Isolation of Essential Oils from Eugenol Essay Example for Free

Isolation of Essential Oils from Eugenol Essay Anyone who has walked through a forest or who enjoys the variety of fragrances that flowers have to offer knows that many plants and trees have their own distinctively pleasant odors. These odors are due to the volatile essential oils, many of which have been prized commodities since ancient times. If a list of commercially important essential oils was compiled the list would exceed 200 essential oils. Thyme, garlic, peppermint, and spearmint are but a few examples of the many essential oils used in commercial goods. Essential oils have many applications in the world that can range from flavor enhancement to perfumes. Some oils have also been found to have medicinal properties such as antibacterial and antifungal abilities. Chaulmoogra oil is one of the few know curative agents for leprosy. The oils can also be used in the paint industry, where turpentine is used as a solvent for many paint products. These oils are often found in the intracellular spaces and glands of plant tissue. The oils may be located throughout the entire plant, but are often concentrated in the seeds or flowers of the plant. Many of the essential oils are steam-volatile and can undergo steam distillation to isolate the oils. Another method of oil extraction from these plants is through both solvent extraction and pressing methods. The functional group that is mostly responsible for the characteristic odors and flavors of fruit and flowers is the ester. Although the ester composes most of the scents it is not totally responsible for all scents. Beside the ester functional group an essential oil can also possess complex mixtures of hydrocarbons, alcohols, and carbonyl groups. These compounds usually belong to one of two groups of natural products called terpenes or phenylpropanoids. Investigation of the essential oils in the nineteenth century found that many of the pleasant odors we obtain from nature contained exactly 10 carbon atoms in the compound. These 10-carbon compounds later became known as terpenes if they were hydrocarbons. If the compound contained oxygen in an alcohol, ketone, or aldehyde functional group it was called a terpenoid. It was eventually found that minor and less volatile compounds containing 15, 20, 30, and 40 carbon atoms also exist that give an odor. Since the 10-carbon compounds were at the time called terpenes they changed the name to monoterpenes. The other terpenes were classified in the following way. Class

Pedagogy :: essays research papers

We are currently taking part in a graduate research project at Loyola Marymount University. The focus of this project is internet plagiarism. More specifically what academic and social pressures lead students to plagiarize. Below are several questions regarding your site. Please answer them in the spaces provided and forward the e-mail back to us. We understand that what you do is perfectly legal, and we want to make it clear that we are in no way using this data to accuse or discredit your business. We just want to gain insight as to why students choose to plagiarize (despite your disclaimer not to use the papers they receive as any more than research), what topics they choose, and approximately how frequently they use your site. Also, we want to make it clear that we do not believe that your companies plagiarize or promote plagiarism in any shape or form. Regards, Marc Wiseman, Loyola Marymount Graduate Studies in Pedagogy 1) How long have you been in business? What size staff do you have? Who writes the papers? What is their education level? 2) How many papers are on file? How many topics? How long before a paper becomes outdated? What topics are your most popular? How many do you sell per year? 3) Do you get many complaints about the quality of the papers after they are purchased? If so, how do you solve this problem? 4) How do you protect yourselves from lawsuits? 5) Who is the target audience for your marketing? Where do you advertise? What are some promotional gimmicks that seem to work for you? 6) What is the average age of the people who use your site? How many times, on average, does one person use your site? 7) Do you have many requests for personal narratives? Pedagogy :: essays research papers We are currently taking part in a graduate research project at Loyola Marymount University. The focus of this project is internet plagiarism. More specifically what academic and social pressures lead students to plagiarize. Below are several questions regarding your site. Please answer them in the spaces provided and forward the e-mail back to us. We understand that what you do is perfectly legal, and we want to make it clear that we are in no way using this data to accuse or discredit your business. We just want to gain insight as to why students choose to plagiarize (despite your disclaimer not to use the papers they receive as any more than research), what topics they choose, and approximately how frequently they use your site. Also, we want to make it clear that we do not believe that your companies plagiarize or promote plagiarism in any shape or form. Regards, Marc Wiseman, Loyola Marymount Graduate Studies in Pedagogy 1) How long have you been in business? What size staff do you have? Who writes the papers? What is their education level? 2) How many papers are on file? How many topics? How long before a paper becomes outdated? What topics are your most popular? How many do you sell per year? 3) Do you get many complaints about the quality of the papers after they are purchased? If so, how do you solve this problem? 4) How do you protect yourselves from lawsuits? 5) Who is the target audience for your marketing? Where do you advertise? What are some promotional gimmicks that seem to work for you? 6) What is the average age of the people who use your site? How many times, on average, does one person use your site? 7) Do you have many requests for personal narratives?

Broadcasting of the BBC Documentary ‘The Secret Policeman’ Essay

On Tuesday 21st October 2003, the BBC’s documentary The Secret Policeman was broadcast to approximately 5 million viewers in Britain. Mark Daly, an undercover reporter had spent seven months posing as a fellow trainee at the Bruche National Training Centre in Cheshire to film an exposà ¯Ã‚ ¿Ã‚ ½ on racism among police recruits. The film not only provided evidence of police racism but also highlighted the stereotypical representations of Black identity within Western ideology. In this essay I propose to investigate how the British media’s representation of Blacks has, rather than reflecting reality, constructed it. My research predominantly focuses on evidence gathered from racial reports and theories of the 1980’s until the present day and examines the development, if any, within race representation in the media. Pre-1980’s case studies are generally omitted because of the rapid development of discussion of racial issues as a reaction to the brutal riots of that decade. Additionally, the institutional and individual stereotyping revealed within The Secret Policeman can be directly related to prevalent issues specifically within the media of the previous two decades. Controversially, I ultimately aim to depict The Secret Policeman as a symbol of advancement in Black representation within Britain. â€Å"The use of the term ‘Black bastard’ and ‘Nigger’†¦ isn’t racist† The Secret Policeman’s inclusion of a clip of racist remarks by the Police Federation’s Representative in 1983 is an accurate reflection of the racial turmoil that Britain’s Institutions and communities were in. Black lawlessness was an image that dominated the Press reporting on riots from 1980 – 85. A predominantly Black riot against at Bristol’s police force in 1980 was followed by further confrontational outbreaks in 1981. The first two years of riots gained Britain’s (particularly young) West Indian community the reputation for being â€Å"notorious for muggings, assaults and murders†2 but nonetheless presented a slight initial interest into the awareness of the underlying causes. The scale of Britain’s urban unrest between these years varied considerably but the sequence of violence after 1980 forced the political agenda to include an examination of the origins of the protests. The Press employed Brixton (1981) to highligh t the need for enhanced Government economic policies; â€Å"As we condemn the senseless terror†¦ we also condemn the deep seated social problems†¦which spawned them.† From 1983 to 1985 Britain’s poor and predominantly West Indian and Asian neighbourhoods experienced social disturbances, as was the case in 1981. Once more, the media endorsed the riots as the criminal acts of black, inner-city youths but this time they were not linked to ethnic inequality, oppression or socio-economic frustration but only to the Blacks’ position in society and their undermining of the law and cultural traditions of the minority communities themselves. The British press’s reaction to the prominence of riots particularly during 1985 was to decline both generally to examine the reasons for them and specifically to consider ethnical inequality as a cause. Subjects of immigration, housing, employment, social facilities and race relations within the civic authorities that were central to the causes of the urban violence, were abandoned for crude simplifications that represented Blacks as the sole initiators of the violence. The criminal identity with which the media had labelled Blacks was not wholly fictitious. Anecdotal evidence of provocative quotes and repetition of unreliable stories would always ‘operate within a dominant regime of truth’4. Crimes involving Blacks were given disproportionate coverage that suggested a behavioural generalisation that would never be suggested of Whites. Stereotyping was not the only form of racism; more covertly the press would exclude or misconstrue statistics such as those that showed Blacks to be twice as likely to be out of work as their counterparts. The coverage of Tottenham’s 1985 riot gave less publicity to the death of a lack woman than the ensuing disturbances in which a police constable was murdered. The policeman’s role as a victim totally overshadowed the mourning of the aggressor that the Black fatality was consigned to. ‘The perspective within which coloured people are presented as ordinary members of society has become increasingly overshadowed by a news perspective in which they are presented as a problem.’ Teun. A. Van Dijk was highly influenced by Hartmann and Husband’s early study of racism in the press which concluded the above labelling of Blacks. According to Van Dijk the riots were topicalized in a style recognisable across the entire media front; the event, the causes and the consequences. Contrary to using these journalistic traits to investigate all areas of the riots, Britain’s media manipulated it as a means of reporting on selective data. The event was described as the attacks of ‘mobs’ of black youths; in order to maintain the stimulus once the disturbance was over the primary definition of the cause of the riots was in terms of Black criminality in preference to the inner city conditions. Finally, the exoneration of Institutional Britain was enabled through the report’s focus into future containment, policing and inquiries. The report pattern of Black mob, Black crime and Black prevention was typical of a whole generation’s instinc tive approach to Black Britain. The media’s response to the 1980’s riots created and regurgitated images of Black male criminals. Blacks in non-race stories were not considered newsworthy. Encouragingly by the 1980’s Black was on the political agenda; however by 1985 it had been relegated from the social issue some commentators had perceived, via a social problem to a social evil. If the media’s hegemonic reports and editorials in the 1980’s were classed as a barely disguised belief in White supremacy, The Secret Policeman strangely that that attitude to Blacks is as strong today as ever it was then. â€Å"I’m a firm believer that Paki’s create racism.† â€Å"Most Asians carry knives.† â€Å"The thing in London is, the majority of street robbery is Black† In 1982 the Commission for Racial Equality published the first code of practice on eliminating discrimination and promoting equal opportunities, which was speedily identified by a Daily Telegraph editorial as ‘bossy nonsense’. Arguably the code of practice was counter-productive. Attacks on anti-racist and equal rights movements were at their height during the period of 1983 to 1986, when Black became Britain’s pretext for social disturbances. Resistance towards such movements was accused of stirring racial tension through excessive political correctness. For much of the press, racism was a manufactured problem of the anti-racist left, found in social science research programmes, anti-racist projects and multi-cultural education. The anti-racist social learning process created accusations of ‘anti-English’ indoctrination thus posing a threat to White elitism, dominance and control. Thatcher’s Institutionally right-wing Britain defined itself as a protagonist of the attacks from the left that they believed favoured special treatment of multicultural Britain. Significantly, the immediate Government response to The Secret Policeman undercover investigation was given by the home secretary David Blunkett, who criticised the BBC for their â€Å"intent to create, not report, a story†¦as a covert stunt to get attention† According to the Guardian’s most recent statistics, ethnic minorities make up 9% of the UK’s population. In more urban areas such as Greater Manchester where The Secret Policeman was filmed, this percentage is believed to reach figures as high as 30%. However, the documentary showed Warrington police training base to consist of 118 white and one Asian recruit. Notably, Black people in are massively under-represented in Parliament. New Western societies still show many forms of institutional and everyday discrimination that David Blunkett arguably hoped to dismiss with a similar response to the 1980’s critical analysis of racist exposs. Over a month before The Secret Policeman was broadcast, John Gieve, the permanent Secretary at the Home Office wrote to the BBC a letter that they described as ‘unprecedented’ pressure to bully them into withdrawing the programme. The chief constable of Greater Manchester Police also intimidated the BBC with the threat of a ‘Hutton-style’ inquiry that â€Å"could destroy the BBC’s relationship with the police†. Mark Daly’s work within the police force was cut short when arrested on suspicion of deception and damaging police property; charges were dropped when embarrassingly for the police, the public were informed of the institutional racism. The Observer newspaper considered the Whitehall and police resistance worthy of its front-page headline ‘Home Office ‘tried to axe’ BBC police race expos’. Headlines are carefully devised as a pithy synopsis of the story. They quickly impart knowledge in a way which facilitates both understanding and recall. The headlines of news reports about ethnic affairs summarize events that the media’s white academics, teachers, writers and political activists define as relevant to white and black readers’ interests. The media’s manipulation of headlines dramatized the 1980’s anti-racism only to emphasise the Western ideology of Black negativity. For example the Telegraph’s conspicuous headline ‘bossy nonsense’ clearly established the tedium felt by the author towards the issue of tackling racism. The Observer’s recent negative portrayal of institutional antagonists of anti-racism reveals a positive shift from the media’s earlier resentment towards the anti-racist movements. So what is the ideological implication of the shift from 1980’s resentment to the Observer’s stance? How is the exposure of racism in today’s society a sign of improved race-relations? Who is to blame for today’s existing racism? â€Å"Is it the BBC’s fault this has happened?† BBC Radio One questioned both the responsibility of the police and the media in the revelation of The Secret Policeman. Radio One criticised the constable of North Wales for his reference to the hysteria related to terrorism, extremist Muslims and asylum as the rationale for increased racist views. Blaming society, it commented, was no option for police professionals who should â€Å"concentrate on training†¦ and challenge prejudice†15. Is the BBC’s accusation equitable or is pardoning society a means of pardoning the media to ultimately pardon itself? ‘How we are seen determines in part how we are treated; how we treat others is based on how we see them; such seeing comes from representation.’16 Traditionally founded on Reithian ideas of independence, access and expression, the BBC aimed to inform, educate and entertain the masses. The BBC devised itself an identity as the national cultural institution that would represent Britain’s public through Britain’s voice. In a statement following the arrest of Mark Daly, the BBC reflected the all-purpose mission they were founded upon: ‘We believe this to be a matter of significant public interest’17. The BBC, in essence, the media, is a powerful realm of social whiteness that manipulates the patterns of inter-elite communication. The ethnic minorities in Britain even today remain concentrated in relatively few areas. As a result huge numbers of the White majority rely almost exclusively on the media for knowledge of issues concerning their Black counterparts. The formations and continuance of White attitudes are therefore highly reliant upon the media’s portrayal of race-relations; most frequently found in the news. The news is an everyday routine structure, and in literal terms can be defined as a ‘classical realist text’. However, Nichols recognises that ‘the reality of news takes precedence over the news of reality’18, thus enabling it to empower, or dis-empower its subject. In these terms the subject is Black and the empowerment is integral to the serious issue of Black nationhood and identity. When reality is represented, its former unequivocal status becomes ambiguous; news is static but its context is not. For example, patterns of race reporting can attach themselves to the wider subjects of Black British existence, a procedure that Sarita Malik terms leitmotif. During the 1980’s riots, the Black identity was frequently referred to in terms of former race-related violence. Leitmotifs thus manipulated the reality to familiarise the White-eye with often-unrelated parables of Black anger that consequently created a distorted mis-informatio n about the original conflict. In contrast, representing reality can be equally deceitful through a negation of context. The news according to Malik is best at representing ‘what’ and ‘why’ but regularly fails to recognise the socio-political reasoning behind it. In terms of race relations of the last two decades Britain’s media tends to focus excessively on the wider context of Black struggle yet too seldom on the social context that fuels this struggle. The BBC’s decision to resist Governmental and Federal pressures and broadcast The Secret Policeman implied a positive shift in its allegiance to the White ruling classes. Although this documentary was yet another portrayal of the problem-orientated Black, uniquely the ‘revolting’19 and ‘Appalling, racist revelations’20 were more optimistically acknowledged as White. The television documentary is based on questions of identity that engage with the construction of relationships between subject, audience and the camera or narrator. The cinematography is used as a tool of authority in which the spectator is lured into believing they are a observing a record of untouched and immediate reality. But reality, as clarified previously, can be more ambiguous than anticipated. In fact, the illusion that a documentary allows the subject to speak for itself without moralising or judging is, like the news, a powerful status to possess. Documentaries are the most likely genre to directly address socio-political affairs and on the rare occasion of the media’s attention to multicultural development it is most probable they will be used. Unfortunately, documentaries of the 1950’s were emotive, sentimental and practically vague and similarly. The 1960’s gave little hope for a genre increasingly lacking in sensitivity and awareness towards the Black subject. In contrast to the pathos of the 1950’s White pity toward Blacks, the 1960’s employed tones of hostility, fear and conflict. Thus, the erratic history of the socialist documentary was influential and manipulative towards the enhancement of Governmental attacks that ran adjacent to the anti-racist campaigns of the 1980’s. The development of light and cheap video recording equipment has made the ‘video diary’ an accessible and extremely popular style of documentary since the late 1990’s; a development that enabled the BBC to produce The Secret Policeman. Improved camera technology initiated independent film-making and in effect greater social analysis during the 1990’s, but this was not the only continuity in television’s ‘social eye’. Governmental, cultural and economic forces were evolving towar ds today’s individualistic, consumerist and multicultural society; television had to keep pace. The documentary shifted from social generalisations to pluralism and for the first time society was eclipsed by individualism and lifestyle. Although the 1990’s showed much resistance to an increasingly cross-cultural and mixed-race Britain, the definition of society and ‘Britishness’ undoubtedly required re-examination. â€Å"Isn’t it good how memories don’t fade? He [Steven Lawrence] fucking deserved it and his mum and dad are a fucking pair of spongers.† PC Rob Pulling’s acclamation of the murderers and derision of the family of black student Steven Lawrence shocked viewers of The Secret Policeman. Lawrence’s mother was particularly disheartened, stating, â€Å"that, after all this time, people still held those views.†22 The stereotyping of Black people as spongers or scroungers is one that was upheld and confirmed during the rioting period of the 1980’s. The Diasporas posed a threat to Britain as a consequence of its deficiency in resources and increasing immigration numbers. In 1968 Enoch Powell suggested a much favoured but conclusively rejected topic relatable to Thatcher’s new 1980’s, right wing government; that of repatriation. Repatriation essentially warned Blacks to behave or ‘go home’. Powell returned to his theme in the wake of the 1985 Handsworth riots to create a climate of racist opinion. Immigration had become among the most prominent Press subjects, during which, one tabloid claimed that immigrants cost the taxpayer billions of pounds. Black people were constituted as the welfare state’s problem that added to taxation through an exploitation of the ‘White supremacist’ welfare state. In 1984, the News of the World printed the headline ‘à ¯Ã‚ ¿Ã‚ ½476 a week for waiter Abdul’. The Daily Mail picked up on this story, printing a day later; ‘Jobless Abdul†¦life of luxury in hotels†¦at the taxpayers’ expense.’24 The actuality of this story is that the 476 payment that was referred to was an inclusive sum covering the cost of housing Abdul, his wife and his six children. More interestingly, Abdul Bari was a British citizen. In 1999, six years after the Lawrence incident, Sir William Macpherson undertook a high profile investigation into the racism and discrimination in the Metropolitan Police Force.His Report coined the phrase ‘institutional racism’. This triggered discussions of discrimination within Britain’s leading institutions: the police, the media, the education system and the government. Following the Lawrence enquiry huge numbers of police were forced to undertake intensive training in racial equality and similar, revised programmes are ongoing today. One police force in Britain sent 40 000 employees on race training days within the last year, but Pulling’s overt racism raises questions of the efficacy of the Home Office’s current strategy of challenging prejudice. In the concluding chapter of her book Representing Black in Britain, Sarita Malik makes a discouragingly negative, albeit honest assertion that the accepted sentiment that ‘racist Britain’ is in decline is somewhat false. By this, she suggests that racism in the media, as in other public sectors, has merely been concealed. Malik proposed that truthful representations could emerge only through more diverse, aesthetically innovative and accurate portrayals of Blacks. More relevantly to The Secret Policeman, Malik highlighted the need for a rethink of the constituent parts that compose Britain’s media: resources, employment and ultimately its national heritage. Whilst the number of Blacks and ethnic minorities on British television has increased dramatically – particularly in urban based soaps such as Holby City and Eastenders – the production teams and editors continue to favour Whites. My premise that The Secret Policemen established an interesting re lationship with the development of British media was formed whilst listening to a Radio Four news programme. It suggested that The Secret Policeman provided hard evidence that racism had gone underground. The programme concluded that although the police understood the ‘should’s and shouldn’t’s’ of racial procedures, impartiality was never entrenched in their hearts and minds. Consistently with my research, the social learning process of the media has potentially played a huge role in PC Pulling’s racist prejudices and discrimination. Racism is not innate after all; it is learned. So how is it that I feel confident to propose The Secret Policeman as evidence of enhanced race-relations within the media? The role of the media is not isolated, but connected in numerous ways to the elites in general; this time it stood alone. The BBC assumed the role of the anti-racist and confronted the majority. The Secret Policeman exposed to huge public numbers, the long-standing stereotypes of the ‘ruling-race’ and gave scope for investigating the origins of such beliefs. More positively the documentary received instant and drastic responses from both the public and the institutions. The Home Office immediately introduced plans for new police integrity tests and understood the need for societal change. The media’s willingness to scrutinise and criticise the racism revealed in The Secret Policeman marked a complete reversal from the attacks on anti-racism evident in the 1980’s. The Secret Policeman has served a distinctive purpose. It has illustrated what has long been apparent but too rarely admitted; White power is dangerously flawed. BIBLIOGRAPHY Ferguson, Robert. Representing ‘Race’, 1998. Arnold: London Gordon, Paul & Rosenberg, David. The Press and black people in Britain, 1989. Runnymede Trust: Nottingham Malik, Sarita. Representing Black in Britain, 2002. Sage: London Solomos, John. Race and Racism in Contemporary Britain, 1989. Macmillan: London Troyna, Barry. Public awareness and the media, 1981. Commission for Racial Equality: London Van Dijk, Tuen A. Racism and the Press, 1991. Routledge: London and New York

Essay on Love and Duty in Virgil’s Aeneid and Augustine’s...

In his Confessions, Augustine relates that, in his school years, he was required to read Virgil’s Aeneid. The ill-fated romance of Aeneas and Dido produced such an emotional effect on him. Augustine says that Virgil’s epic caused him to forget his own â€Å"wanderings† (Augustine 1116). He wept over Dido’s death, but remained â€Å"dry-eyed to [his] own pitiful state† (Augustine 1116 – 7). Augustine later rejects literature and theater because he believes that they distract the soul from God. Nonetheless, Augustine shares many of the same experience as the characters in the Aeneid. Augustine discovers that love can be destructive, just as it was for Dido. Both Aeneas and Augustine of them give up love for the sake of duty. Aeneas leaves Dido to†¦show more content†¦She confronts him asking, â€Å"Can our love/Not hold you†¦?† (Virgil 983). She says that if Aeneas leaves her, then she is a â€Å"dying woman† (Virgi l 984). When Aeneas persists in his decision to leave, she insults him and angrily sends him away. She calls him a â€Å"liar and cheat† (Virgil 985). Dido’s heart is broken at Virgil’s forsaking of her. She becomes inflicted by a â€Å"fatal madness† and is â€Å"resolved to die† (Virgil 988). After praying for enmity between her descendants and Aeneas’, she climbs atop a pyre of Aeneas’ belongings and stabs herself. Love becomes an obsessive passion to Dido; her life is empty without it. She does not have the will to live forsaken by her lover. She kills herself for love. The poet exclaims, â€Å"Unconscionable Love,/To what extremes will you not drive our hearts!† (Virgil 986). Augustine considers his greatest sin to be the sin of lust. He is held fast by the chains of love and its physical pleasures. Augustine says that his â€Å"one delight was to love and be loved† (Augustine 1118). As an adolescent he â€Å"could not distinguish the white light of love from the fog of lust† (Augustine 1118). There is a difference between love and lust. Love is pure and noble; lust is a base desire. Augustine went to study at Carthage, â€Å"where a cauldron of illicit loves leapt and boiled about [him]† (Augustine 1121). Interestingly, Carthage is the city where Aeneas had his affair with Dido. Augustine says that he â€Å"in

The Romantic Era Of Emily Bronte s Wuthering Heights

Romantic Movement takes place from the second half of the eighteenth century till the first half of the nineteenth century. The Romantic Era has a great effect on people in all aspects, such as art, literature, and music. Romanticism began in Germany and France, and after that it spread out through Europe, and finally America. However, romanticism is not about love and romance, it is about all the emotions and feelings a person feel throughout their whole life. People used it as a way of escapism from their tough lives. There are many authors of the Romantic Era and one of them is Emily Brontà «; her greatest and well-known work is Wuthering Heights. The novel involves characteristics of the Romantic Era and this important literary movement has affected the novel. Emily Brontà « is a British novelist and poet, whose full name is Emily Jane Brontà «. She was born in 1818, Thornton, Yorkshire, England – and died in 1848, Haworth, Yorkshire. Brontà « was one of six children; they were five sisters and a brother. Her father, Patrick Brontà «, was a clergyman from an Irish origin and her mother, Maria Branwell, was Cornish. The Brontà « family moved to Haworth, as Bronte s father accepted a perpetual curacy. After the death of their mother, the children went to the Clergy Daughters School at Cowan Bridge in Lancashire. Brontà « learnt foreign languages, as well as school management. She wrote only one novel, which is Wuthering Heights. She was the greatest of her two sisters; Anne andShow MoreRelatedThe Romantic Era Of Emily Bronte s Wuthering Heights2154 Words   |  9 PagesThe Romantic Movement lasted from the second half of the eighteenth century to the first half of the nineteenth century. The Romantic Era has a great effect on people in all aspects, such as art, literature, and music. Romanticism began in Germany and France, and after that it spread through Europe, and finally America. 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Of all of the Literary eras, the Victorian age gave a new meaning to the word controversy. Writers of that time challenged the ideas of religion, crime, sexuality, chauvinism and over all social controversies. nbsp;nbsp;nbsp;nbsp;nbsp;Queen Victoria influenced the literaryRead MoreAlienation during the Victorian Era2655 Words   |  11 PagesAlienation Many characters during the Victorian to early Modern literature era were alienated. Causes of alienation during this time period included familial separation, social class or gender restrictions, and self-isolation from society. These characters may display the common causes of alienation, but ared still connected to their families and society. Some characters may alienate themselves, yet find that they can never truly separate from family and/or society. While on the surface many characters The Romantic Era Of Emily Bronte s Wuthering Heights The Romantic Movement lasted from the second half of the eighteenth century to the first half of the nineteenth century. The Romantic Era has a great effect on people in all aspects, such as art, literature, and music. Romanticism began in Germany and France, and after that it spread through Europe, and finally America. However, romanticism is not about love and romance, it is about all the emotions and feelings a person feels throughout his or her whole life. People used it as a way of escapism from their tough lives. There are many authors of the Romantic Era and one of them is Emily Brontà «; her greatest and well-known work is Wuthering Heights. The novel demonstrates characteristics of the Romantic Era and this important literary movement has affected the novel. Emily Brontà « is a British novelist and poet. She was born in 1818, Thornton, Yorkshire, England – and died in 1848, Haworth, Yorkshire. Brontà « was one of six children; they were five sisters and a brother. Her father, Patrick Brontà «, was a clergyman from an Irish origin and her mother, Maria Branwell, was Cornish. The Brontà « family moved to Haworth, as Bronte s father accepted to work as a permanent pastor. After the death of their mother, the children went to the Clergy Daughters School at Cowan Bridge in Lancashire. Brontà « learnt foreign languages, as well as school management. She wrote only one novel, which is Wuthering Heights. It is argued that, she was the greatest of her two sisters; Anne andShow MoreRelatedThe Romantic Era Of Emily Bronte s Wuthering Heights2095 Words   |  9 PagesRomantic Movement takes place from the second half of the eighteenth century till the first half of the nineteenth century. The Romantic Era has a great effect on people i n all aspects, such as art, literature, and music. Romanticism began in Germany and France, and after that it spread out through Europe, and finally America. However, romanticism is not about love and romance, it is about all the emotions and feelings a person feel throughout their whole life. People used it as a way of escapismRead MoreThe Victorian Period : Wuthering Heights By Emily Bronte955 Words   |  4 PagesThe Victorian Era There have been many remarkable cultural trends throughout the history of mankind. One of the most influential cultural changes was called the Victorian period. This period not only changed the thought process of society, it also changed the fine arts that the culture produced. Literature was highly affected by the trends that were set during this time period and continue to show characteristics within modern writings. A great example of this transition into modern times is a literaryRead MoreVanity Vs. Morality : From Victorian England2183 Words   |  9 Pagesmarriage. Emily Bronte discusses the power money has over individuals in her romantic/gothic novel Wuthering Heights, which is paralleled by Baz Luhrman’s 2013 recreation of the film The Great Gatsby. During the industrial revolution, Bronte depicts the story of a poor orphan who falls in love with a privileged girl. Although their romantic feelings are mutual, his lack of wealth deems him as an unsuitable suitor i n her eyes. This conservative and vain thinking common in this era not only limitsRead MoreGreat Expectations By Charles Dickens1948 Words   |  8 PagesIntroduction Wuthering Heights was composed by Emily Bronte and Great Expectations was composed by Charles Dickens as they were illustrations of the Victorian novel. Both novels reflect the conditions of the 19th century in England which showed a lot of progress in many aspects. Through the growth and development of the English Empire, industrialism and capitalism which caused a lot of dramatic changes in the society. Causing cultural differences among the classes, changing the social roles, meanwhileRead MoreHow The Romantic Period Was Characterised By Political And Social Upheavals1318 Words   |  6 PagesThe Romantic period was characterised by political and social upheaval. The era marked England s shift from a largely agricultural society to a modern industrial nation. Moreover, the aristocracy s influence diminished, industry-owning middle classes grew. The Romantic epoch also witnesses revolution and war. First the American Civil War, followed by the French Revolution later. They brought concepts of popular freedom, and of the power of the proletariat. In England, these ideas were well receivedRead MoreThe Romantic Period Of British Literature1536 Words   |  7 Pagesshaped the time period each one was born and lived in. In all three eras, the Romantic, the Victorian, and The Contemporary or Modern, all the poets visited different themes throughout their work such as religion, spirituality, nature, imagination, and love. A very important and prevalent theme is love, which all poets of each time period express in many different ways. Love in British Literature is much more than just romantic and simple type of love, it is a power and it affects everyone differentlyRead MoreWuthering Heights By Emily Bronte1198 Words   |  5 PagesIntroduction Brontà «Ã¢â‚¬â„¢s novel depicts the addictive yet destructive relationship between orphaned Heathcliff and Catherine. Wuthering Heights repeats cycles of relationships from the 1st generation of the Linton’s, Earnshaw’s, and Heathcliff’s transferred on to their children, the 2nd generation- Linton, Hareton, and the 2nd Catherine. Amongst this cycle, amorous and vengeful relationships are amid the family. However, the 2nd generation is able to accomplish the goal set by Heathcliff and the firstRead MoreEssay on Emily Bronte Illusion and Reality3043 Words   |  13 PagesA consideration of how Emily Bronte, Tennessee Williams and Shakespeare consider the notion of illusion and reality in the context of a love story. Wuthering Heights follows the Romantic Movement, a movement within literature during the late 18th century with captured intense emotion and passion within writing as opposed to rationalisation. Emily Bronte’s main focal point within the novel is the extreme emotion of love and whether it leads to the characters contentment or ultimate calamity. ThisRead MoreEssay on Victorian Age1258 Words   |  6 PagesAlfred, Lord Tennyson and Robert Browning, the dramatic plays of Oscar Wilde, the scientific discoveries of the Darwins, and the religious revolt of Newman all helped to enhance learning and literacy in the Victorian society. Of all of the Literary eras, the Victorian age gave a new meaning to the word controversy. Writers of that time challenged the ideas of religion, crime, sexuality, chauvinism and over all social controversies. nbsp;nbsp;nbsp;nbsp;nbsp;Queen Victoria influenced the literaryRead MoreAlienation during the Victorian Era2655 Words   |  11 PagesAlienation Many characters during the Victorian to early Modern literature era were alienated. Causes of alienation during this time period included familial separation, social class or gender restrictions, and self-isolation from society. These characters may display the common causes of alienation, but ared still connected to their families and society. Some characters may alienate themselves, yet find that they can never truly separate from family and/or society. While on the surface many characters

Analysis Of Ernest Hemingway After World War I - 1515 Words

Underneath the depths of the ocean lies glimpses and fragments of overwhelming sentiment that construct a photomontage in contemplation of creating the bigger picture. On deciphering an enigmatic ordeal of far greater magnitude and emotional significance, the iceberg principle successes in eclipsing the truth of a story. Hemingway operates under this technique to let the concrete facts float above water while drowning the intense emotions of a character. Hemingway’s signature stripped-down technique is manifested in a noteworthy story that is set against the abhorrence of war; A Farewell To Arms is a semiautobiographical work composed by Ernest Hemingway after World War I. Hemingway uses the iceberg principle to create a lucid image with the sententious and terse elucidation about Frederic Henry s character; hence, portraying deep emotions and thoughts that are profoundly veiled within his dialogues and actions. To enhance an in-depth psychological dissection of Frederic Henry ’s severe emotional trauma caused by warfare, Hemingway uses telegraphic dialogue, stream-of-consciousness, and symbolism. Frederic Henry is an afflicted and diverse character whose complexity unraveled by Hemingway s laconic journalistic style which exemplifies Henry s inner conflict of depression. In Henry’s dialogue with the priest, they discussed if he was legitimately happy. In the surface, Hemingway exhibited that Henry was happy; but, underneath the surface affirmed the internalShow MoreRelatedCritical Analysis of the Short Story ‘Hills Like White Elephants’ by Ernest Hemingway.1497 Words   |  6 PagesCritical Analysis of the short story ‘Hills like White Elephants’ by Ernest Hemingway. Word Count: 1367 Hills like White Elephants – Ernest Hemingway â€Å"Will Jig have the abortion and stay with the man; will Jig have the abortion and leave the man; or will Jig not have the abortion and win the man over to her point of view?† (Hashmi, N, 2003). These are the three different scenarios that have been seriously considered in Ernest Hemingway’s short story, â€Å"Hills like White Elephants†. Ernest HemingwayRead MoreA Critical Analysis Of Ernest Hemingway s 900 Words   |  4 PagesA Critical Analysis of Ernest Hemingway’s â€Å"In Another Country† In the short story, â€Å"In Another Country† Ernest Hemingway writes about wounded soldiers who are trying to recuperate and come to terms with their losses as they face everyday struggles within themselves. During World War I, an American who is sought to be a man named Nick Adams, according to critique Mazzeno, is joined together with other soldiers much alike him and meets with them every afternoon in the hospital of Milan, Italy to beRead MoreIn Another Country1453 Words   |  6 Pages`In Another Country` By E. Hemingway `In Another Country` by E. Hemingway Hemingway creates a powerful and true-to-life story about real experience of many soldiers who came home but remember all casualties and hardship they were faced with during the WWI. On the other hand, their stories full of bravery, honor and courage. They need to adapt to new world, but the only way for them is to change their habits and personal values. Settings and objects reflect inner psychological state of the charactersRead MoreCoping with War: A Comparison Between Slaughterhouse Five and A Farewell to Arms1630 Words   |  7 PagesEarnest Hemmingway once said Never think that war, no matter how necessary, nor how justified, is not a crime. (Ernest Hemingway: A Literary Reference) War is a gruesome and tragic thing and affects people differently. Both Vonnegut and Hemmingway discus this idea in their novels A Farewell to Arms and Slaughterhouse Five. Both of the novels deal not only with war stories but other genres, be it a science fiction story in Vonnegut’s case or a love story in Hemingway’s. Despite all the similaritiesRead MoreThe Sentimental Education of Frederic Henry (Hemingway’s Other Possible Title)975 Words   |  4 Pages Ernest Hemingway’s protagonist Frederic Henry says A Farewell to Arms with a double meaning. The novel title is word play reflective of first, Frederic’s desertion of the war. His second farewell is to the arms of his beloved, Catherine Barkley after her death in childbirth. Wandering stoically through life, looking for some natural progression, Frederic lets one circumstance lead him to the next. At first, Frederic exhibits the hedonistic aspirations of a college fraternity pledge, motivatedRead MoreA Soldiers Home Setting Analysis Essay examples707 Words   |  3 PagesJames AP English 12/P7 9 October 2012 A Soldier’s Home: Setting Analysis In Ernest Hemingway’s short story â€Å"A Soldier’s Home†, Krebs, a soldier, returns to his hometown from fighting in World War I. As indicated throughout the story, â€Å"home† for Krebs is not unlike the war front: confusing, complicated, and restless. Hemingway uses the setting in Kansas, during World War I, to convey Krebs post-war life in comparison to his pre-war. The title â€Å"Soldiers Home† reveals the question; where is theRead MoreLiterary Analysis Of Hills Like White Elephants Essay1467 Words   |  6 PagesErnest Miller Hemingway is known for his unique style and theories of writing, especially the iceberg theory. In the Death of the Afternoon, Hemingway says that â€Å"The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.† (92) Simple words, vivid images, rich emotions and deep thoughts are the four basic elements of the iceberg theory. Talk about how these stories illustrateRead MoreTechniques and Concerns of Modernism1482 Words   |  6 PagesDemonstrate your understanding of the context and values of Modernism by close analysis of the techniques and concerns of Modernism that are reflected in one poem and one short story. Modernism as a movement is an artistic reaction to the conventional art and literature of mid- to late 19th century. World War I introduced advanced technology and the introduction of industrialisation provoked Modernist writers to express their concerns about the changing society and the complexities it of throughRead MoreThe Killers And The Short Happy Life Of Francis Macomber1731 Words   |  7 PagesMacomber By: Ernest Hemingway When analysing Ernest Hemingway s work in both â€Å"The Killers† and â€Å"The Short Happy Life of Francis Macomber† you come across many forms of literary devices that hemingway used throughout both novelas and how his application of the elements used in both stories. In both stories we see him use the themes of violence and grace when faced with violence as well as demonstrating the power relations between the characters of both tales along with his use of ‘the hemingway hero†Read MorePsychoanalytic and Femisnist Theories in A Farewall to Arms by Ernst Hemingway2059 Words   |  9 Pagesâ€Å"A Farewell to Arms† written by Ernest Hemingway in 1929 attracted much critical acclaim and theoretical interpretation helping to understand the author’s message to the readers the overall importance of the literary work in the world. The events of the novel took place during the First World War in Italy revolving around Frederic Henry, an American am bulance driver working for the Italian Army and being wounded on the front. Another very important character in the novel was Catherine Barkley, the

500 years later free essay sample

In my analysis of the film 500 Years Later, I will cover legacy, racism, identity, and education. I will also include how all of these things relate to the black male and female relationship outline by Hopson Hopson Friends, Lovers, Soul mates. In the beginning of the film it gives us our history of the free people. Gold in Africa was in abundant. The European traded with the Africans. It showed us that we were snatched from our African homes, violently severed from our families, and brought into this country in chains. Blacks sold blacks, African rulers became involved in trading and sailing of their own people. â€Å"The ordeals of our history linger in the collective memory and contribute to a sense of inadequacy, low self-esteem, and feelings of inferiority. (Hopson Hopson Pg 38 Friends, Lovers, Soul mates) Until Lions tells their tale, the story of the hunt will always glorify the hunter African proverb Legacy, this segment discusses the lasting impression of inferiority that the legacy of slavery has left on the contemporary generation of people of African heritage around the world. In contrast to the holocaust, several scholars declare, blacks are discouraged by society to forget their slave heritage whereas Jewish communities are celebrated for keeping the memory of their persecution alive. Today white people try and brush the African heritage under the table, but we as black people have to learn our history in order to come out of the enslavement that we continue to practice. Starting with the image of God, the white people had us believe that God was white so we are conditioned to think white is superior to all. Verily never will God change the condition of a people until they change what is within their souls. (Ar-Ra’d 13:11 Qu’ran) We have to replace our negative images and thinking with positive ones. We have to become more conscious of who we are in this world and not accept white people’s ways as our own. We have to know our place in this society and how you got here in order to learn yourself worth and to begin to love and accept your culture as something that is good. We must confront and process our history so that it loses its power over our lives. Only then are we free to declare: â€Å"I am a beautiful Black person and there is nothing I cannot do. † When we have internalized this belief, we are ready to love ourselves and one another. (Hopson Hopson pg 39 Friends, Lovers, Soul mates) Racism which persists in the under representation of blacks in positions of authority and the over representation of young black males in the U. S. prison population, makes you understand how society constantly attempts to ignore this elephant in the room. The whites created a behavior power system that encourages people to hate us before they even know us. Racism is alive today in every aspect of black’s life such as in employment, renting, or even establishing a business. We as blacks today subject ourselves to the white man ways, to keep us ignorant of our history. We are so blinded by them that we continue to put out negative images to continue the white man’s justification that we are savages and they are supreme to us. When Blacks internalize the irrational messages of racism, they feel a sense of worthlessness and powerlessness that creates low self-esteem, depression, and self-defeating behavior. â€Å"WE MUST CHANGE THE WAY WE THINK ABOUT RACISM† (Hopson Hopson pg 46-47 Friends, Lovers, Soul mates) I am apt to suspect the Negroes to be naturally inferior to the whites. There scarcely ever was a civilized nation of the complexion. (500 years later film quote) Identity, is accepting that person in the mirror which says you are not white. Knowing our history and accepting the struggles that we as a people had to endure. The word enslavement was not part of the African language; no part of the African language was to dehumanize anyone. In the movie Sankofa it urges us to equip ourselves with our history and to change our way of thinking. To be the people we once were and not accept the European/American way as a guide to live by. We must seek our past in order to define our future. As you begin to understand and accept the wisdom of your inner voice, allow it to become your guide. Trust in yourself as a spiritual being, aware of the world around you, open to change, and able to grow. Refuse to become bogged down by negative patterns. Realized that you are an attentive and sentient human being traveling on the path toward your true self. The more you understand about yourself, and begin to like what you discover, the more prepared you will be to forge a soul-mate relationship. (Hopson Hopson pg 62 Friends, Lovers, Soul mate) Education, was not originally designed to help blacks although are history clearly show we were well educated people from our homeland. Education is something that we as a black culture will not take seriously. We as American Blacks are throwing away our power, which is to be educated. Only a fool would let his enemy educate his children. ( Malcolm X) The whites are betting on us, staying ignorant to our history and the accomplishments of our people before becoming enslaved to the Europeans. So many of our black people choose to idolize the wrong things such as becoming a singer, a ball player or even a gangster or drug dealer, instead of becoming lawyers, business owners, educators or even inventors. So many of us don’t want to give back to our own communities to help uplift and encourage growth among ourselves. To be educated is to be confident. To learn means to liberate yourself and know how to conduct yourself in the future. Education means to have a positive outlook on society. Educating yourself means changing behavior, learning self respect, and erasing old tapes, understanding you have no control over the past, and taking responsibility for yourself in the present. In conclusion, in reviewing the film, the main message that I took from this film is the importance of history in our society. Changing HIS-tory into OUR-story. Not being ashamed of our past or afraid to give a voice to our ancestors. Unlike many documentaries, 500 Years Later not only tells history, but gives fundamental advice to using our past to prosper for the future. The teachings of the book told me learning about my history is very important part of knowing who I am. You must learn to love yourself first and come to terms with your past in order to find a true mate of your own. Understanding and educating yourself on life events and knowing the struggles that our ancestor and your own struggles will strengthen you and make you a better partner for life. It will give you the courage to stand on principles and values, give you confidents and the ability to know what you will and will not accept in a mate. This knowledge is not to be kept to yourself, we are to educate our brothers and sisters who are willing to listen and learn. The tools we inherited from our ancestors that sustain us to this day are our inner strength, determination, spiritual, and kinship ties. Our ancestors demonstrated courage, determination, and a passionate commitment to family, the same characteristics soul mates strive for today. (Hopson Hopson pg 42 Friends, Lovers, Soul mates) A commitment is a relationship between two people with the same kind of values in life, a willingness to overcome barriers and being sensitive to each other needs. I have never experience a true relationship in which I have had all of the above. Now that I understand what a commitment and Soul mate means I will not settle for anything less. The courage to experiment and take risks, the willingness to be patient, and the compassion to offer support and encouragement are the tools needed to achieve victory. (Hopson Hopson pg 118 Friends, Lovers, Soul mate)