How is Cannery Row like a tidepool Essay Example | Topics and Well Written Essays - 1000 words

How is Cannery Row like a tidepool - Essay Example When the tide comes in again, these creatures will scatter and forage for food elsewhere, but for the duration of the pool’s existence, they are close neighbors. John Steinbeck’s novel Cannery Row is a portrait of a place in a time, a collection of vignettes and subplots that gradually cohere into a rough narrative of local vagrants trying to do something nice for the local scientist. If it lacked even that fig leaf of a plot, though, it would still stand as a beautiful and moving evocation of Monterey, California in the early 1940s, when the Depression had declined elsewhere but that sweet wartime money had yet to wash up on Monterey’s shore. In this place, a motley collection of characters are thrown together, each of them making their way as best they can with what limited resources are available, living in a mutual web of dependence that lets them all continue to get by. Nobody in the story has a whole lot, but between them all, each person seems to manage to have just enough. Steinbeck’s moral stance on charity, kindness, and the necessity of doing right by one’s fellow man is firm enough that if you shelve one of his books next to one of Ayn Rand’s, they both explode. ... The wider world exists, but far away. Doc receives orders from distant cities and mails them out, Lee Chong hides out in San Francisco once in a while, the nearby town of New Monterey can be glimpsed here and there in the narrative, but for the most part the characters have no outside resources; in this tiny place called Monterey they are all in it together. The Monterey of the novel is a place where the tide went out a long time ago and has yet to come back in. The Great Depression has not yet ended for the characters, and even the relatively successful Lee Chong exists at the leading edge of a wave of unpaid debts that never quite breaks into bankruptcy. As the narration puts it, â€Å"maybe his wealth was entirely in unpaid bills.† Dora, who runs the local brothel called the Bear Flag, probably has the most pure liquid assets of anyone in the story, but she manages to retain surprisingly little of her substantial income, instead funneling it into the community via endless c harity. When the flu strikes Monterey in the middle of her busiest season on record, she and her girls become the nursing corps of the entire community, bringing soup and solace to the bedridden and ill all over town, including people who prefer to pretend her business doesn’t exist. The similarities between the community and the tidepool are many, but the central one is this: it is a very small ecosystem full of beings that did not ask to be clustered together like this. There is not a lot of anything to go around, and nobody can leave, at least not until the tide comes back in, and as observed, the tide has been out from Monterey for a long time. It is

How Far do they Critically Place the Issue of Marginalization and the Essay

How Far do they Critically Place the Issue of Marginalization and the Concept of Habitus and do the Examples Try to Universalize these Concepts - Essay Example In Uma Kothari's Power, Knowledge and Social Control in Participatory Development, she delves into the Foucaultian world of participatory power-play and limits of social-power and how the pattern of judgment and punishment becomes a strategic weapon that is supported by a said and unsaid network of sign systems everywhere. She begins by quoting Foucault and argues how the processes of canonization affect those individuals and who are often marginalized by their separation and isolation from the production of knowledge and the formulation of policies and practices, to be included in decisions that affect their lives. She focuses on participatory techniques as methods of knowledge accumulation and attempts to unravel the sorts of power that are reproduced at the micro-level through the use of these approaches, and how participants and participatory development practitioners are themselves conduits of power. The arguments she presents presented are how participatory development can enco urage a reassertion of control and power by dominant individuals and groups, that it can lead to the reification of social norms through self-surveillance and consensus-building, and that it 'purifies' knowledge and the spaces of participation through the codification, classification, and control of information, and its analysis and (re)presentation. The chapter also explores the limitations of participation in terms of how it demands certain kinds of performances to be enacted. It is suggested here that individuals and groups can and do subvert the methodology and, in doing so, gain control by shaping the form of their participation through their 'performances' on the PRA stage and in their selection of the information they conceal or choose to disclose. Kothari shows that an individual's behavior, actions, and perceptions are all shaped by the power embedded and embodied within society, something which Friedmann will call habitus. But, whereas, Friedmann offers a more detailed analysis of transnational migration and the corresponding effects on the loci of the migrants and the lands they are migrating to, Kothari tries to chart out the power structure of individuals and groups that are often selected for participation because of their disadvantaged position vis--vis, for example, their access to resources and services, or their control over decision-making. She upholds Foucault's idea that all individuals are most certainly affected by macro-structures of inequality (such as gender, ethnicity, class), and that even when individuals think that they are most free, they are in fact in the grip of more insidious forms of power, which operate not solely through direct forms of repression but often through less visible strategies of norm alization (Foucault 1977, 1980). Power is cappilary and difficult to locate as it runs through notions and practices, can be enacted by individuals who may even be opposed to it, and localized through its expression in everyday practices - through, for example, self-surveillance.

Ridley Scot on Bladerunner and Frankenstein Essay Example for Free

Ridley Scot on Bladerunner and Frankenstein Essay Interviewer: Ridley Scot, thank you for taking the time to talk to us about your movie Blade Runner. It is quite an interesting film that raises a lot of issues and certainly makes us as an audience think and question out morality and our values. Ridley Scot: Well any great movie or film should indeed raise awareness to present day issues don’t you think? Interviewer: Indeed they should. And is that what you felt you should do with Bladerunner is raise awareness to the issues that you felt are predominant at the time? In watching Bladerunner I couldn’t help but notice the scope of the issues that you presented to the audience from environmental, personal, and political. The list goes on, so why did you choose to play upon these issues and fears? Ridley Scot: Those are ones that are close to my heart, being raised in a world where I was confronted daily by the fears of others in society in regards to war of nuclear weapons and the effect these would have on the environment and on humanity. I was constantly imagining all of the various scenarios that could arise due to such weapons of mass destruction being used, But also the wonders and fears of space exploration, the search for other life forms and the search for another planet that we as humans could utilise. Well it left me wondering. Why do we need another planet? Is it because of the fear of this one being destroyed due to war or was it just out of greed? Interviewer: So I’m guessing that the reasoning behind the environment in which you chose to stage Bladerunner. The post apocalyptic like environment with dim lighting and long dark shadows being cast, It certainly magnifies the fear of destruction. Not to mention those massive buildings sticking up into the sky and the dirty streets Ridley Scot: ah yes the shadows. The directors and I worked long and hard on creating that feeling of darkness and gloom. I wanted it to feel like the end of the world, and to show the destruction of the environment so what better way to do that than with a dirty city with no trees and little sunshine. Interviewer: In watching that it really becomes evident your fear of the environment being neglected in pursuit of science and greed, much like Mary Shelley, Author of Frankenstein. Many of her issues that she chose to place emphasis on were the battle between nature or science. Do you feel that this may have been partly the reasoning behind your choice in lighting, set and issues raised.. Ridley Scot: In some ways yes. Mary and I do share many of the same ideas and I was inspired by her writing when filming Bladerunner. I guess we both wanted to raise awareness to the issues of our times. I feel the one that we both shared and placed high emphasis on would be science and humanity. Interviewer: The great battle between the two. Do you think it is possible to find a balance between them? Ridley Scot: Whether it is possible or not I’m still not sure but I wanted to point out the dangers in taking one too far and disregarding the other. In Frankenstein the problem is Victors and Walton’s greed and obsession with science, much the same as in my movie. The pursuit of science and technology led to the destruction of the world and the disregard of humans. Interviewer: What do you mean by that? Ridley Scot: The creation of the beings, not quite human yet more human than humans themselves. In the pursuit of science the disregard for humanity, emotions and feelings led to the creation of replicants that were hollow to an extent. They were designed for no purpose other than to serve. Interviewer: Human greed Ridley scot: exactly yet in the pursuit to always reach beyond what has already been accomplished they created Rachel, who had emotions and feelings so human Interviewer: That even Deckard couldn’t tell she wasn’t a replicant. Ridley scot: That was a very important thing to show, how human she was despite being a replicant. What better way to show this than with camera angles? The conventions of film noir that I wanted to utilise here were the close up and zooming of her face in response to questions Deckard asked her and the use of film recording instruments to look into her eyes. We all know eyes are the gateway to the soul. Interviewer: But she is a replicant, they aren’t supposed to be human, contain emotion or have a soul? Ridley scot: Ah you see but I believe a soul does not actually determine humanity, in the end isn’t Rachel more human than many of the humans themselves? Much like the creature in Mary Shelley’s Frankenstein, only she cannot use film to show this Interviewer: No but thankfully being raised in the romantic era and writing with influence of Romanticism Mary wrote with such expressive language, and her literary influences being included into the creatures own readings was brilliant in creating the human emotions within the creature himself. Ridley scot: I was inspired by her descriptive writing. How she could get so much across without pages and pages of dialogue. I felt that if I could do the same with Bladerunner through cinematic techniques then it would be more efficient in getting my messages across to the audience. That’s why in intense scenes, like that of the Death of Zhora there is no dialogue just raw emotions. Interviewer: The raw emotions are evident. The slow motion camera angles as she smashes through the glass is so powerful the pain on her face is evident as she gets shot and it sends shivers down my spine. Ridley Scot: The slow motion in this scene was very important. If it went to fast then the magnitude of the scene would be lost so we slowed it all down and the dark, sad, melodic music to the scene as well to provoke more feelings out of the audience. We chose to use a lot of glass to reflect the magnitude of various colours. All of this at once adds for a vary disjointed fragile environment Interviewer: again more styles and conventions of film noir Ridley scot: Well those conventions really helped to heighten the emotions within this scene, Interviewer: And the camera cuts between the two of them, watching Deckard’s Determination to kill Zhora and Zhora’s determination to survive. Ridley Scot: It certainly makes you question doesn’t it? After this pursuit of science and the disregard for humanity, nature, and the change in beliefs and values in the creation of these replicants who are not supposed to show emotions or feeling- Such important aspects of humanity. who in this scene ends up showing the most humanity? Interviewer: I guess we all have to take a moment to think and reassess our values now don’t we. Thankyou Ridley for taking the time to speak with us about your inspirations and intentions behind Bladerunner, It has been a pleasure.

Wilhelm Conrad Rontgen Essay -- biographies bio

Wilhelm Conrad RÃâ€"ntgen 1845 - 1923 Wilhelm Conrad RÃ… ¡ntgen is a German physicist who was born on March 27, 1845 at Lennep in Germany. When he was three years old, his family moved to Apeldoorn in The Netherlands, where he attended a boarding school, the Institute of Martinus Herman van Doorn. While he was attending this school, he was very interested in making mechanical devices. This interest of his followed him through the rest of his life. RÃ… ¡ntgen later entered a technical school at Utrecht. In 1872 in Apeldorn, RÃ… ¡ntgen married Anna Bertha Ludwig of ZÃ… ¸rich. They had no children, but in 1887 they adopted a daughter, Josephine Bertha Ludwig, who was the daughter of AnnaÕs only brother. RÃ… ¡ntgen spent most of his years researching physics, thermology, mechanics, and electricity. Although he made some great discoveries in all these fields, his greatest invention was the discovery of a short-wave ray in 1895, which we know now as X-rays. Some other things he studied were the heats of gasses and fluids, the characteristics of quartz, the modification of the planes of polarized light by electromagnetic influences, the variations in the functions of temperature, the compressibility of water and other fluids, and the event of the spreading of oil drops on water. Throughout his life, RÃ… ¡ntgen received many honors. Even though he was well known for his skills, he remained a modest man who never sought honors or money for his research and projects. For instance, he declined various titles and jobs, and donated money to his university that he received from the Nobel Prize. He also refused to take patents on his work, so that the whole world could benefit from his work. Aside from his modesty and generosity, he did accept honors and... ...ays. After RÃ… ¡ntgen discovered X-rays, all fields of medicine were enhanced. Bones and other organs can be seen without surgery, jobs were enhanced, and germs and some types of cancers could be killed. This discovery has great importance to our lives, and has created amazing advances in a variety of fields. An example case that proves the new viewpoint and usage of these X-rays on the human body and medical sciences, was when a few days after Roentgen's initial public announcement of his discoveries, a doctor in America took X-ray photographs of a person with gunshot wounds in his hands. Before RÃ… ¡ntgenÕs discovery, a surgeon would have to locate the shotgun pellets though exploratory surgery, to find and remove them. Now, with the technology of X-rays, an X-ray can be taken and the shotgun pellets would be found without the process of exploratory surgery.

Shakespeare Sonnet 116

William Shakespeare’s Sonnet 116 found on page 1182 of The Norton Anthology of English Literature: Volume1B: The Sixteenth Century, The Early Seventeenth Centry, 2nd edition(New York: W. W. Nortion, 2000) is one of his most famous sonnets to conquer the subject of love. While there is much debate concerning the tone of this sonnet, Shakespeare’s words speak of transcendent love not very commonly considered in popular poetry at the time. He used the Petrarchan sonnet style in Old English popular around the time but certainly added a new twist of his own genius.In theme Shakespeare had unique perceptions and experiences in his portrayal of love. The introduction of a young boy as the object of his affections and subject of sonnets 1-126 was perhaps not a common subject for other poets. Sonnet 116 falls into the section of sonnets of the boy, yet it does not quite fit the mold of the rest of his sonnets. In the sequence the surrounding, the sonnets highlight loves’ more deceptive qualities such as unfaithfulness and betrayal. The fallibility and physical matters pertaining to love are no longer considered in Sonnet 116, and a truer sort of transcendent and unconditional love emerges.Unlike the popularized Petrarchan form of an octet followed by a sestet, Shakespeare’s 14 line sonnets are divided into three Sicilian quatrains and a couplet. The quatrains develop the metaphor and a couplet at the end that becomes a commentary. The masculine rhyme scheme follows the pattern ababcdcdefefgg and the meter is in the traditional iambic pentameter (10 syllables per line). The ideas flow and create a sense of urgency in this piece as phrasing does no clearly begin and end with each line.The idea in first line that flows right into the next and there is a fluttering of accents. This creates a rapid delivery of words carried by the iambic feet. There is repetition in the alliteration with words such as â€Å"alters† and â€Å"alterationâ₠¬  or â€Å"remover† and â€Å"remove†. This also adds to the poems sense of flow and purposefulness. Each quatrain begins a new metaphor and the images are also strengthened in the following quatrains. The more dramatic volta of the sonnet begins with the final two lines with commentary that in this case does bring us to an ultimate conclusion.Much is said in this sonnet using somewhat simple rather than flattering diction and most of the words are monosyllables. The sonnet opens speaking of true love between two people. The Imagery begins with the marriage alter itself. This creates a very Christian vision of man and wife. The love spoken of is â€Å"of true minds† and therefore a spiritual partnership rather than physical union. In the second line with â€Å"admit impediments† he calls to mind the words used in the Marriage ceremony from The Book of Common Prayer.The mention of the word â€Å"alter† twice in the second line strengthens this ima ge as well. The â€Å"marriage of true minds† becomes the subject which can be interpreted in differing ways leaving us with a somewhat vague impression. True love itself becomes without â€Å"impediments† and is free and clear of the need for any â€Å"alterations†. This idea of love’s constancy and reliability is continued in the following quatrain with the images of love as a lighthouse, â€Å"ever-fixed mark† and guiding â€Å"star to every wandring bark†.The images of time, death and the compass speak of a constancy and reliability that love shall outlast. Shakespeare’s frequent references to time in his sonnets tend to bring careful consideration death and the threat of time itself. In Sonnet 116 however love is not threatened by any such thing, as it â€Å"bears it out, even to the edge of doom† in line 14 just before the Volta. In the final quatrain imagery connected with time and death’s† bending sickleâ⠂¬ , which calculates as well with â€Å"his brief hours and weeks† though time still is not bound by such restraints.There is some irony in the mention of the possibility of the poem not existing with the open ended commentary â€Å"I have never writ† In the final couplet the existence of the poetry itself is called into question although the poet’s certainty of the truth of his words becomes evident creating a sense of irony and an open ended conclusion. Love itself is the subject of the metaphor in this quintessential sonnet, in particular unconditional eternal love. The emotional union of marriage and the love of God are in comparison here. Frequently in Sonnet 116 true love appears as what it can outlast and simply what it is not.The common trope of love as a guiding lighthouse or star is included in the second quatrain. We see a ship lost at sea, challenged by a tempest that it outlasts, as a metaphor for this undying and resilient love. Its image as an à ¢â‚¬Å"ever fixed mark† marks the common them of love’s reliability. This also is an account of love’s incalculable worth who’s â€Å"worth’s unknown although its’ height be taken†. Throughout the sonnet , images of calculations of things such as time space distance and worth are mentioned, yet love transcends all calculation. Love’s transcendent qualities rise above the metaphor’s hemselves making this a very powerful sonnet. The unconventional love spoken of can perhaps lend itself the subversive tone in Sonnet 116. Opening with â€Å" Let me not to the marriage of true minds† could take on a very different meaning without immediate continuation to the next line â€Å"admit impediments. † It could perhaps also mean â€Å" let me not† to this Christian ideal of marriage . This possibility creates a questionable tone. Which makes sense, when we consider how the love Shakespeare was speaking of, did not fit into the Elizabethan concept of what was acceptable.The use of â€Å"Oh no! † in line 3 as an exclamation, following the mention of admitting â€Å"impediments† suggest his forcefulness in defending his ideas of love of, perhaps as well as his love of the boy which would itself be an impediment. The rejection of this type of love in Elizabethan times gives the poet the chance to speak of the nature of love itself as transcendent and eternal. The love that extends itself beyond these sorts of physical matters is not without its challenges. This gloomy tone expressed the sometimes cold language.The feelings evoked by the threats of â€Å"tempests† and â€Å"the edge of doom† (judgment day) and all the â€Å"alterations† of time does not allow the idea of desperation to totally subside. A somewhat distant and unpleasant tone comes even from the comparison of love to a star. It becomes a remote image, somewhat self-contained who’s true â₠¬Å"worth’s unknown†. The fact that love cannot be comprehended however does not diminish its powers. There is irony in the final commentary as well. The improbability of error in Shakespeare’s poetry is proven by the existence of the poetry itself. Yet this is still left up to question.The possibility also exists that â€Å"no man ever loved† in the this way as well. In this way the poem becomes a subject of metaphor just as love itself. The somewhat subversive tone is carried out through conclusion. Sonnet 116 goes beyond the Petrarchan dilemma of unrequited passionate love and considers the possibility of true loves eternal nature. It also goes beyond conventional as a poem concerning the sacrament of marriage and the love of god while being directed to a young man. Although it utilizes common tropes and simple language his unique passion and cleverness developed a fresh perspective.His use of phrasing an punctuation creates a dramatic tone of voice. His concern with what love is not becomes definition by restraint. Irony is layered throughout. The images and metaphors weave a tight tapestry and fluttering accents and alliteration and run-ons create a lyrical expressiveness. Shakespeare quite flawlessly recreates this revolutionary idea of love in the form of a sonnet. Its wide popularity may be a testament to nature of its form. Sources The Norton Anthology of English Literature: Volume1B: The Sixteenth Century, The Early Seventeenth Centry, 2nd edition(New York: W. W. Nortion, 2000)

China - 2760 Words

------------------------------------------------- Generations of Chinese leadership From Wikipedia, the free encyclopedia Peoples Republic of China | | This article is part of the series: Politics and government of China | Ideology[show] | Constitution[show] | Communist Party[show] | Legislature[show] | Executive[show] | United Front[show] | Military[show] | Judiciary[show] | Propaganda[show] | Law[show] | Other issues[show] | * Other countries * Atlas Politics portal | * v * t * e | | This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2013) |†¦show more content†¦Thus, the first generation, from 1949 to 1976, consisted of Mao Zedong as core, along with Zhou Enlai, Liu Shaoqi, Zhu De, Chen Yun, Peng Dehuai, and later Lin Biao and the Gang of Four (neither Lin nor the Gang are today considered by official discourse to be part of this generation because of political antagonism resulting from the Cultural Revolution). These were the leaders that founded the Peoples Republic of China after the Communist victory in the Chinese Civil War. They were born between 1886 and 1907, although the Gang of Four were a distinct subgroup born 1914 to 1935. Most were born before the demise of the Qing Dynasty (not including the Gang) and thus lived to see both the birth and, on the mainland, the end of theRepublic of China. One charact eristic of these leaders were that they tended to be both political and military leaders. Most had some education outsideChina, and their formative experiences included the Long March, the Chinese Civil War, and the SecondShow MoreRelatedThe Between China And China980 Words   |  4 Pagesfairness and impartiality in the justice system, which along with its capitalist economy, further differentiated itself from China. This concept of â€Å"one country, two systems† is an important element of Hong Kong governance, and by extension, its people. This represents a time when Hong Kong is slowly pulling its influence away from China. Due to its insulation from China that ran a communist government, Hong Kong was able to flourish as an international financial center under a free market economyRead MoreChina s Impact On China1181 Words   |  5 Pagesmany decades, China has always been technologically and economically ahead of Europe. The invention of gunpowder, printing, and the compass started in China and was later dispersed throughout Europe. 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Obviously, because of Chinas quick financial advancement, the nation as of now assuages a great deal of destitution every day: a year ago the quantity of rustic poor fell by 16.5m or in excess of 45,000 individuals every day. However that still left 82.49m individuals stuck in country

Animal Culture And Its Effects On Human Culture - 1777 Words

Animal culture is studied through comparative studies between populations and locations, field observations, and laboratory experiments. It is important to be critical in evaluating the results of these studies because behaviors in artificial situations or captivity will be different than in the wild. Animals are likely to act differently when they are not in their natural environment. Behaviors will vary and the long lasting effects of the behaviors may not be visible (Lalaland, 2003). Evidence of non-human culture has been found in animals such as songbirds, whales, dolphins, primates, and ants. Non-human behaviors are seen as encompassing culture if they â€Å"meet certain conditions: the behavior must be practiced by multiple members of†¦show more content†¦Another important aspect about the cultural evidence is it was first observed in 1952 and eight generations later, in 2008, was still being observed in the wild monkeys. The monkeys on this island ‘develop beh avioral differences as a result of social learning rather than genetic variation’ (Matsuzawa, 2008: R588). The next study regarding primates was seen in 2010 while observing wild chimpanzees in Uganda, with cultural differences between two populations in different areas. The chimpanzees displayed different ways of utilizing tools around them to retrieve honey within the fallen logs around them. The Kibale Forest chimps used sticks while the Budongo Forest chimps utilized leaves sponges that were made from chewed leaves. To study the differences, researchers provided the monkeys with a task to retrieve honey out of an apparatus. Each group resorted to behaviors that they had been familiar with in the beginning, those from Kibale using sticks and Budongo resorting to leave sponges (Cell Press, 2010). 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