanding Dante, Scott argues that Florence was very much a part of Dante’s life and that Filippo Argenti was an ostentatious man whose â€Å"arrogance and insolent display of wealth† as well as â€Å"corrupt nature† is viewed synonymously with Florence’s decline. Therefore Scott argues that Dante’s rage was appropriate because it was inspired by the new decadence of Fl... ...is anger can be viewed as ira bona and ira mala simultaneously. Wishing further pain upon Argenti in order to receive further praise from his mentor is an unreasonable excuse, but trying to become a better pupil and person by doing as his mentor says is reasonable. Becoming furious as a human instinct is rational, whereas doling out punishments while you are only a human is not. Dante did not react to the sinner in the way that he did for only one reason, instead he had many reasons to respond as he did. Works Cited Alghieri, Dante. Inferno. New York: Oxford UP, 1996. Print. John A. Scott’s Understanding Dante, Univ. of Notre Dame Press, Notre Dame, Indiana, 2004 (210-11) Kleinhenz, Christopher. â€Å"Inferno 8: The Passage Across the Styx.† Lectura Dantis. Brown University. No. 3 Fall 1988 21 pars: 21 Sept. 2009 .

Reaction Paper-Non-Fiction Essay

Having traveled a great deal since birth, partly due to my father being in the Air Force and the rest is blamed on some gypsy spirit residing deep within, much of Gretel Ehrlich’s story, â€Å"About Men† resonated with me. I understood her loneliness for places once visited, and the need to find solace in the now places as she did while on the New York Subway searching for posters of Cowboy’s. â€Å"What I am aching to see is horseflesh, a glint of spur, a line of distant mountains, brimming creeks, and a reminder of the ranchers and cowboys I’ve ridden with for the last eight years† (Ehrlich, 1985). In contrast, for me personally, is Joan Didion’s memoire of a woman that has a lot of time at â€Å"home† and is clearly unhappy with how she must live out her days. Home can mean many things to people, after all is it a unique and subjective experience that only we can appreciate-good or bad. In these stories I read each woman seems to de fine â€Å"home† as an entirely different existence, though they are both lonely, drifting through life in the places they must now call home. Even though Greta was not born on a ranch, she felt a connection to the ranch life so strongly that she decided to live among them for eight years. Greta felt a kinship to the cowboy’s she lived with so deeply that writing about them became more than a hobby or pastime. She felt the need to set the world and society right on the stereotypes and bent visions of those who roamed the Western sky. Greta reminds me of a big sister standing up to bullies who are bringing down her best friends. When she says, â€Å"Such ideas have perverted manliness into a self-absorbed race for cheap thrills† (Ehrlich, 1985, p. 83) it is obvious to me she is offended greatly by societies depiction of the Cowboy and feels the need to defend the disesteemed character of him. Joan Didion writes, â€Å"And the nameless anxiety colored the emotional charges between me and the place that I came from† (Didion, 1967). Obviously there is great deal of conflict for Joan as she tries to give her daughter a â€Å"home† that she once had with her parents and constantly struggles with her desire to be at her parent’s home where she had felt happy and content. Living with her husband and daughter she seems lost, and homesick, even though she is much older. In Joan’s story we, the reader, must at times read between the lines, as Joan is not entirely clear on some points. Like when she says she is tired of her parent’s dusty house and dusty lifestyle. Also, I felt that Joan was dealing with an identity complex, not really knowing how to be in her own home, especially when she felt such a longing to be back with her parents. Her husband even felt this rift and Joan writes about it stating, â€Å"My husband likes my family but is uneasy in their house, because once there I fall into their ways, which are difficult, oblique, deliberately inarticulate, not my husband’s waysà ¢â‚¬  (Didion, 1967). The sad truth is that Joan feels trapped in her parents’ home though she has long since moved from there on to her own home. She muses, â€Å"That I am trapped in this particular irrelevancy is never more apparent to me than when I am home† (Didion, 1967). Joan then reflects on what kind of home her baby will receive from her, and what kind of mother will she be. I believe, as parents, we can all relate to these feelings of adequacy and wonder which is at least one area I feel connected to Joan and her story. Joan states quite boldly, â€Å"Paralyzed by the neurotic lassitude engendered by meeting one’s past at every turn, around every corner, inside every cupboard I go aimlessly from room to room† (Didion, 1967). Never alluding to a home full of abuse, trauma or otherwise it seems that Joan is really struggling with her childhood, that has naturally extended into her adulthood and somehow has become lost in translation. I can’t help but wonder why so much negativity surrounds her description of â€Å"home†- â€Å"paralyzed, aimlessly, neurotic- those are very powerful words Joan uses to describe a home she misses and I feel confused. Gretel lives away from the ranch but longs to return, even attempting throughout her day to find solace, â€Å"When I am in New York but feeling lonely for Wyoming I look for the Marlboro ads in the subway† (Ehrlich, 1985, p. 82). Rather than missing a small family unit as Joan does her mother and father, Gretel has encompassed a lifestyle and called it â€Å"home†. She creates a stoic image of men who possess physical prowess, and a tireless heart. Writing, â€Å"For the most part his work is done on horseback and in a lifetime he sees and comes to know more animals than people† (Ehrlich, 1985, p. 83). She describes the Cowboy as having a â€Å"toughness and interior fragility† which contradicts what society has depicted of the American Cowboy as being â€Å"tough as nails, and lacking emotion†. In comparison, â€Å"home† to Joan was hallways, rooms, doors and dust that accumulated on century old furniture, while â€Å"home† to Gretel was a western sky, herd of cattle, men with hearts of gold and the woman who loved them. Gretel was more involved with the plight of the Cowboy, and Joan was consumed with her place in this world away from her parents’ home. It seems that Gretel is creating her own vision of the Cowboy on her terms, by what she witnessed on one ranch in Wyoming. Claiming it is the â€Å"geographical vastness and social isolation† that makes the Cowboy hard to hold and even harder to love going so far as to state, â€Å"They lack the vocabulary to express the complexity of what they feel† (Ehrlich, 1985, p. 84). Perhaps Gretel felt the need to be the voice for the American Cowboy, and a strong sensitive one at that. Is it possible that she created the Cowboy in her mind the way she wanted them to be, even admitting in her story that they were â€Å"standoffish and formal† (Ehrlich, 1985, p. 84) while claiming they are impulsive, passionate and intuitive. It seems contradictory, perhaps she is still learning too. And does Joan really miss her parents and their dusty old house or is she merely unsatisfied with her new marriage and new home? Is it perhaps easier to go backwards than forward, in an effort to free yourself from any responsibility? When Joan writes, â€Å"There is nothing like seeing a thing you know was meaningful to you once and is now empty and wondering† (Didion, 1967)- what was all that for? I can’t help but wonder. Here she is, a woman with a child of her own grasping for emotions of the past rather than working on building new memories with her new family. That was most frustrating for me, but possibly because I did not have a home growing up and I married early, glad to get away from the daily strife my parents created on a regular basis. It seemed absurd to me to constantly go back to those days and reflect, let alone long for them. Honestly, I don’t believe there was a week that passed my mother wasn’t wasted and my father wasn’t beating her up. Because of these moments in time I have learned to be thankful for the beautiful life I have surrounded myself in, determined to break every cycle of abuse, neglect and addiction. Maybe Joan needed a reason to go on, to find herself in the new. And maybe Gretel found a bit of herself in the ranches of the west- The old and the new, the real and the perceived it is all relative I suppose. These selections are Non-Fiction due to the fact that the women wrote firsthand accounts of their experiences. Gretel wrote about the â€Å"football-field-sized lambing sheds† and recited a bit of history when she said, â€Å"many of the men who came to the West were Southerners-men looking for work and a new life after the Civil War† (Ehrlich, 1985, p. 84). Joan’s visit home â€Å"is made palpable† as she recites her experience in the present tense. It is easy for me to use my imagination as each writer sets the scene; Gretel in the Wild West and Joan in the East and the California West. I can envision myself on a horse, riding the range, pulling calves and holding baby lambs as Gretel’s story winds its way across the wide open plains. Similarly, I am planted into Joan’s childhood home walking the halls, smelling the dank air, and looking inside cupboards that hold antique plates and bowls. The author’s use of imagery is sensational, and makes for an easy and enjoyable read. I can envision Joan’s sense of confusion when upon describing her home of childhood from her now home, she says, â€Å"It is a vital although troublesome distinction† (Didion, 1967, p. 164). So, in attempting to explain the distinction between the homes, she creates a troublesome tone. She takes me to her parent’s home quite easily as she goes about describing the â€Å"Canton dessert plates and assay scales† (Didion, 1967, .p. 164). Because my life did not hold the same truths as Joan’s I find it hard to relate to her longing for home. But I do relate when she states the importance of creating a home for her daughter who is having a birthday, and the reason she had come home at all. She writes, â€Å"She is an open and trusting child, unprepared for and unaccustomed to the ambushes of family life, and perhaps it is just as well that I can offer her little of that life. I would like to give her more† (Didion, 1967, p. 167). How many times have I said this very same thing about my own children? In conclusion, I found both of these stories to be very intriguing and enjoyable to read. Both of these women are obviously very passionate about their relationships in life and both have a need to express, and to protect those who reside there. Because I am from the state of Wyoming Gretel’s story deeply resonated with me, as I too have fallen in love with the Old West and its beautiful country and the Cowboy Code. And often when feeling lonely for my Wyoming, while residing in a small beach town in Maryland, I too search the landscape for a glimpse of Western wonder in a billboard, or a sign, perhaps in the smile of a stranger as I secretly hope for a tip of his hat and a â€Å"howdy ma’am.† As Gretel would say, â€Å"their strength is also a softness, their toughness, a rare delicacy (Ehrlich, 1985, p. 85). And I would say from experience, a delicacy indeed. References Didion, J. (1967)., Slouching towards bethlehem. New York, NY: Farrar, Straus, & Giroux Ehrlich, G. (1985)., The solace of open spaces., New York, NY: Viking Penguin, Inc.

How I compare to Neil in Dead Poets Society

How I compare to Neil in Dead Poets Society In Dead Poet's society, a handful of students discover through the teachings of their English teacher Mr. Keating what kinds of lives they had been leading, and what their lives could be. One student in particular, Neil Perry, discovers a whole new world and his life once and for all changed as a result of the impact of his association with Mr. Keating. The lives of all the boys were drastically changed the day they met Mr. KeatingIn this essay I will try to make a connection with the main character Neil Perry and Myself. I will try to interpret any parallels between Neil and I.'Carpe Diem' he told them. 'Seize the day, make you lives extraordinary.' With these few words, Mr. Keating opened the minds of his students to the broad possibilities that life held for them. He taught them not only with textbooks but with visual hands on learning.English: Paul Keating in 2007.The boys learned that they deserved more than the daily routine, that they were not satisfied with living up to the e xpectations of others. As a result, they re-established the Dead Poet's society, and thus experienced what they had been protected from previously. He realized what his dreams were, and to accomplish them, he had to do something he had never dared to do in the past, disregard the will of his father. Mr. Keating had encouraged him to do what his heart wanted not what his father had told him to do.. Neil's life was drastically changed as a result of his meeting with Mr. Keating, from a life dedicated to school, to a life dedicated to living. He realized that his dream was to be an actor, and that acting gave him happiness and hope he never had before. The greatest impact...

Free Essays on Bill Fords Long Hard Road

Bill Ford’s Long, Hard Road In the article Bill Ford’s Long, Hard Road Home, Kathleen Kerwin discusses the problems that have been plaguing the Ford Motor Company over the past view years. She particularly focuses on William Clay Ford Jr. and the changes that have been intact since he took the ob of CEO of the auto giant. His plan is to return the Ford Motor brand back into one of the premier auto companies in the world. So far as CEO the company’s profits are up and there have been no recalls. There has also been an increase in the quality and productivity of the vehicles produced in Europe. As far as stakeholders in the company, the employees love Bill Ford. When Bill Ford took the job as CEO some of the employees gave him a standing ovation. Although William Clay Ford’s tenure looks promising right now, there are still some bumps in the road. For one, the company has a bad history with its suppliers. This relationship may be healed in time due to Bill Ford’s commitment t o improve the corporation. Another problem stems from environmentalists claims that the company isn’t doing enough for the environment. As we speak, the Ford Motor Company is testing a new Japanese technology that improves fuel economy in cars. With the odds stacked against him William Clay Ford Jr. is sure to have some failures. Hopefully, he has the vision and planning that his great grandfather had in order to turn the declining Ford brand back to dominance.... Free Essays on Bill Ford's Long Hard Road Free Essays on Bill Ford's Long Hard Road Bill Ford’s Long, Hard Road In the article Bill Ford’s Long, Hard Road Home, Kathleen Kerwin discusses the problems that have been plaguing the Ford Motor Company over the past view years. She particularly focuses on William Clay Ford Jr. and the changes that have been intact since he took the ob of CEO of the auto giant. His plan is to return the Ford Motor brand back into one of the premier auto companies in the world. So far as CEO the company’s profits are up and there have been no recalls. There has also been an increase in the quality and productivity of the vehicles produced in Europe. As far as stakeholders in the company, the employees love Bill Ford. When Bill Ford took the job as CEO some of the employees gave him a standing ovation. Although William Clay Ford’s tenure looks promising right now, there are still some bumps in the road. For one, the company has a bad history with its suppliers. This relationship may be healed in time due to Bill Ford’s commitment t o improve the corporation. Another problem stems from environmentalists claims that the company isn’t doing enough for the environment. As we speak, the Ford Motor Company is testing a new Japanese technology that improves fuel economy in cars. With the odds stacked against him William Clay Ford Jr. is sure to have some failures. Hopefully, he has the vision and planning that his great grandfather had in order to turn the declining Ford brand back to dominance....

Online Store Popularity vs. Retail Outlets Research Paper

Online Store Popularity vs. Retail Outlets - Research Paper Example How to target consumers buying over the internet and how to make online store fruitful? The chief objective of the research is to estimate and inspect the consequences and decide is it worthy of time and effort when opening an online store (Laura, 2011). Online shopping turned out to be widely held 10 years ago. 94 percent of Americans use PCs for individual purposes. Nearly two-thirds have "a great level of dependency†. Nearly 70 percent of Americans shop online and 88 percent of that number has shopped online to some degree in the previous six months. Profits for products bought online now average over and above $34 billion annually, up to 500 percent further from the year 1999. According to a website which gives people a lot of discount vouchers, â€Å"The highest percentage of both men (77 percent) and women (68 percent) shop online in the mornings before lunch. Top level professional males and females prefer to shop at night. Stay-at-home moms tend to shop in the mid-afte rnoon, perhaps during nap time† The research also states that twenty-nine percent of males and 30 percent of females said their picks are "recurrently" inclined by online ads while 43 percent say choices are "from time to time" swayed. For this research, the use of random sampling method will be employed, since every living person has an equal right of being carefully chosen. The objective is to define the age group as well as gender from the people who purchase online. Likewise, the aim is to determine how repeatedly people shop online and what is the attractiveness of online shopping, and similarly to observe the most repeatedly bought products online. Literature Review Referring to an article by Gerald & Trifts (2003; n.p.), it is evident that a distinctive characteristic of online shopping is that they permit sellers to form retail crossing point with extremely intricate communication types. One looked-for method of interactivity from a customer viewpoint is putting into p ractice refined tools to help customers in their buying choices by adapting the electronic shopping environment to their separate preferences. The most important objective of this paper is to explore the environment of special effects that communication decision supports may have on customer choice-making in online shopping environment. Although while making buying-choices, customers are every so often incapable to assess all accessible substitutes in great deepness and, as a consequence, have a habit of using two-stage procedures to influence their judgments. At the major phase, customers naturally monitor a great set of offered goods and categorize a subcategory of the most auspicious substitutions. Afterwards, they appraise the latter with more gravity, carry out comparative judgments across goods on significant qualities, and make a buying choice. The two interactive tools used: RA (Recommendation Agent) and CM (Comparison Matrix) are used in the first and second stage respectiv ely. In conclusion the major findings by the two authors put forward are that the communication tools, used to support customers in the early selection of accessible substitutes and to assist in-depth judgments among carefully chosen substitutes in an online shopping environs, may have strong promising effects on both the superiority and the good organization of buying decisions-shoppers; this can make much improved choices by buyers who can spend considerably less energy this

India's global success in the film industry Essay

India's global success in the film industry - Essay Example Cinema is a major industry in India. A film industry uses many technological and commercial institutions of film making. A Cinema or a film industry depicts the culture and the art of a country in the movie that it usually make, the Indian film industry is famous for its distinguished melodrama style of film making. The Indian film industry is multi lingual. The main language used in the films of India is either Hindi or Urdu, besides these languages there are other languages such as Punjabi, Marathi, Bengali, etc that are used to present film and they target their respective language speakers. The Indian film industry in famously known as †Bollywood†, this name is an amalgamation of Bombay (the previous name used for the Indian city of Mumbai) and the ever popular Hollywood (a neighborhood in Los Angeles, California where the American cinema exists). (Bollywood History) Cinema made its first step into the Indian subcontinent in the year 1896 when Lumiere Brothers cinematograph film was screened in the city of Bombay on 7th July, 1986. This day, the concept of cinema was introduced in the Indian subcontinent but the initial silent film â€Å"Raja Harishchandra† (made by Indians totally) was released in 1913 to mark the start of the great Indian cinema. With this film, a trend of mythological and religious films took over the concept of film making in the Indian film Industry and this was further revolutionized in 1931 with the inception of sound in the first talking Indian film â€Å"Alam Ara†. The period after India’s independence was considered to be the golden era of the Indian film industry with respect to the songs, movies, etc made in the Indian film industry, by the 1970s and the 80s era, the Indian film industry had reached a great height and global recognition. In 1992, this global recognition was further enhanced in 19 92 when Satyajit Ray, an Indian filmmaker received a life time achievement Oscar for his excellent work and the