Grapes of wrath- movie review

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In 140, John Steinbeck's controversial novel, The Grapes of Wrath, has been made into a film directed by John Ford. Ford's brilliant selection of actors accompanied by the superb script and cinematography skills illustrated the story and emotions of the migrants that were forced to abandon their lands due to the Dust Bowl and the Great Depression. The Grapes of Wrath portrays the tale of the Joad family's dispossession of their unfruitful land, and their struggle to survive a cross-country journey for the "promised land," California. Ford's emotional and artistic film is by far rated as the "best film of all years."

Nunnally Johnson, the film's scriptwriter, did an intelligent job abridging the lengthy novel into a filmable version. Johnson clearly disordered the chronology to soften the novels pessimistic message. In the film, the Joad family gradually came upon better housings as they traveled further north of California, "the land of plenty." They first lived a communal life in crowded tents, then in labor camps with wooden houses, and finally in democratic government camps. Having the Joad's journey end in the organized and sociable government camp foreshadows a blooming future for the Joads. The Joads also symbolize the whole migrant family that "will keep on going." Contrary, the novel's chronology is more wavering and discouraging. After the Joads leave the Government camp, they travel further north into camps full of famine, despair and unemployment. In addition, Johnson also changed the shocking ending of Rose of Sharon, played by Dorris Bowdon, breast feeding a starving old man in a railroad car. The novel's ending sentimentally affirms the strength and human dignity of the migrants. Steinbeck reinforces the theme of the migrants changing from "I" to "We." The Joads no longer think for themselves but for the whole migrant community. Also illustrating this theme, Johnson ends the film in a more optimistic manner. Tom Joad, played by Henry Fonda, realizes that he must leave the family so that he can be committed to struggling for social justice. He has come to believe in Casy's (John Carradine) thought on universal love and respect for all people. Despite the differences between the film and the novel, they both picture the altruistic Joad family and their determination to search for a new home.

As thematically rich as The Grapes of Wrath is, it would be a dry and uninteresting film if the characters and their situations were less compelling. Contradicting to the gloomy atmosphere of the Dust bowl, the casts' performances were anything but depressing. Each cast member had his or her own contribution to this impulsive and thought provoking film. Jane Darwell, who plays Ma Joad, is marvelous as the strong center and backbone of the Joad family that must leave their ancestral land. Ma Joad is the moral center of the Joad family and her optimistic faith will uphold the family despite the hardships they have endured and the inequalities they have suffered. With a decisive attitude Ma knows that the migrants are the "people that live." Yet Darwell's most memorable spectacle is an additional scene to Steinbeck's novel. Before the Joads take off to California, Ma looks through her possession box wordlessly and burns all her letters and souvenirs. Accompanied by tremendous visual power and passion, Darwell holds up two earrings to her ears and looks at her own reflection melancholy, thinking back to the lost past. In this scene, Darwell completely illustrates Ma's strength and courage for giving up her past to start a new life. Along with Darwell's outstanding performance Henry Fonda's act was also no doubt remarkable. Fonda, who plays Tom Joad, is perfect as an distressed "Okie" that refuses to be beaten and crushed by misfortune. Tom is a hot-tempered ex-convict who returns on parole just in time to join his family on their job hunting voyage to California. Fonda strongly portrayed Tom's bravery especially in the ending scene of the movie where Tom decides to leave the family to fight for the migrants' social justice. Fonda's tearful but assured eyes truly convinced the audience as he said some of Tom's most memorable lines "I've been thinkin' about our people livin like pigs and good rich land layin …maybe I can do somethin." The audience is persuaded that Tom is striving to fight for the migrant family, to fight for equality. The mesmerizing acting of the Henry Fonda and Jane Darwell along with the other cast members enriches the audience's understanding of the migrant families struggle to survive.

Besides the superb cast, the cinematography by Gregg Toland, makes The Grapes of Wrath visually appealing. Steinbeck would have favored the movie's cinematography as it has forceful visual powers that illustrate the themes and symbols of his novel. The sorrow and catastrophe that surrounded the migrant community further charmed the audience. In a flashback, which is greatly effective at pulling the audience's response, Muley Graves (John Qualen) and family helplessly watch their destroyed house by a tractor. The camera is in deep focus of their scrawny faces, and then slowly moves to the motionless afternoon shadows. Complemented by melancholy music, the family are no longer people anymore, but migrants looking for food and shelter they are the "Okies." The farmers are easily taken advantage of by the injustices of society. To furthermore show how the impact of Great Depression affected the families of that time, the film was taped in black and white style. This helped create a strong feeling of poverty and realism to the audience. The setting of the novel was very realistic with frequent scenes of the barren land, dark skies, dusty winds, and crowded shelters. Whats more is that the appearance of the family's clothing, possessions, and their car added to the effect that Steinbeck created when his wrote his novel. The clothing of the migrant community was simple, soiled, and ragged, contrary to the clean cut suits of the rich Californian business people. The portrayal of the Joads car is the most significant as it clearly symbolizes the family. Like the truck that is over weighed, rusty, and breaking apart, the Joad family is also burdened with their desperate search for jobs. Facing adversity, the Joads are having difficulty maintaining their family as Grandpa (Charley Grapewin) and Grandma (Zeffie Tilbury) die. Hence the cinematography has intensified many themes of Steinbeck's novel by bring the words into life.

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"The film is definitely the best film I have acted in." Expressed Henry Fonda, " Tom Joad is a hero for making the decision to fight for equality. John Ford is a great director and Nunnally Johnson's script was truly striking."

"Ma Joad is definitely a powerful character." Stated Jane Darwell, " She the matriarch of the Joad family. I never realized how severe the Great Depression was and this film has indeed made an impact on my life."

"I'd like to thank Nunnally Johnson's and Gregg Toland's input into this film. They have definitely made Steinbeck's novel come to life." Said director John Ford.

Steinbeck would be please to hear that the messages in his novel, The Grapes of Wrath, have been convincingly produced onscreen as a viewer says " this film definitely gave me a great perspective of the Great Depression. John Ford and the cast have done a remarkable job. Everyone should go and watch it."

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Otherness Experience

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ARTS 50

For the past two weeks I have been volunteering at South Bethlehem's Neighborhood after school program. For an hour and 15 minutes 4 days a week, I helped elementary school kids with their homework. The experience has been quite rewarding as well as challenging. My initial reaction was culture shock, since most of the children are Hispanic or Black. Most of them can speak Spanish, and some of them can only speak Spanish. I am the youngest person in my family and I have not been around elementary school kids since I think I was in grade school. Walking into this classroom definitely brought me back to my childhood. Being the youngest I can remember my mom help my brother with his homework and actually wanting homework of my own to do. Call me a big nerd but I thought homework was fun in elementary school, fun stories and coloring books is all I remember. I had forgotten about the frustrations and difficulties I had learning grammar, spelling, and basic math skills like times tables.

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Watching these kids struggle to complete these simple tasks made me think about how different their home life is from mine. Some of these kids should be in 5th grade, but are stuck in nd or rd. I sat there racking my brains trying to find ways to break concepts down and show one little boy how to figure out times 8 without writing +++++++. I finally remembered the tables rule that every product has digits that add up to . It helped him figure out problems faster. I think I learn a great deal about patience and realizing that not everyone always understands what you're talking about. That some kids don't understand and are afraid to say they don't know so they keep quiet and never figure it out. You have to think of different ways of explaining things. For example, one Spanish girl asked me what the word, "rolls" meant. I was at a loss for words; all I could do was motion rolls like a bowling ball, rolls. It was strange because when you're the older one, youre suppose to be all knowing, and everything you say is taken as the right answer, you are the beholder of the truth. I never had anyone look up to me that way, and put so much trust in what I said. I have always learned from others growing up the youngest. It was weird to think others were learning from me. I had to remember all the little grammar tricks, like "change the y to an i and add es for pluralizing words that end in y and i before e except after c.

Another issue I encountered was being the enforcer. It was easy to get off track and play with these kids. It was easy to listen to them go on and on about their friends or family. It was hard to say ok, you need to do your homework. I wanted them to like me; I didn't want to be the spoiler of fun. It was hard to take away toys or other distractions and make them work on their assignments. I remember being a little procrastinator in my day. The last thing I wanted to do was sit still and practice my cursive.

With some kids it was harder then others to get them to listen or pay attention. There were signs of ADHD all over the place. The first day I sat at a table with a boy whose only homework was to write 1 sentences with simple words like, try, cry, fry, sky…etc. He had trouble keeping on task, he was involved with everyone else's homework and conversations but his own. He looked around, starred off into space, played with a plastic cup. I ignored him until he called out, "I'm telling cuz youre not helping me!" I responded with, "I would if you take that cup off of your mouth." Finally, I took the cup away from him and he threw a fit. He put his head down and pretended to cry and whine about his cup. He kept reaching across the table for it and I didn't give into his negative attention seeking tactics. I told him that I would give it back to him when he finished a sentence. I ignored the rest of his whining. Soon enough he finished his sentence, and then got on a roll and did 5 more sentences. Though they were very elementary and all similar, I was glad he was as least trying to write them. He got them done and I praised him for doing accomplishing so much without distractions. I still had his cup, which he had forgotten about. Next to me was an interesting character, a no more then year old black boy with a motor mouth. He was the main cause of the other little boy's distractions, it took me forever to get him to finish the rest of his homework. When it was time to go, I gave him his book and he said no, I have to finish these, and I was like yes you do. And very quickly he wrote his last 4 sentence. It was a trying event but he finished his homework

The motor mouth kid was hysterical to watch but definitely more then a handful. He would not even tell me his name. They say that videogame and movie violence don't influence kids…but I witnessed just how much it did. This child was gangster in the making. He could not have been more then a 4th grader, but he was talking a mile per minute on and on about beating people up, about beating teachers up. How his momma would beat anyone up for him and slap kids who where out to stab him. He told stories about how his brother would street race and how cool it was because one time he got to ride with him. I knew most of his stories were embellished and probably not even remotely true. I was exhausted just listening to this kid. How he didn't care about hurting others and how he gets angry and frustrated and wants needs to beat something up. He speaks like he has street smarts, like he could get good grades. I asked him what he wanted to be when he grew up and he said, a cardiologist. He was refusing to do a book assignment and I told him, you know you have to read a lot of books if you want to be a cardiologist, do you even know what a cardiologist is? I let him ramble on about video games and movies, trying to gain his trust. I know I was not going to get him to do his homework but at least I could do was give him a chance. I know many of these kids come from big families and they do not get enough one on one attention so I tried to give them as much of my attention as possible. I think if I show interest in them and listen to what they say, then they'll feel like someone cares. They might make more effort because someone believes in them. It's amazing how showing the slightest bit of encouragement, like "good job, see, you can do it, way to go, awesome," can light up these kids. For example, Marquis is a eight year old black boy, who would not write his sentences. I asked him why not, and he kept replying, "I can't!, I can't!" He sat and pouted with his shirt over his head. I being the artist, picked up some crayons and made him a card that read, Marquis writes the best sentences! Please write more! I gave it to him and asked him if he could read it to me. It took him awhile to sound it out but he smiled when he understood what it said. Still distracted by other kids, he wasn't writing his sentences, until I told him I was going to be upset, since I made him the card, then he decided to knock them out. All he needed was some positive reinforcement and a guilt trip.

Most of the same kids come back day after day and are so happy to see you that I think it will be hard to stop coming back next week. Time really flies bye and I really enjoyed spending time with these kids. I think this was a great experience for me and I would like to continue to help out these kids for the rest of the school year.

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Oral tradition and NAGPRA

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North American Indians did not have a writing system present prior to the arrival of the Europeans. Instead they used oral tradition as an instrument to preserve their culture, beliefs and knowledge about their past. These traditions were passed on verbally either in narratives or in songs from generation to generation. Today, these oral traditions are highly controversial. With the rise of modern archeology, archeologists are keen in reconstructing the aboriginal past. There are two extremes of archeologists in dealing with oral traditions there are those that believe oral traditions can be used to discover the aboriginal past and their counterparts deny the validity of oral traditions. This paper will present oral traditions in its dynamic relationship with archeology.

Roger Echo-hawk, an aboriginal historian, presented his perspective on the role of oral tradition in his paper entitled, ¡§Ancient History in the New World Integrating Oral Traditions and the Archaeological Record¡¨. In it he suggests that oral traditions are useful in that they could be a model for piecing together the strands of archeological discoveries. Echo-hawk discourages the continuance of the term ¡§prehistory¡¨ to describe oral tradition. The concept of prehistory as Echo-hawk defines it, ¡§presumes in the absence of firsthand written records before a specific point in time¡¨. This according to Echo-hawk is simply biased and creates propaganda against oral traditions. He acknowledges that there is no writing involved in the oral traditions but term ¡§prehistory¡¨ can easily mean there was no known history prior to European arrival. Therefore Echo-hawk suggests that the name be changed into ¡§ancient history¡¨ because he claims there is history in these very oral traditions as well with written documents (000).

One of the major events in Canada revolving around the issue of the validity of oral tradition is the Delgammukw case. In this lawsuit versus the province of British Columbia, the Gitksan had a land claim based on their oral tradition that they argue dates back to over 10,000 years. Heather Harris in ¡§Remembering 10,000 Years of History¡¨ wrote in support of these oral traditions and brought into play, the backing of modern science to affirm their legitimacy. The Gitksan people claimed that their oral traditions extend far back to the ancestors came to the Northwest when the ice was receding, creating glacial lakes at the Skeena valley. According to geomorphology, a branch of geology that studies the evolution and configuration of landforms, the creation of glacial lakes in British Columbia in the Skeena valley dates back around ,500 to ,00 B.P. In correlation to the arrival of the ancestors, it may be possible that the Gitksan have lived in their area for nearly 10,000 years (17 11). In addition, the Gitksan claimed to have many oral traditions recording seismic events that caused catastrophes in which some were correlated with geological dated events (17 11-14). From this evidence, it can point towards the legitimacy of the Gitksan claims. After a lengthy lawsuit the Supreme Court of Canada ruled that oral traditions can be legally recognized for their accounts (McMillan and Ian Hutchinson 0061)

McMillan and Hutchinson had slightly different interpretation. In ¡§When the Mountain Dwarfs Danced Paleoseismic Events Reflected in Aboriginal Traditions in Northern Cascadia¡¨, they wrote about oral traditions from the Northwest Coast region in relation with seismic events. Geologically, the Northwest Coast is part of the Cascadia subduction zone, is a highly seismically active region (00 44). The article itself documented very interesting yet distinct myths with each particular group and earthquakes deeply rooted in their cultural traditions. As well in oral traditions, each aboriginal group had a different perspective in explaining why earthquakes occur. Like the Gitksan, in Harris' article, McMillan and Hutchinson also featured the oral traditions from different groups that documented what happened during these events. Although these oral traditions claim to be historical, according to McMillan and Hutchinson, they ¡§float in time¡¨, and lacked dating. Because there is no dating, one possibility may be that the multiple past experiences may have been combined into a single oral tradition. As well these traditions are fused with religious or moral codes so it is difficult to separate truth from fiction. McMillan and Hutchinson said these oral traditions ¡§must be considered primarily as general awareness of periodic destructive forces rather than as historic accounts of specific events.¡¨ (00 5)

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In the United States, archeologists are bound by the Native American Graves and Repatriation Act of 10 (NAGPRA). This act mandates integration of oral traditions when reconstructing the aboriginal past, which was what Echo-hawk supported. Also published at the same time as Echo-hawk's article, Mason's article was against the use of oral tradition in archeology. His reasons in discontinuing the use of oral tradition in archeology is as follows

1)Dependant on memory and verbal transmission, oral traditions are simply not trustworthy

)The genre by its nature is more an artifact of contemporary culture than a record of the past.

)Oral traditions are closed belief systems, beholden to authority and impervious to external challenge.

4)All or parts of oral traditions ma be considered sacred, only partly or not all accessible to outsiders; guardians of such lore determine what may be released and how it may be used. (000)

His first argument is simple, stating that memories cannot be trusted. In addition Mason claims if there were any changes from the original oral history, nobody would know because it is impossible to compare the current oral tradition to the original. The second argument states that only the culture (religion, beliefs, and traditions) can be taken from the oral traditions. The third con argument is loosely based on the continuance of religious beliefs as recorded in the traditions. Mason's final argument is that some tribes consider their oral traditions to be sacred. Therefore sometimes only parts of it will be allowed for research, instead of the whole. In this way, certain beliefs and cultures can be preserved in a world where science conflicts with culture. Mason argues that, ¡§There is no room for the consideration of private information as data in any archaeology aspiring to scientific status.¡¨ (000)

Oral traditions have a very dynamic relationship with archeology. Once considered as ¡§prehistory¡¨, the term is now considered a politically incorrect. The peoples that have used oral traditions for centuries claimed that it is historical. Nevertheless the only thing that was clear was that oral traditions reported of seismic activity but there is no precise dating on it to make any of their claims, historical. The current status of oral tradition in Canada and the United States is backed by the Supreme Court and NAGPRA. Hence it is law in both countries to give some consideration when making any archeological connections. However has caused major opposition like that of Mason, who deny that oral traditions hold any truth alongside archeology.

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East Timor/Indonesia conflict at November 1991

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On Tuesday, 1 November 11, almost 00 East Timorese were killed or wounded in an awesom display of military might. There were reports of wounded people being beaten and shot at point blank range.

They were amongst up to 000 mourners and protesters at a memorial service for an East Timorese student who had been killed a fortnight before. This student was killed when Indonesian soldiers attacked a Catholic church where pro-independence supporters were meeting and seeking refuge from the security forces. It is believed that the church was targeted because it was a voice for the East Timorese longing for an end of sixteen years of Indonesian occupation and violent violation of human rights.

The protesters were also marching against the biased manner in whiche the Indonesian government was reacting to a planned visit by a Portugese parliamentary delegation. This visit, to begin on 4 November 11, was suspended when a member of the delegation, an Australian journalist based in Lisbon, was denied entry on account of Indonesian Government beliefs that she was a biased journalist and a propagandist for the Fretilin guerilla movement. Once the visit was suspended there were claims of strong military crackdownss on dissidents and pro-independence supporters who had been identified in the East Timorese preparations for the visit.

There has been no respite from the tensions between Indonesia and East Timor since 175 when East Timor, a former Portuguese colony, was invaded by Indonesia. At the time the United Nations unsuccessfully called for Indonesia to withdraw form East Timor and in 11 still recognised Portugal as the legal administrator of East Timor.

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In 178 Australia, New Zealand and members of ASEAN recognised Indonesian sovereignty over East Timor. However the East Timorese people have never accepted their forced incorporation into Indonesia.

Over the few weeks after the nNovember massacre there were reports of further action by the Indonesian army against the pro-independence supporters. There have been claims of execution of East Timorese witnesses to the November 1 massacre and the capture and imprisonment of other pro-independence supporters.

The Indonesian Government has maintained that they did not order nor initiate the attack nor any further retribution against the East Timorese independence movement. The Government has announced that an inquiry will be set up to investigate all claims and punish, if necessary, the perpetrators.

This response has not satisfied many. The United States Senate has proposed a resolution calling on President Bush to press for an independent United Nations investigation into the massacre. THe European parliament has also made calls to the UN and to the European Community Government to place an arms and aid embargo on Indonesia as a protest against the killings. THe Netherlands, which last year gave $A86 million to Indonesia as development assistance, has suspended all new aid until an investigation produces an acceptable result.

The Australian Government responded in a subdued manner. IT did not support calls for a UN sponsored inquiry into the massacre. However the Australian Prime Minister called on the Indonesian Government to conduct a fair and thorough investigation. This is dispite the knowledge that Indonesia has never undertaken a thorough and unbiased investigation of the many claims of human rights violations in East Timor in the years since occupation.

THere were differing opinions amongst the Australian people about what should have been done to resolve the conflict. Some would have an immediate suspension fo official ties with Indonesia, a cessation of defence co-operation and trade embargos to let the Indonesian government know that their actions are deplored. There is also the view, supported by Australias then foreign minister, Gareth Evans, that Australia should work with the Indonesians and East Timorese to give guidence and exert a gentle pressure to enable a peaceful resolution to this long term conflict.

Australia could not afford to break all ties with our closest northern neighbour by doing the right thing for East Timor. Nor can it allow the continuation of human rights violations.

Australias diplomatic relations with Indonesia have been spasmodic since 175. Australian journalists have been barred from Indonesia a number of times and in 17, 6 Australian journalists were killed. THis seems to be a result of Indonesia objecting to international reporting that does not fit the Indonesian view of events at the time they were annexing East Timor and further claims of unjust treatment of East Timorese.

Yet despite the deaths of the journalists, Australia was the lone UN member to recognise Indonesian sovereignty of East Timor. Since the Australia chose to pursue a moderate path in its dealings with the Indonesian Government. The signing of the Timor Gap Treaty in 10 was an example of the Australian Governments desire to keep Indonesia on side, perhaps with a view to enabling gentle persuasion in relation to human rights.

Over the weeks following the massacre the question has been asked why did Austrlaia condone the invasion/annexure of East Timor and yet provide military support to the US/UN outrage over the Iraq invasion of Kuwait? Some could say that as Kuwait was a sovereign state and a member of the UN, we must show and provide our support against agression by one nation over another. But in the 160s when Malaysia was being intimidated by Indonesia, Australia sent military assistance to the Malaysians to repel any advancement by Indonesia. This was despite the fact that Malaysia was not a soverign stat nor a member of the UN. East Timor was never a sovereign state nor a UN Member. However, during World War II 40,000 East Timorese were killed providing assistance to Australian soldiers aginst the advancing Japanese. Successive Australian Governments do not seem to have shown a consistent attitude to international conflicts. There is no excuse for any sort of distinction between conflicts, rather, any and all acts of oppression should be condemned no matter what nation is the perpetrator or victim.

The Australian Government must bee seen by the international community to reliably offer diplomatice guidence and pursue a peaceful conciliatory approach without condoning human rights affronts and without causing a defensive response from either party.

THe November 1 11 massacre was made so prominent due the to the proposed Portuguese visit. Whether the tension would have escalated if the visit went ahead is not to be known, but as a result of the proposed visit there were many western journalists on the scene to report what happened and therefore expose to the world a picture of Indonesion occupation of East Timor. A picture that has not always been as innocent as the Indonesians would portray it.

This incident should not be viewed as a one off event, but an opportunity to allow international unity against human rights violations and to work as one towards understanding and resolving conflicts of this nature.

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Breaking the Wall or The Pursue of an Ideal in "The Picture of Dorian Gray"

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They say Oscar Wilde wrote about Dorian Gray's life in his novel entitled ¡§The portrait of Dorian Gray¡¨, but I tend to believe he wrote about the character's stolen life, his death state in fact. My paper will attempt to prove this argument in order to reach a more general conclusion regarding the real main theme of the novel ¡§The Picture of Dorian Gray¡¨.

The painted portrait of the main character stands for a work of art first of all and, as we know, one of the main characteristics of art is that it is created by human beings; the creators of art, human beings, are said to ¡§acknowledge their self-consciousness when confronted with their own image offered by art¡¨(Dan Grigorescu ¡V ¡§Prefata¡¨). We may try to apply this when discussing the main character's (Dorian Gray's) reaction on watching his portrait's transformations too. But can we? Is his portrait what a portrait generally represents, accordingly, a static image of oneself?

As we know, the picture becomes alive, it is the one that alters in time, adopting this typical human characteristic. A reciprocal change of state has occurred at a certain point in the novel, which can be called the ¡§mad prayer¡¨ moment the alive ¡V Dorian - becomes dead and the dead ¡V the portrait - becomes alive. From this symbolical process on, whenever Dorian Gray looks at his portrait he doesn't in fact acknowledge his self-consciousness, but the lack of that! He cannot acknowledge a feature that belongs only to the portrait and not to himself. Art has gained life while he won eternal life, the main characteristic of a piece of art. Since his ¡§mad prayer¡¨, Dorian isn't alive anymore.

He gradually becomes aware of this state as he ventures through life, experiencing all the sins a human life implies and coldly observing their influence ¡V more precisely their lack of influence ¡V on him. First, he notices his incapability of offering love in return to a woman's love, during his relationship with Sibyl Vane; it is also impossible for him to feel any remorse as a normal consequence of this misbehavior ¡§She explained it all to me. It was terribly pathetic. But I was not moved a bit. I thought her shallow.¡¨ This obvious lack of compassion is a clear proof of the inhuman. And the paragraph continues as follows ¡§Suddenly something happened that made me afraid. I can't tell you what it was, but it was terrible.¡¨ My interpretation of this fearful ¡§something¡¨ does not concern, as one may infer, Dorian Gray's ¡§acknowledging of his self-consciousness¡¨ (I have already proved it to be impossible), but his first acknowledging of his own death, an eternal and inescapable life. Neither his infatuation with Sibyl, nor his cruel rejection of her signal feeling, the natural human reaction.

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This experience pushes him further into verifying his newly discovered feature, his lack of humanity, of life. Sins, the very substance of human life, do not influence him but the portrait ¡§Eternal youth, infinite passion, pleasure subtle and secret, wild joys and wilder sins ¡V he was to have all these things. The portrait was to bear the burden of his shame that was all.¡¨ When analyzing this quotation, I noticed that the two verbs, ¡§to have¡¨ and ¡§to bear¡¨ are very relevant to my demonstration from a semantic point of view. The first actually implies lack of participation in the action, a certain passiveness ¡V to have, to own something, to receive something ¡V while the latter clearly indicates emotional implication. Dorian Gray travels through life passively from the emotional point of view; the real active participant is the portrait.

Going further into the plot, Dorian's committing of sins like indulging into luxury (buying most valuable things), running after fame, consuming drugs, getting involved with easy women, and finally murder are desperate trials to feel remorse, to feel alive. He cannot (only the portrait does) ¡¨I must admit that this thing that has happened does not affect me as it should. It seems to me simply like a wonderful ending to a wonderful play. It has all the terrible beauty of a Greek tragedy in which I took a great part, but by which I have not been wounded.¡¨ Indeed, as the quotation clearly points out, Dorian is in fact the passive spectator of his own life whereas the portrait is the real actor, another proof of the reciprocal change of state which has taken place between art (the portrait), normally a simple unaltered witness to life, and human being (Dorian Gray), always an actor in the play called life.

The paradoxical consequence of this ¡§interchange¡¨ process, if I may call it that way, is that the main character has the opportunity to enjoy life to the full but he is not alive anymore. Thus this state of ¡§eternal youth¡¨ is in fact a synonym to the state of death. Eternity means in fact death.

Under normal circumstances, art enjoys ¡§eternal youth¡¨, eternal life, art stands for death, the eternal prison of a moment in time. It imprisons time, which stops within its frames. When the moment is preserved, it cannot continue its flow anymore but dies inside that piece of art. Because art means death, eternity, ¡§eternal youth¡¨, the reality, as opposed to art, represents life, the transient but never stopping human life. Reality means in fact life.

According to my previous demonstration regarding the interchange process between art and human being, we cannot interpret Dorian's final act, his suicide as a consequence of the character's powerful remorse feelings after having killed Basil Howard, the creator of his portrait; Dorian has proved to be incapable of such or any feelings for that matter. His suicide is a desperate attempt to unite life and death, reality and art. The ¡§mad prayer¡¨ represents thus a distorted expression of this ideal. This is in the end Dorian Gray's true tragedy, his impossible ideal BREAKING THE WALL BETWEEN ART AND REALITY, between death and life. This third alternative (after life and death) does not exist.

The wildean ideal of perfection, this unification between life and death or their representatives, reality and art, cannot be achieved as it has been proved through Dorian's death.

The main issue of the novel ¡§The Picture of Dorian Gray¡¨, this permanent and indestructible relationship of opposition between art and reality has been thus demonstrated by telling the story of a picture called Dorian Gray.

¡§Ach, Gott! Die Kunst ist lang

Und kurz ist unser Leben¡¨

Goethe, ¡§Faust¡¨

(act I, scene I)

„_ Wilde, Oscar ¡§Portretul lui Dorian Gray¡¨, Editura pentru Literatura, Bucuresti

16

„_ Grigorescu, Dan ¡§Prefata¡¨ la ¡§Portretul lui Dorian Gray¡¨, Editura pentru

Literatura, Bucuresti 16

„_ Source of quotations the Internet.

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"A Rose For Emily" Symbolism

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"A Rose For Emily"

Traditionally, authors use symbolism as a way to represent the intangible qualities of the characters, places, and events in their writings. In his short story A Rose for Emily, William Faulkner uses symbolism to compare the Grierson house with Emily Griersons physical deterioration, her shift in social standing, and her reluctance to accept change.

When compared chronologically, the Grierson house is used to symbolize Miss Emilys physical attributes. In its prime, the Grierson house is described as white, decorated with cupolas, spires, and scrolled balconies in the heavily lightsome style of the seventies (Faulkner 15). This description suggests that the house is built not only for function, but also to impress and engage the attention of the other townspeople. Similarly, the wealthy women of the era, Emily Grierson not withstanding, were dressed in a conspicuous manner. This is because their appearance was perceived as a direct reflection on their husbands and/or fathers. This display of wealth was designed by men to give an impression of wealth to onlookers. Her father regarded Emily, as property. Her significance to him was strongly decorative, just as their overly lavish home was. As the plot progresses, the reader is clearly made aware of the physical decline of both the house and Miss Emily. Just as the house is described as smelling of dust and disuse, evidence of Emilys own aging is given when her voice in similarly said to be harsh, and rusty, as if from disuse (15-18). Ultimately, at the time of Emilys death, the house is seen by the townspeople as an eyesore among eyesores, and Miss Emily is regarded as a fallen monument (15). Both are empty, and lifeless; neither is even remotely representative of their former splendor.

Just as their physical characteristics, Faulkner uses the Grierson house as a symbol for Miss Emilys change in social status. In its prime, the house was big, and squarish, and located on Jefferson's most select street (15). This description gives the reader the impression that the residence was extremely solid, and also larger than life, almost gothic in nature, and seemingly resistant to the petty problems of the common people. The members of the Grierson family, especially Emily, were also considered to be strong and powerful. The townspeople regarded them as stately. Moreover, Emily, as the last living Grierson, came to symbolize her families, and possibly the entire souths, rich past. The townspeoples revelation of Emily soon decayed, however, once it was rumored that she was left no money, only the house, in her fathers will. Also, her scandalous appearances with Homer Barron further lessened her reputation in the public eye. The prestige and desirability of the Grierson house fell right along side Miss Emilys name.

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Perhaps the most significant comparison occurs when the Grierson house is used to symbolize Emily Griersons unwillingness to accept change. Emily Grierson held tightly to her familys affluent past. A good example of this occurred when representatives were sent to her home to collect her late taxes. She completely rejected her responsibility to the town by referring the men to a time when the since departed mayor, Colonel Sartoris, remitted her taxes (15). Miss Emily and the house show further examples of their disregard for progress when Emily denies the Grierson house a number, and a mailbox, just as Emily herself refused to be labeled or to be associated with anything as modernistic and common as a mailbox. Even when she was left alone, a pauper, and humanized, she absolutely refused to be viewed with pity (18). In fact she demanded more than ever the recognition of her dignity as the last Grierson (1). Likewise, just as Emily held herself a little too high for what she was, the house is presented as Lifting its stubborn and Coquettish decay above the cotton wagons and gasoline pumps (15). The cotton wagons and gasoline pumps in this description are used to symbolize what Emily must see as the mostly unimportant and purposeless townspeople. This single comparison provides evidence that Emily Grierson and her familys house are strongly related with one another.

Faulkner creates a problem in the story when he "…assigned a different date to the remission of Miss Emily's taxes and a specific date to her father's death…" (Moore 18). Critic Gene Moore devises a solution to the chronological problem by fixing the date of Emily's father's death (15). This solution will help solve all the problems of time.

One of the main conflicts in the story is the "…pragmatic present against the set mores of the past" (Faulkner 150). Miss Emily had no intentions of changing her ways to please the people of the present. In the story, there was a generation that corresponded with each time period. In Miss Emily's generation she "…had been a tradition, a duty, and a care; a sort of hereditary obligation upon the town…" (7). She was well respected and liked in the community. The conflict developed "when the next generation, with its more modern ideas, became mayors and aldermen…" (7). They did not understand the ways of Miss Emily and therefore they disapproved of it. As the story progressed "…the newer generation became the backbone and the spirit of the town…" (44). This left Miss Emily and her generation in the dark. Along with the difference between the generations, there is "…the difference between the attitude of Judge Stevens and the attitude of the young man who comes to him about the "smell" at Emily's place" (West 14). The difference in age causes the conflict. Miss Emily's reputation in the town had vanished with the past. Another conflict of the story is the different views of the North and the South. Miss Emily is said to be "…postwar South" (Montenyohl ). She grew up in the generation that followed the war. Homer represents the north as a Yankee (West 14). On the other hand, "…Emily is a 'monument' of Southern gentility" (14). In this example, Faulkner is describing the relationship between the Southerner and his past, the Southerner of the present, and the Yankee from the North (14). Each of these pairs has their own views and beliefs that cause conflict in the story.

So, it should now be clear to the analytical reader that the relationship between the Grierson house and Miss Emily Griersons, physical deterioration, shift in social standing, and reluctance to accept change, is too precise to be viewed as coincidental. It is precisely this open usage of symbolism, and expert use of foreshadowing, that earned both William Faulkner and A Rose for Emily, their places among the classics. Works Cited

Faulkner, William. "A Rose for 'A Rose for Emily.'" Literature for Composition. Ed. Sylvan Barnet, et al. New York HarperCollins, 4th ed. 16.

Moore, Gene M. Of Time and Its Mathematical Progression Problems of Chronology in Faulkners A Rose for Emily.' April 1.

West, Ray B., Jr. Atmosphere and Theme in A Rose for Emily. Readings on William Faulkner. Clarice Swisher. San Diego Greenhaven, 18.

Montenyohl, Eric L. Folklore and Faulkner Toward an Expansion of the Relations of Folklore and Literature. Motif 7. February 18.

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Theory of Interpersonal Communication

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Nietzsche told that the concept of me, comes after the concept of you. He said that the, "The Thou is older than the I." By saying this he meant that we get to know other people before we get to know ourselves.

When an infant is first born he leans about things from his caregiver. A baby is born with no conscious sense of self. A baby learns about themselves from others, than the world. In the movie, "A Baby's World", it showed the world as portrayed by the baby. The movie told as that imitation was one of the best techniques a baby has. When the baby would see his mother or other people around him smiling, he would then smile. The smile is internally motivated in the beginning, meaning the baby smiles because of something that causes him to smile from within the body. The baby then starts receiving positive responses to the smile and because of this he now knows that smiling is a constructive thing for him to do. When a baby cries this lets others around him know that he is in need. Therefore, crying is an insurance policy for the baby, motivating others to look after him.

In the movie, "Love's Labor", we learned that the baby imitates the caregiver's emotions. For example, when the music was played the baby was first frightened. After seeing that the mother was okay by the music, the baby then became okay with it. The baby was thus looking to his mother to see her reaction first and then based her reaction on his. Another clip from the movie shows us how babies imitate the actions of their caregivers. When the father would smile the baby would smile back at him. When the father hid from the baby, he started to cry, signaling his discomfort in that situation.

The baby first learns about others, than the world and then the self. The baby is born with the inter-personal abilities of showing his needs to his caregiver. He is born with the ability to cry, when he is in discomfort and the ability to suck and swallow to take in food. From the first minutes after birth, babies are already capable of seeing, hearing, tasting, smelling and responding to touch, temperature and pain. Within weeks a baby will know the difference between his mothers face and voice and that of others, and will show distress or pleasure according to the expression on her face or the tone of her voice. Young infants see the world as blurred colors, but they can sense movements and changes and brightness.

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As the baby grows his inter-personal behaviors do also. The baby now has the ability to smile.

"As the mother smiles when her child smiles…and clucks in response to his first playful babbling, the child learns the world is a place in which people can reciprocate moods and meaning." (Mead & Hayman 16518)

The baby learns that smiling is a positive thing because of the positive reinforcement he receives when he smiles. By seeing the smile returned to him by his mother the baby knows that she is responding to his actions. When babies start to grow older they begin to discriminate the faces of strangers (even when they are quite similar in appearance) if these are looked at long enough. They start to recognize photographs of their mothers face, and also happy from sad expressions when facial configurations are accompanied by a happy or a sad tone of voice. This aids him in interpersonal relationships because now he can begin to distinguish one person from another. They can now recognize the way their mother is feeling and react to them. Babies are very sensitive to the emotional atmosphere. Although they cannot articulate their feelings, they respond to the feelings of those around them. A mother can communicate with her baby long before he speaks his first word. She communicates to her baby by responding to his needs. Newson says, "All the caretaker needs to do is credit the infant with human qualities and sensitivities and react to them as potential human beings" (p. 10). When the caretaker does this he is communicating to the baby that he will take care of him and his needs.

The baby first learns about others, by imitating their actions. He understands his caretaker far before he understands himself. His caretaker then helps him to understand the world around him. The caretaker shows the baby objects and the baby then assigns meaning to it. By showing a baby a picture of a dog and then telling them that it is called a "dog", the baby will then see a dog and remember what the caregiver has showed him. By learning about others and then the world the baby can then start to learn about himself. A baby is born with no conscious sense of self, but with the help of the other two he will begin to learn about himself. The baby will then start to explore his body and know what his arms, feet and hands are, but he will have to learn about this by others showing him and by looking at things in the world.

Adultomorphism, means that the infant is assumed to have full human control of social responsiveness, with wishes, intentions and feeling which can be communicated to others to meet their needs (Newson, 11). This aids the mother in knowing what the baby wants from his reactions. For example when the infant cries, the mother will assume that he is hungry or needs to be changed. If she does the following and the baby is still crying the mother knows that something else is wrong, thus the mother will try something new. This type of act is reassuring to the mother because she now realizes that her baby can communicate most of his needs in a simple manner (Newson, 1).

Social Mediation happens when the baby responds to something new by looking to the reaction of his mother. For example, when a baby hears a new sound that is unfamiliar to them, such as an airplane flying over his house, the baby will look to his mother to see if the sound is okay. The mother will let the baby know, by showing that she too has heard the sound and is all right by it. Newson says, "The maintenance of communication in an incident of this kind is only accomplished by the fact that one of the two communicating persons is socially sensitive to the effect of what is happening to the other (p. 1). This means that social mediation can only take place if the mother knows what the noise is, by her knowing and sharing the experience with the child, meaning for the noise can be arrived at.

Interpersonal communication plays a huge role throughout the course of a human's life. It allows two people to send and receive message to one another, so that they can from an intimate bond with each other. Interpersonal relationships shape the way we are and allow us to be constantly changing. Past interpersonal experiences shape the way we deal with the new ones. If some relationship to not work for us in the past because of some kind of problem, we will know that when we go into a new one that we can not repeat the actions of the old. Our past relationships give us a learning experience to build our new ones on.

A person gains understanding about themselves, understanding about others and understanding about the world around them from all of their relationships in their life.

Please note that this sample paper on Theory of Interpersonal Communication is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Theory of Interpersonal Communication, we are here to assist you. Your persuasive essay on Theory of Interpersonal Communication will be written from scratch, so you do not have to worry about its originality.

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