Intercultural aspect of culture Essay Example for Free

Intercultural aspect of culture Essay During the first day of the workshop, I did not completely understand the real meaning of culture. I did not even have a single definition for the term culture. Many questions came into my mind such as, â€Å"What is culture? What are the factors that create culture? What is the scope of culture? Does culture improve itself or not? Although, I started the inquiry on the concept of culture without certain answers for these questions, I had figured them out step by step during that day. I started to find answers for most of the questions that I faced. I finally understood what culture was and why different people with different cultures had different behaviors. By understanding the factors that influenced culture, I started to learn its importance to the parties who got involved in particular conflicts. Throughout that day, I comprehended why people with different cultures got involved in particular conflicts and what were their objectives. I started to give answers for these queries. They might need someone whom they can air their grievances or opinions with. Moreover, they might only wish that others would respect their culture as it was. In the role play, I learned that listening skill was very helpful in making the parties who were involved in the conflict feel better. Also, they should be given the chance to continue telling their stories without any interruption. I had also learned that I could be able to interact with them simply through body language such as moving my head up and down which tells, â€Å"I understand you. Keep going. † Furthermore, these skills would give me the chance to get as much information as possible and understand the parties’ cultures. Personally, I think that having much understanding of other cultures using the skills mentioned earlier would help me adapt with their behaviors and become more flexible when dealing with them. Culture’s factors such as religion, climate and geography play very significant roles in parties’ behavior. These explain why different countries have different cultures. Finally, all ideas and skills that I had learned during the first day of the workshop let me pay a close attention on understanding other cultures, respecting their beliefs and values as I want other people do the same thing when they cross my culture. I would try to use these ideas and skills in my daily life – simply by listening to other people and respecting them. Before evolving an intercultural model of conflict resolution it is important to understand and identify aspects of culture that lead to creation of the framework of conflict. The cultural spectrum holds different shades for a person, a society and a nation, accordingly helping each of them to assimilate and adapt to a common identity that is defined and shaped by culture (Holliday, Hyde and Kullman, 2004). In the process of evolving this collective identity, culture transcends its traditional role of providing an aggregate set of beliefs, customs, norms, values, ethics, traditions, moral, social and legal codes, perceptions, and philosophy, to become the overall physical framework for the society to function. Culture attains a real form, rendering a three dimensional living space for people to experience its living force ((Holliday, Hyde and Kullman, 2004)). Culture is strongly related with geographical setting of a place, religion, ethnicity, and race, explaining why different countries have different cultures, and also why places on seashore share common elements of culture that is quite different from culture of mountainous places. The imprinting of culture on ways a person thinks, acts, perceives the environment and models his/her reaction is very strong and virtually indelible, determining every aspect of human behavior and giving rise to cultural identity in addition to individual and national identity. Although the classic rational choice framework says that people are independent in choice of their behavior and approach towards events, its seen that at subtle levels the structural model provided by culture acts as final determinant in predicting a person, a society and a nation. Although culture is dynamic, evolving and continuously upgrading itself, in essence, these changes occur within the context of culture’s own timeframe. One of the most important contribution of culture to human civilization is the orientation provided towards other cultures, making the culture in question receptive, tolerant, indifferent or outright hostile towards different cultures. Societies are seldom mono-cultural, displaying a range of cultural traits, achieved through generations of trades, contact, and cross cultural mixing (Holliday, Hyde and Kullman, 2004). However, although for people belonging to a particular culture, their culture would hardly seem complex, the cultural realities are hidden beneath the surface, difficult to observe and discern from outside. These improper understanding and imperfect perceptions of culture often give rise to conflict when different cultures are required to meet or come across.

Battleship Potemkin By Sergei Eisenstein Film Studies Essay

Battleship Potemkin By Sergei Eisenstein Film Studies Essay Battleship Potemkin (1925) is a typical illustration of a film that led to become a sign for revolution. One can argue how this particular work attempted to form a new cinema, and through critically looking at the films theme/ideology, narrative structure, filmmaking techniques and editing (montage), with paying close attention to the Communist ideology, Imagism, Marxism, Futurism, the Hegelian theory, and Mexican influence one can justify that Eisenstein founded the start to this new cinema. Imagine a cinema which is not dominated by the dollar; a cinema industry where ones man pocket is not filled at other peoples expense; which is not for the pockets of two or three people, but for the heads and hearts of 150 million peopleà ¢Ã¢â€š ¬Ã‚ ¦ Suddenly a new cinema arises. (Sergei Eisenstein, 1926) It was without a doubt a moment for specifically Sergei Eisenstein creating a benchmark in cinema history, a means of promotion to become a Bolshevik (a communist) and of course; a new overall experience that began for cinema screening audiences in the 1920s that was not dominated by the dollar but reached into the hearts of the audience. The recent Bolshevik state saw film as a vital tool in the revolutionary struggle, and immediately set about reconstructing the film industry. (Annette Kuhn, 1991: 3) Thus, in reconstructing the film industry, a new cinema was formed. The society looked back on the 1905 Russian Revolution ushering an era of much change in not only the society structure but in the arts field. It was what anyone could understand it as a chance to shed some new light, to bring something new to the shelves, to be creative, to rebel on the past and most of all to become new. This was inevitably a chance for Eisenstein, with all his influence from past Directors and with the success of Eisensteins Strike (1925), to become an historical figure and role model to future films and directors. Battleship Potemkin was inevitably created in order to celebrate the abortive Revolution (Annette Kuhn, 1991: 3) Eisenstein then, with which we clearly see in this film, fed off the Potemkin rebellion as the central metaphor for the Revolution. The propaganda is seen to be Marxist propaganda for it merely being a socio-political view that surrounds a political ideology (Avineri, 1968: 6) of the Russian revolution. We can also see the films techniques through Imagism; Images used to create a new image (Avineri, 1968: 8) and finally Cubism; Putting together several perspectives into one frame which creates one overall message. (Avineri, 1968: 14) New cinema can also be seen through how Russian film-makers found themselves in an industry almost completely devoid of native traditions. (Karel Reisz, 1954: 6) Thus, these film makers had a) nothing that they had to follow, stick to and carry on with and b) had a big opportunity to incorporate a new cinema. One could only imagine that there directors thus became propagandists and teachers to the society and had a task to use film medium as a means of instructing the masses in the Russian Revolution and to train a young generation of film-makers to fulfill a task (Karel Reisz, 1954: 7) Thus, this opened doors for filmmakers such as Eisenstein to set about finding new ways to express ideas in order to communicate the Russian Revolution, and secondly, to develop a theory of filmmaking that could be seen as a benchmark in cinema history. Instead of only taking a look into the historical background of this film (the Revolution) one can also see the influence that Eisensetiens background had on the coming together of this film, and the new cinema aspects and techniques. Eisenstein went to Mexico where he went to help his friend film the country. The whole country was montage-editing theoretically speaking; the way we see birth to death is all but a continuous cycle. (Marilyn Fabe, 2004: 48) Inevitably this could be apparent anywhere in the world, but we can see a link with the goddesses and catholic saints that clearly relates to Mexico. Thus, one can argue that this is a metaphor for Mexico seen to Eisenstein as well as an influence. Typage is a term used to describe that characters in this film were chosen based on their type, rather than their star reputation. Not only does this conflict with Classic Hollywoods star structure, but it fed off on to Italian Neorealism, as one can see in Bicycle Thieves. (1948) Typage is purely to enhance realism and make the audience feel like they can relate as such characters are common, every day, people. This technique also influences the emotional response (stimuli) and engagement from the audience, who are ideally the critiques of all means of art. The effect that Typage has on this film, is that it not only takes power and sentiment away from the political statement as much as possible but correlates the message more to the action, rather than to the individual actor matter and power. It is clear that if one takes new cinema into perspective, and correlates it with new-found means of filmmaking montage editing was evidentially the new foundation of film art. There is no art without conflict, Sergei Eisenstein (1926) once wrote and thus we see that he merely created conflict by the juxtaposition of shots, which created an underlying symbolic meaning that can be seen through realism, compressing of time and audience engagement and is inevitably more important than the mise-en-scene. Thus becoming new to the screens as mise-en-scene can be argued as the most important aspect to past film directors. For someone who doesnt understand montage, it is simply briefly understood as the cutting of shots and then bringing them back together. We can see that through all the cutting and putting back of shots, it produces one overall idea which ties in with the story line. Lev Kuleshov (1970) explains this best when he correlates images of his facial expressions cut to a woman playing with a baby, and then the same facial expression cut to a woman in her bikini. It immediately changes the idea behind the shot. The relationship of shots can either be seen as similar, or contrary, can be seen as opposite. This is where conflict comes into play and forms a message. For example, when two men enter from either sides of the screen with guns or swords in hand, the juxtaposition creates significance by signifying conflict between the two men, but also signifies that they will unite. Montage also enhances movement. Early films that would go on for hours on end would drag out the movement to tell a story. However, the jump-cutting still creates a known-movement without the characters actually following through the whole entire movement. Ideally the editing takes place in the removal of the body, and the audience is shown the introduction and conclusion of the movement. Thus, we can gather what the body entailed for it to have gotten to the conclusion. Reference to this can be seen in Odessa Steps scene analysis to follow. When looking back at the earliest films, some of them hours and hours long, we can understand when watching this film that not only did editing enhance the viewing experience of the audience, but it cut down shots that need not be shown. Thus, resulting in a film only 80 minutes long with over 1000 shots, compared to the regular 90minute film with half the amount of shots. (Marilyn Fabe, 2004: 48) However, it was not only about enhancing the viewing experience, but was also about a tool for education and propaganda, thus creating a powerful narrative structure. With reference back to the Juxtaposition conflict between shots was not only about using shots up against each other that were so different, yet flowed, but an underlying meaning also added to this new cinema. As what I can begin to understand it as a conflict of innocence vs. violence; as one can see when the young child is trampled by the laborers and when the mother brings attention to the soldiers. Throughout this film, innocence and violence become so apparent and inevitably enhances the political and social statement of the Russian Revolution. This movement feeds off into repetition, rhythm, and content. When shots are repeated often it can either bring a story together or it can take a story back to that time (as we see in many films today that jump cut to the future, or likewise to the past) and it can enhance fear or contrary, bring a calm atmosphere to the audience. The rhythm aspect of montage is ideally a series of shots that create the rhythm and movement motion, which can be used to add suspense or to compress time. Juxtaposition of shots with intended detail added; inevitably creates the content as we can see in Lev Kuleshovs (date) example above. This feeds off to the metaphor of the film, which in this case is the Russian Revolution. Battleship Potemkin is centered around five sub-themes. These can be seen through Men and Maggots; Drama on the Quarterdeck; An Appeal from the Dead; The Odessa Steps; Meeting the Squadron. (webpages.csus.edu/~abuckman/POTEMKIN.htm: 26/04/2011) The above sub-themes can be seen to in many wayscorrespond with the historical reminiscence of the Russian Revolution event in order to execute the revolution metaphor. This is seen as the plot outline. In men and Maggots, this scene cleverly shows the political and social condition which enhances the realism in this film and introduces the environment of which the story will be told. We are shown the uniforms, the battleship and the cleaning of the ship with boiling soup this can be seen as a metaphor for how they are slowly but surely arriving at boiling point. Here we are also shown The Hegelian theory. The Hegelian theory is a theory that plays a huge role in Battleship Potemkin. It inevitably means that this film holds a utilitarian purpose as well as an artistic purpose. (webpages.csus.edu/~abuckman/POTEMKIN.htm: 26/04/2011) Thus, meaning that this is propaganda along side art. This is used by Eisenstein mainly to affect the viewers, and actually create meaning and effect in their own personal subjective social and political views. Eisenstein used a psyhco-psychical approach which ideally re-moulds the reflexes of humans and gives them a new perspective on the revolution, leading them in a preferred direction (webpages.csus.edu/~abuckman/POTEMKIN.htm: 26/04/2011)and can personally be seen as manipulative way. Inevitabely, one can then see through this film, that he enhances a physiological consciousness as his film illustrates happenings and actions instead of just portraying emotions. -Which refers back to Typage. This is effectively portrayed in the Odessa Steps sequence which will be analyzed below. However, in Men With Maggots, we are shown the contrast of faces of offices in conflict with the crew. As what follows from the effect of this theory is the two contrasting forces interim to create a third meaning, thus a third force. This goes back to the example of the two men entering either sides of the frame, and of course, the Lev Kuleshov theory. As we can see in Drama on the Quarterdeck, a subjective-camera is used to add sentiment, and create more realism. We can thus, fully feel and understand the emotion behind the bodies hanging the terror and disgust. In this scene, I also find the cross-cut very interesting in meaning as it shows a connection and linkage between the place of prayer and the rulers. This can illustrates power, or likewise, Eisenstein is portraying a meaning behind belief of the rulers. In the next scene, Appeal from the Dead the one thing that stuck out was the close-up. The close-up of the fist which becomes bigger as the camera sweeps in on it, and as we are shown a fist that slowly clenches as the masses finally make a decision to revolt. It brings about power in the frame and emotion. Close-ups used in this film suck sentiment out to the audience, and are cleverly used on rare occasion to enhance the effect even more. The Odessa Steps is probably the most iconic scene in this film, and effectively portrays such editing to an audience who have never experienced such before. This scene uses montage to build tension; singular moments of fear and terror that finally provoke a violent emotional response from the audience. In this scene one can also clearly see how typage comes into play, and how it enhances the motional response as this scene portrays the force of the action rather than the individual roles of the men and woman. Here we are also shown the laborers scrambling down the steps from a high angled shots not only showering the meaning behind power, but shows the action on a whole and not from one main characters perspective, as we would see in Classic Hollywood. Here we are also shown conflict forces with the disordered rush of masses coming down the steps in relation to the soldiers. If we look at the Odessa Steps in far more detail, we can start to understand how this scene was the turning point in not only Eisensteins career, in history, but also in the film. We are shown close-ups of the laborers facial expressions in relation and in conflict to long shots of the scene as a whole the action of what is actually happening. The rhythm is also increased tremendously, which increases the intensity and emotions of the scene. Lastly, a turnaround of downward movement cleverly portrays the crowds movement in conflict, to the emotions of the woman crying with the baby. And finally, in the last act; Meeting the Squadron we are illustrated by suspense. The shots are slow in rhythm, however, there is a sense of strong unity. In conclusion, one can justifiably argue that Battleship Potemkin attempted to form a new cinema through Eisenstein using the Russian Revolution as a metaphorical benchmark for fresh, innovative ideas that were seen through mainly montage editing, as well as propaganda. As Eisenstein (date) said, We tried to take the historical events just as they were and not to interfere in any shape, manner or form, with the process as it was actually taking place to still bring reality to the screens to portray a real event.

Sigmund Freud: Criminals From a Sense of Guilt

Sigmund Freud: Criminals From a Sense of Guilt Sigmund Freud: Criminals From a Sense of Guilt Introduction The article I have chosen for my critical analysis is Criminals from A Sense of Guilty by Sigmund Freud (1914-1916). This critical review will look at the theory of Freuds psychoanalytic ideas of the relationship between the individual behaviours and the social world in connection with a crime. This reading is about the notion of unconscious and sense of guilty. Freud introduces a distinctive, an important feature in the social theory which is Psychoanalysis. Psychoanalysis is a psychological perspective which investigates the interaction of the conscious and unconscious elements in mind. Freud offered explanations of how unconscious thoughts internalised as well as he talked about the rationality and irrationality in the human actions what is going on in their minds. This topic is quite distinctive from the rest of the previous topic we learnt so far which were theories of social life, society and sociological perspective as well as ideology. This topic focuses on irrationality and the guilty consciousness/ unconscious. Freud explains this subject as that the existence of feeling guilt conscious in the mind of the individual is present all the time. Freud tried to understand in his proficiency on the continuity of human mind in distinctive ways. It also looks at the different behaviours of individuals and how individual are prone to criminals due to their sense of guilt. Main body In the first passage, Freud states that his patients, those committed crimes were struggling from an oppressive feeling of guilt. Freud initiated on his article to talk about his regular observation of his patients in his care, and how often they provide their transgression of prohibited misdeeds they committed while in his care and afterwards. The short coming of this text is the author depends on his experience of his clients, instead of providing an empirical data. For stance, in the first paragraph, he indicated that early as before and after puberty, those in his care were committing misdeeds, but did not give exact age groups neither categories. He did not provide the number of people he treated and observed. Therefore, he did not offer a date to support the validity of piece. It is also not clear if he was given consent from his patients to share this information due to confidentiality reasons. This is because he does not discuss confidentiality and anonymity in his article. According to him, these crimes were committed by his patients while they were quite young in some cases. Offences committed at the time were theft, fraud and arson. He stressed that crime is committed due to its nature of prohibition, which he believes it gives mental relief to the individuals. Freud also believes some of this individual are suffering the burden of guilt and the oppressed feeling inside them from childhood, therefore, perfuming such misdeed is assigned to something deep (p. 332). This lacks clarification of the sense of feeling Guilt and what caused them to feel this guilt was limited in his explanation. I do not agree with Freuds claims that individuals feel a sense of guilt before they commit a crime. Whereas, I believe an individual can have sense of guilt after committing a crime because the individual know the consequences that comes with committing a crime. From the humiliation and isolation that comes along with the punishment. However, I do agree with Freuds claims that guilt is an internal feeling. Nonetheless, it is only after an incident takes place which could be subjected to fine or imprisonment. This is because these punishments make individuals worry about their actions which could then lead to a sense of guilt. In my opinion, I can feel guilty when I failed to follow the absolute law or commit crime/ sin, or any disobedience which is punishable. Therefore, I believe that the idea of guilt should relate to a violation of rights. Freuds theory talks about the development of criminal personality can be due to the way of a child had been brought up from an early age. The experience of early childhood could be one of the reasons that many children lead to developing a criminal personality when they become older. Therefore, Freud emphasised his patients had a past emotions manifested deep in their minds. I may agree to some extent. However, many children grew and develop their mental capacity and get over their past experiences, and some may affect them badly. Furthermore, in his period people may did have the sources and service that is available for many people today. The second elements of the reading on the fourth passages, obscure of a sense of guilt drived from Oedipus complex (p. 332). He claims the consequence of investigative work of human sense of guilt in general as a result is derived from the Oedipus complex and was a reaction to the two great criminal intentions of killing the father and having sexual relations with the mother (p. 332-333). This indicates how the child perceives the father as punishment figure inside him. The childs anxiety develops and his anger toward the father. Its way of showing a sense of strain within the household and the power of the father. Therefore, the pressure is already present in the house before thinking the social constraint in general. As a result of the sense of guilt is derived from here and this is the fundamental morality of humankind. Likewise, Freud had no evidence to back up his study. His claim is vague to me on how a child can have that capacity of a hate or love. Furthermore, children cannot develop sense of sexuality at this early stage particularly towards their parental mother. Freud was educating us about the psychological perspectives and its factors which drives individuals to commit crimes. However, in his observation it showed significant elements of psychological factors link with early delinquencies experiences. However, there is not enough evidence to back his claims of the factors which drive individuals to commit crimes. This is because he does not talk about the therapy treatment in which his patients had undergone. He also did not pinpoint nor highlight the prevention strategies in his article which could prevent them to commit such crimes. In conscious phantasy, because they already feel they are attacked and got hurt in their mind, and they use their mechanism defence, and what aver action is taking by these people to hurt others make them feel relieved. Therefore, this burden of guilt inside them, got them relieved by acting out this phantasy. According to Freud, the real punishment which is already inside them is agonising them before acting out. The third significant claim in the text is Pale criminality. Freud sat out the psychoanalysis interpretation of pale criminal (p.333), it is the principle of unconscious phantasy, the mental thinking and activity which is unique for those who have sense of guilt and drives to commit crime and desire for a punishment. However, they got relieved by acting out. Furthermore, he concluded his piece saying; Let us leave it to leave it to future research to decide (p.333), this undermines the value of his work and shows he had a sense that his study needed improvement and correction of his misrepresentation. Nonetheless, the author seems he did not fully achieve his intended goal as he left it for future. The samples and categories are not clear and the method used to arrive such conclusions. This shows his study is not broad. It is only in his clients which even lacks the number of people he treated. Furthermore, it is what his patients informed him its not shown if he conducted a academic research. In the absence of adequate detail, Freud lacks the depth in its explanation of this article. It is extremely difficult to assess the reliability of his studies and outcome. There is some ambiguity regarding the validity of his research, and some of the cases he observed as well as the conclusions he reached. Not only had he talked about childhood experiences and how past emotion drove people. Freud also explained human mind is so simple which lacks concrete. Conclusion To conclude that Freuds theory is known the unconscious mind, and his intention was to represent the criminal from sense of guilt. Some of the cases Freud investigates didnt specify how he carried out his research. Some of them informed about their misdeed and their sense of which driven to commit a crime, which didnt have conscious. Even though young people grew and leave some infantile sentiment behind, and some grew with the emotionals. As people grew older they develop mental capacity and throughout they learn from wrong and right. However, some people may commit crime for different reasons; due to being a hedonistic or mental disorder. Therefore, the people he treated was not clear what type of people and what condition they were suffering, was it some sort of mental disorder which either be treatable or section for public protection. My suggestion on this piece is it needs more research to be done based on the sense of guilt cause of the crime. Even though, Freuds experiments based on only some cases, however, psychoanalysis created useful elements which are useful in the criminal justice system to some extent which is prominent even though is helpful but yet not reliable hundred percent.

Pride And Prejudice :: essays research papers

Pride and Prejudice is a story about two married couples who do not respect each other. Mrs. Bennet business is to get her five daughter's to marry the most richest man in England. She is willing to take on any obstacles that get in her way. Mr. Bennet is a very outspoken and sardonic person. If there is anything he dislikes about mrs. Bennet or about what she is doing, he let her know. He love to criticize his wife. "I see no occasion for that. You and the girls may go, or you may send them by themselves, which perhaps will be still better, for as you are as handsome as any of them, Mr. Bingley might like you the best of the party." I chose this quote because it shows how Mr. Bennet criticize his wife. Mr bennet plays around with Miss Bennet not like a husband should. "My dear Mr. Bennet," said his lady to him one day, "have you heard that Netherfield Park is let at last?" Mr.Bennet replied that he had not, which he has. Mrs. Bennet is a greedy and arrogant woman. Her business is to get all her daughter to marry the most richest man in England, and she is willing to take on any obstancles that stand in her way. "Oh! Single, my dear, to be sure! A man of large fortune; four or five thousand a year. What a fine thing for our girls!". This quote shows how she believes in marrying for money instead of love. The percipient woman would rather her daughter's to die than not marrying. Quoted: Had she found Jane in any apparent danger, Mrs. Bennet would have been very miserable; but being satisfied on seeing her that her illness was not alarming she had no wish of her recovering immediately, probably remove her from Netherfield. I picked this quot because it shows she is a bad mother, because a mother should care about her daughter. The woman is malcontent until all her daughter's is married. Mr. Bennet and his wife do not talk to each other with respect. Mr. Bennet favor Elizabeth and Mrs. Bennet likes Jane and Lizzy the most. "Lizzy is not a bit better than the others; and I am sure she is not half handsome as Janes, nor half so good humoured as Lydia". But you are always giving her the preference.

Frankenstein Versus Prometheus Essay -- Compare Contrast Essays

Frankenstein Versus Prometheus What do a god and a crazy doctor have in common? Nothing right! Wrong! In the stories Prometheus and Frankenstein the protagonists are very alike in many ways. They both tried to play god, steal, and they both get punished for what they did.   Ã‚  Ã‚  Ã‚  Ã‚  In the stories Prometheus and Frankenstein the protagonists both tried to play God in their own way. They did this by trying to create their own being or race to worship them. In the story Prometheus, the protagonist Prometheus takes all the human beings under his wing and teaches them the beginning of civilization and changes their lives completely. "He grudged men all the gifts that Prometheus had given them and he was angry with Prometheus for granting to these wretched creatures of an hour the ability to shape their lives into something better and to rise their thoughts up to heaven itself." Pg.5. In the story Frankenstein, the protagonist creates a creature to worship and control. Dr. Frankenstein is trying to be a god which is why he is trying to create this new race. "I became myself capable of bestowing animation upon lifeless matter. What had been the study and desire of the wisest men since the creation of the world was now within my grasp." Pg.167. To h old their roles of playing Gods both characters in each story had to steal to get the creation they wanted, which is what they both did.   Ã‚  Ã‚  Ã‚  Ã‚  Prometheus and Frankenstein both stole different things to achieve their own creations but their ...

Gatsby Dialect Journal Essay

Excerpt:â€Å"Wilson’s glazed eyes turned out to the ash heaps, where small gray clouds took on fantastic shapes and scurried here and there in a faint dawn wind. ‘I spoke to her,’ he muttered, after a long silence. ‘I told her she might fool me but she couldn’t fool God. I took her to the window’—with an effort he got up and walked to the rear window and leaned with his face pressed against it—‘and I said ‘God knows what you’ve been doing, everything you’ve been doing. You may fool me, but you can’t fool God!’† Standing behind him, Michaelis saw with a shock that he was looking at the eyes of Doctor T.J. Eckleburg, which had just emerged, pale and enormous, from the dissolving night. ‘God sees everything,’ repeated Wilson. ‘That’s an advertisement,’ Michaelis assured him. Something made him run away from the window and look back into the room. But Wil son stood there a long time, his face close to the window pane, nodding into the twilight.† Narrator, The Great Gatsby, chapter 8, p. 159-160: As, Wilson is reflecting back on his wife’s tragic death and as he reminences when she was alive. He is speaking to Michaelis, but mostly out loud, looking through the window at the eyes of Doctor T.J. Eckleburg. Commentary 1. Fitzgerald’s use of imagery in this passage helps to form a gripping mood. 2. At this time, Nick is telling the story through Wilson’s eyes soon after his wife’s passing. This indicates to the reader that the mood has switched from a positive and honest one to both serious and a bit incensed. Fitzgerald effectively uses imagery by mentioning the â€Å"ashheaps,† â€Å"gray clouds,† and â€Å"dissolving light† to create an eerie feeling in the atmosphere and his surroundings. The overall mood is depicted through Wilson’s words and attitude, that creates the image; â€Å"glazed eyes† and the phrase ,â€Å"You may fool me, but you can’t fool God!†. Wilson’s behavior and language suggest that he is emotional and scarred by Myrtle’s death, creating a depressing and empty mood. 3. In the later part of the passage the eyes of Doctor T.J. Eckleburg appear once again and in the midst of despair. At once, Wilson seems to have become hypnotized by the image. He is drawn to the â€Å"..pale and enormous..† advertisement outside his window, and he repeats, â€Å"God sees everything†. At this point the reader can distinguish that the eyes of Doctor T.J. Eckleburg become more than an illustration. The eyes now stand for those of God. They have transformed and now represent an all-seeing and understanding pair that witnessed not only the death of his wife Myrtle and her killer, but also the unfaithful and deceptive actions that have occurred. 4. Through the author’s word choice and depictive images, he creates an overall all-knowing feel. This nature of a peculiar sense supports the theme that God knows everything and hiding things is near impossible.

Nature of childhood Essay

There are many aspects of early years practice which have their origins in the past and which reflect particular ideas about the nature of childhood. It can be argued that it is important to identify these aspects so as to understand current interpretations of early years practice. Discuss with reference to the philosophies of two key historical figures. Current early years practices such as play, a stimulating environment, the role of the practitioner, and recognising the child’s parents as playing a key role in their education originate from theories that were made in the past. The following pages will outline the influential ideas of Friedrich Froebel and Dr. Maria Montessori and discuss them in relation to the current ideas relating to the above topics. Before the nineteenth century, childhood was not seen as a stage of life separate from adulthood. Instead, the concept of childhood was regarded as an immature form of adulthood (Wood, E. 1996) children were regarded as being naturally evil and so education was not prioritised. Most children learnt the values of life through labouring alongside adults. Into the nineteenth century, and with the concept of original sin dropped, three different views of childhood and education arose. The nativist view is the view that children are born with a pre-programmed development pathway. The empiricist view believes that each child is an empty vessel waiting to be filled, and the interactionist view recognises that children do have pre-programmed ideas whilst understanding the influence that the child’s socio-cultural surrounding has on his education. (Bruce, T. 1997) At the moment, the interactionist view is the most popular method of educating children (Ibid) and professionals regard both Friedrich Froebel and Maria Montessori as interactionists. However, both approached the development of childhood from a very different angle. Friedrich Froebel believed that The human being is born for research; and he is to practice it even as a child (Anonymous, 2000,p1) He assumed that children have to investigate the inner properties of things in order to discover hidden influences and causes. Froebel also considered children as being naturally good suggesting that this goodness could be harnessed and fostered through nurture care and education. (ibid) and so developed a special environment where children could grow and learn. This he called his Kindergarten or garden for the children. Froebel also considered the spiritual, physical, feeling and intellectual aspects of a child as a whole and believed that within his special environment (which will be discussed further on) allowing children free playful, conversational experiences would build and shape all of a child’s senses. Like Froebel, Dr. Montessori believe that the best way to educate a child was to design a method that would track the natural physiological and physical development of the child and allow touch, movement and freedom to aid the child to learn. (Montessori, 1964). Maria Montessori however did not regard her method of education as instigating play claiming; If I were persuaded that children need to play, I would provide a proper apparatus, but I am not so persuaded. (Ibid) The Dr. claimed that a child’s mind was most absorbent between the ages of 0-6 years, and that children learn best through movement and senses although this should not be regarded as play. She also viewed the child as a whole however, in contrast to Froebel’s theories, she believed that each sense should be isolated and developed separately. To achieve this Montessori developed thematic activities based on real life experiences, and allowed her children to work individually or as part of a group. Again, a special environment was set up where children could move about freely and pick and plan there own method of self education using apparatus that could only be utilised one way.