Study Of The Foregrounding Theory English Language Essay

Study Of The Foregrounding Theory English Language Essay 1. Introduction The term Stylistics has been for a long time associated with literary criticism, and stylistics has been considered as a branch of literary criticism. The authors style was the major theme of this field of study. Later on, the focus moved from the study of the authors style to how meanings and effects are produced by literary texts. Thus, there was a critical need to change the field from a branch of literary criticism into a field on its own. Although stylistics has focused on literary works as its raw material of scrutiny, this does not underestimate the importance of stylistics in non-literary texts. Moreover, it is difficult sometimes to draw a clear line between literary stylistics and linguistic stylistics (Jeffries and McIntyre, 2010). In fact the distinction between the two is not the material in of their study, rather than in the objectives of the study. Literary stylistics in this case is concerned with using linguistic techniques to assist in the interpretation of texts, w hereas linguistic stylistics is about doing stylistic analysis in order to test or refine a linguistic model in effect, to contribute to linguistic theory. (Jeffries and McIntyre, 2010: 2). Also, Stylistics depends so much on theories and models from other fields more than it develops theories of its own. It is a combination of many sub-disciplines of linguistics, and other disciplines, such as literary studies and psychology, drawing upon these (sub-) disciplines but not seeking to duplicate or replace them. Based on such disciplines, Stylistics has started as a distinguished field of study which has its own theories and principles. Among these theories, foregrounding theory, which is the subject matter of this paper, has received a special interest from stylisticians. The term refers to specific linguistic devices: deviation and parallelism devices. These devices are usually used in literary texts in a functional and condensed way. They support the possible meaning of the text, i n addition providing the person who reads with the possibility of aesthetic knowledge. According to the theory of foregrounding, literature by employing abnormal forms of language breaks up the readers routine behaviour: commonplace views and perspectives are replaced with new and unexpected insights and sensations. In this method literature keeps or makes individuals conscious of their automatized actions and preconceptions. This paper discusses the foregrounding theory in detail. The paper is organized as follows: first of all, there is a detailed discussion of the origin and historical background of the theory. The Greek, Russian, and European effects on the theory will be discussed. The discussion will move to focus on the principles and assumptions behind the theory. Foregrounding principles of strikingness, effectiveness, time-consumption and universality will be discussed in detail. Once these principles are discussed, devices of deviation and parallelism, which are the main pillars of foregrounding theory, will be discussed and their relation to foregrounding effects will be explained. Once foregrounding devices are discussed, attention will be paid to obvious advantages of the theory in general. Although this theory is a powerful one, it is not surprising at all to find some problems in the theory. These problems will be discussed and possible answers offered to them in literature will be considered as will. Finally, conclusion will be drawn and recomm endation will be offered according to the discussion of the theory in general. 2. Foregrounding Theory With the rapid development of language analysis in the twentieth century, stylistics has come to the view as a powerful discipline which has its own theories such as, Foregrounding Theory, Text World Theory and Schema Theory. The general aim of this discipline is to look at the formal features of a text and find out their significance for the interpretation of that text. Stylistics started with much emphasis on the analysis of literary texts, and then the focus shifted to both literary and non-literary texts (Jeffries and McIntyre, 2010). Irrespective of the type of the text, it remains the raw material of stylisticians. Among the various stylistic theories, foregrounding theory is the most common and powerful one in the literature. The term is very general to the extent that it resists definition. However, many stylisticians have tried to define it. For example, van Peer and Hakemulder (2006) say that the term refers to specific linguistic devices, i.e., deviation and parallelism, that are used in literary texts in a functional and condensed way. Under their definition, such devices can help to add a specific meaning to the text and provide the reader with aesthetic experience. Van Peer and Hakemulder (2006) also tried to show that foregrounding generally means new information contrasted to old information in the text that forms a background against which the new meaning to be understood by the reader. Others restricted its definition to the literary side of the theory. Shen (2007: 169) argues that this theory assumes that poetic language deviates from norms characterized the ordinary use of languag eà ¢Ã¢â€š ¬Ã‚ ¦and that this deviation interferes with cognitive principles and processes to make communication possible. In the same way, Martindale (2007) points out that there are two types of foregrounding. The first type is parallelism which involves repetition while the second type of foregrounding is deviation which is related to the use of specific devices in unusual ways. Similarly, van Peer and Hakemudler (2006) show that deviation is a poetic license to the writer who is exceptionally allowed to deviate from normal rules and expectations surprise the reader and give him a beautiful literary experience. The best examples of deviation would be metaphors, ungrammatical rules, paradox, and so on. Examples of parallelism, on the other hand, would be various forms of figures of speech such as, rhyme, assonance, alliteration, and so on. Such claims about foregrounding make it the opposite of automatization. While automatization schematizes an event, foregrounding breaks this sc hematization and creates a special kind of meaning (Miall and Kuiken, 1994). The roots of this theory go back to the Greek Antiquity. Specifically, to the great philosopher Aristotle who emphasized the use of devices and their importance for foregrounding (van Peer, 2007; Martindale, 2007). Aristotle (ca. 335 BCE, cited in van Peer and Hakemulder, 2006) argues that literary work should be distinguished from other works through the use of strange words, metaphors and unfamiliar terms. Thus, foregrounding started basically as a theory of literature in the Greek philosophy. Later on, Russian Formalists and Czech Structuralists emphasized the importance of foregrounding in literature. According to Martindale (2007), foregrounding in that stage was so much related to novelty. The Russian and Czech theorists were in struggle for maintenance of change in literature. For instance, the Russian Formalist, Shklovsky, points out that the purpose of art is to present the unfamiliar objects in a sophisticated unfamiliar way so that the perception of such objects will be re newed and refreshed in the eyes of the reader (Miall and Kuiken, 1994). Unless this change is continuelously preserved, literature will die. Therefore, foregrounding was the only hope to keep literature alive. Similarly, foregrounding in English literature and stylistics has been used with different meanings. Van Peer and Hakemulder (2006) show that foregrounding in English can refer to a prominent interest that a reader might assign to something in a text during the process of reading. Such prominence is resultant from a special use of some devices located in the text itself. Foregrounding may also refer to analytical tools used to evaluate texts and show their literary, historical and cultural significance. Therefore, the emphasis has always been on foregrounding in literature rather than foregrounding in other genres. So far, discussion was about the theoretical account for foregrounding, yet we have not given any example. To understand what is meant by foregrounding, consider the following example that was planned by Miall and Kuiken (1994). In their discussion of foregrounding in literature, they presented a segment of a story called the Dark Walk: It is a laurel walk, very old, almost gone wild, a lofty midnight tunnel of smooth, sinewy branches. (p392). Through the alliteration of [l] and [s] sounds in the sentence and the metaphoric use of midnight and sinewy, Miall and Kuiken claim that foregrounding passes through three stages. First, defamiliarization which is present in the use of unfamiliar linguistic features which strikes and captures the eye of the reader. Second, such unfamiliar linguistic features forces the reader to slow down and allow time for the feelings arouse by alliteration and metaphor to appear. Third, such feelings create a rich beautiful image of the dark walk in the min d of the reader. To summarize this section, we can say foregrounding is a powerful theory that has started in the Greek philosophy, developed by the Russian and Czech theorists, and flourished in the current century. This theory is based on breaking up rules and norms by implementing devices of deviation and parallelism, yielding an aesthetic experience in the mind of the reader. 3. Principles of the Theory Although it is difficult to delimit the principles and assumptions that underlie the foregrounding theory, this section discusses some general notes which can be considered as basic to the theory in general. Foregrounding and strikingness It is always reported that foregrounding causes defamiliarization especially in literary texts (Miall and Kuiken, 1994; van Peer, 2007; van Peer and Hakemuilder, 2006). Defamiliarization, in turn, strikes the reader because he finds the unexpected. Thus, the way new ideas introduced captures the mind of the reader and triggers his attention. Foregrounding is affective Besides inducing strikingness, defamiliarization helps to evoke the feelings of the reader. Miall and Kuiken (1994: 393) argue that, although available evidence is indirect, it does suggest a relationship between the defamiliarizing effects of foregrounding and the emergence of feeling. Once a reader encounters an unfamiliar text, special area in the mind which is responsible for affect is intensified. Foregrounding and time Since foregrounding texts are striking and evocative, they should take longer time for processing and comprehension. For example, when a reader finds verbs ellipsis or grammatical inversions, he needs much more time to figure out the meaning of the sentence. Also, the use of figurative devices such as metaphors and similes triggers the reader imagination and intensifies his feeling. At this stage, the reader will resort to other similar texts or experiences he has encountered in his life which, in turn, prolong the process of reading. Miall and Kuiken (1994: 395) point out that, Since foregrounding often occurs in clusters of closely related phonetic, grammatical, and semantic features, the sheer density of the processes by which refamiliarization occurs suggests that it takes time to unfold. Foregrounding is universal If foregrounding is striking, affective and time-consuming, are such foregrounding effects universal or related to specific type of individuals? In other words, do foregrounding effects occur in highly trained and sophisticated readers? In fact, many stylisticians have discussed and offered an answer to such question. Van Peer (1986) conducted a study on a group of people for this purpose and he found out that foregrounding effects are present among different readers irrespective of literary background. He found that readers responses are affected by deviation, and deviation makes readers process the text more slowly which, in turns, leads into aesthetic appreciation. Similar observations were reported by Miall and Kuiken (1994) who conducted a study on four groups of readers. Miall and Kuiken were interested in testing how foregrounding is indicator of reading times and readers judgments of strikingness and affect. In conclusion, they found out that the aforementioned effects are pr esent in all groups independent of readers backgrounds or interests. Thus, readers with general linguistics skills and backgrounds will find foregrounding texts striking, affective and challenging. However, none can deny such effects will be higher with people of higher literary background. Also, many questions remain under-researched in this theory. Fore example, when readers concentrate on the way the text is written rather than its content, is that a matter of convention in general or a special property of the text? To put it differently, do readers read literary texts slowly because they already think that literature needs more time to be processed? Or is it a property of foregrounding in general irrespective of the text type or genre? In summary, foregrounding is striking, affective, time-consuming and universal. It surprises the reader by violating the rules. Such violation triggers his feelings and requires much more time to understand and process the text which in turn forces the reader to focus on the way the text is written more than the content. Finally, such effects are claimed to be universal irrespective of the background or literary experience of the reader. 4. Foregrounding Devices Linguistic devices are the main pillars of foregrounding theory. They are the tool which is wonderfully manipulated by writers to produce a piece of art. These devices help the writer to express his ideas in a special way, adding some music to his words or giving an image that stimulates the imagination of the reader. Generally, the foregrounding theory is based on two types of devices: devices of deviation and devices of parallelism (van Peer and Hakemulder, 2006; Shen, 2007). The former refers, as the name indicates, to breaking up rules or expectations. What you expect is not what you read or listen to. Following these devices, the writer attracts his readers attention because when they hear something unexpected, they will look for clues to know what is going on. Devices of deviation include: neologism, metaphor, ungrammatical sentences, archaisms, paradox and oxymoron. Devices of parallelism, on the other hand, are also called figures of speech. They generally involve repetitive and contrasted structures. Thus, some parts or syllables of the word verbal configuration is repeated or contrasted, leading to foregrounding effects on the perception of the reader. The rest of this section sheds light on the main devices used in foregrounding theory. 4.1 Devices of deviation Metaphor: it is defined as, The figure of speech in which a name or descriptive term is transferred to some object different from, but analogous to, that to which it is properly applicable; an instance of this, a metaphorical expression (Oxford English Dictionary). As this definition indicates, metaphors involve a mapping between two conceptual domains which are somehow related to our perceptual system. Thus, a metaphor involves a mapping from a source domain into a target domain. Shen (2007) argues that as far as foregrounding involved, mapping should be characterized by deviation via a relation between two remote concepts, i.e., Education is a ladder. Simile: it is a comparison of one thing with another, esp. as an ornament in poetry or rhetoric (Oxford English Dictionary). Similar to metaphors, similes also involve two nominal expressions. One of them is a source and the other one is a target. The two expressions are usually linked via linkage expressions such as like or as. In foregrounding theory, similes should involve deviation as well, i.e., Education is like a ladder (Shen, 2007: 171). Thus, the linkage is between two remote concepts, usually from more to less accessible object. Such simile is called canonical simile. However, if mapping is from less to more accessible object, this simile is called non-canonical simile, i.e., A ladder is like education (Shen, 2007: 171). Shen argues that foregrounding often depends on non-canonical similes. Oxymoron: A rhetorical figure by which contradictory or incongruous terms are conjoined so as to give point to the statement or expression; an expression, in its superficial or literal meaning self-contradictory or absurd, but involving a point (Oxford English Dictionary). Such literary device is frequently used in literature. It is one of the basic pillars of foregrounding theory since deviation is the main feature of this device. Shen (2007: 173-174) makes a distinction between two types of oxymoron: direct and indirect. The former represents a direct antonymic relation between a head noun and a modifier which are extremely opposite poles, i.e., hot coldness. The latter represents a relation between two expressions which are not direct opposite poles, i.e., watery dryness. In these examples, hot is the direct opposite of cold whereas watery is not the direct opposite of dryness. As far as foregrounding concerned, Shen (2007) argues that the indirect oxymoron is much more used than direct oxymoron. Paradox: it is defined as, A statement or tenet contrary to received opinion or belief; often with the implication that it is marvellous or incredible; sometimes with unfavourable connotation, as being discordant with what is held to be established truth, and hence absurd or fantastic; sometimes with favourable connotation, as a correction of vulgar error. (Oxford English dictionary). Similar to oxymoron, this device is central to foregrounding theory because contradiction is the basic feature of paradox. A paradoxical statement makes sense with more thought. Christ used paradox in his teaching: They have ears but hear not. Or in normal conversation, we may use a paradox 4.2 Devices of parallelism Assonance: it is defined as, the correspondence or rhyming of one word with another in the final (sometimes also the initial) consonant, but not in the vowel. (Oxford English Dictionary). Assonance can be described as a vowel rhyme as in the words  date  and  fade.   Alliteration: it is The commencing of two or more words in close connexion, with the same letter, or rather the same sound. (Oxford English Dictionary). Alliteration is commonly used for emphatic effects. It happens in everyday language in phrases such as tittle-tattle, bag and baggage, bed and board, primrose path, and through thick and thin and in sayings like look before you leap. Therefore, foregrounding theory uses such device to attract the concentration of the reader and emphasis certain points in the text. Antistrophe: it is The repetition of words in inverse order. (Oxford English Dictionary). For example:  In 1938, Hitler occupied Austria without warning. In 1939, Hitler invaded Czechoslovakia without warning. Later in 1939, Hitler invaded Poland without warning Rhyme: it is defined as, Agreement in the terminal sounds of two or more words or metrical lines, such that (in English prosody) the last stressed vowel and any sounds following it are the same, while the sound or sounds preceding are different. (Oxford English Dictionary). In poetry, the most common sort of rhyme is  end rhyme that occurs at the end of two or more lines.  Internal rhyme  happens in the middle of a line In conclusion, devices of deviation and parallelism are very central to the foregrounding theory. They are the main tools which should be manipulated by the writers to attract the attention of the reader and make him feel appreciate the experience of the text. 5. Advantages of Foregrounding Theory If foregrounding theory is very powerful in the literature of stylistics, what are the advantages of the application of such theory? Can foregrounding be practically useful? Or is it just a descriptive theory? This section discusses some advantages of the foregrounding theory. First of all, foregrounding in general and foregrounding theory in particular are very basic requirements to understand language and literature. Foregrounding as a style is based on a distinction between something and its background. In other words, it is all about making something prominent by making it different. For example, we can make an object in a collection of objects, such as toys, foreground by differentiating it with color, shape, etc. In the same way, we can make a string of words distinguished from others by implying foregrounding devices, such as devices of deviation and parallelism. Thus, foregrounding is a very useful tool in language to affect the readers understanding and appreciation of language. In general, this is the most obvious advantage of foregrounding theory in language and literature. Foregrounding effects are not only restricted to language. This powerful theory can be practically used as a method of language teaching as well. McInyer (2003) shows a detailed description of how foregrounding can used as a pedagogical technique in large-group teaching. Such teaching methodology makes use of internal and external deviation as a means of maintaining the effects of foregrounding throughout the whole lecture course. An example of external deviation is to have two lecturers instead of one in the class so that students will be surprised because such change is unexpected. In this case, knowledge of foregrounding theory is very important for higher education lecturers dealing with large-groups, as it could serve to highlight how the presentation of lecture material can be enhanced, so creating a more effectual learning experience for the student Foregrounding can also be important in translation. If we accept that fact that discourse analysis has its positive effects on translation, we should expect to have similar effects (van Peer and Hakemulder, 2006). Dorry (2008) argues that foregrounding theory with foregrounding since foregrounding theory is so much related to discourse analysis can be applied to discourse at levels of Syntax, lexicon and Phonology. At the level of syntax, foregrounding is defined as the process that involves placing a constituent of a sentence into the focus position so that it becomes more prominent than other parts of the sentence. Naturally, any change in the usual order of words in a sentence will be reflected on meaning interpretation in mind of the reader. In this regard, change can come through deviation from norms or breaking up the rules. Dorry (2008) points out that since translation is a process of text recreation in which translators do their best to communicate discoursal meaning across languages, the way additional or different meaning is created and understood, should therefore also be focused as well from a syntactic-pragmatic angle. This phenomenon which is the locus of foregrounding theory should be have a very careful attention in translation since understanding it can assist to process and perceive meaningful choices made by writers and speakers in the course of communication. Under this claim, translators should be fully acquainted with foregrounding theory and its devices in the source and the target language because translators should always be faithful to both languages. To conclude this section, we have seen that foregrounding is a theory that can be applied many disciplines simultaneously. It is indispensable when we study language as an artistic artifact and how it is perceived by the reader or recipient. Also, foregrounding can be applied as a teaching methodology which is based on unexpected techniques to strike the student. Finally, translators should have enough knowledge of foregrounding effects in the source and target language to stay faithful to the text they are translating. 6. Problems of Foregrounding Theory Foregrounding theory has been the most powerful theory in stylistics. It charmed many stylisticians who devoted their efforts to support this theory. Although this theory has such important position in the stylistics, it is still imperfect. Many critics have mentioned some problems that should be taken into account to render a developed version of the theory. Shen (2007) argues that since deviation in foregrounding is based on the interface of the literary text with the cognitive and communicative principles, and these two types of principles are constrained, deviation should be controlled as well. It looks strange that deviation in foregrounding is not constrained while its assumptions and principles are constrained. Therefore, we need to question the claim of unexpectedness of deviation. In other words, are all types of deviation expected? Shen (2007) discussed some constraints that can be inferred from the devices used in foregrounding theory. A detailed discussion of simile and o xymoron showed that some constraints can be imposed on deviation. However, such conclusion should be carefully considered because foregrounding escapes the routine of everyday language and shake the expectations of the reader by presentation of the unexpected. Thus, how can we constrain the unexpected? And how can we strike a compromise between novelty and constraints? Such questions should be considered when we discuss constraints on deviation. Other limitations of the theory are discussed by van Peer and Hakemulder (2006). The first limitation of the theory is related to the existence of enough evidence that supports the main claim of foregrounding theory; the grounding theory claims that the use of foregrounding devices increases the readers value and appreciation of the text. Unfortunately, this claim has not received enough evidence from research conducted in the foregrounding theory. Another important problem of the theory is the huge vagueness of its terminology. Such a problem is clear when we consider the very often used terms in the theory like estrangement, deautomatization, defamiliarization and foregrounding. Are these terms synonymies or are they different terms? Therefore, the terminology and principles of this theory and its relation to the psychological processes should be fully clarified. More importantly, this theory intersects with the principles and assumptions of other theories and constructs such as Surrealism and Absurdism. Therefore, the boundaries and assumptions should be differentiated from the assumption of other theories (van Peer and Hakemulder, 2006). A problem that has recently been considered in the literature of foregrounding theory is its scope. Some scholars are very fanatic and refuse to include oral or descriptive literature in the domain of foregrounding theory. Hence, they apply the theory to the written texts only, and they neglect oral and video/audio works. Van Peer and Hakemulder (2006) argue that this problem can be solved by integrating the foregrounding theory to the structure and interpretation of the work as whole. To put it differently, a more systematic and coherent version of the foregrounding theory should be developed to cover all genres of literary works. Another problem related to this theory is the distinction between literary and non-literary texts. The majority of literary devices discussed above are reported in literature. Also, the majority of studies reported in stylistics were conducted on literary works. On the other side of the theory, some theorists ((Jeffries and McIntyre, 2010) argue that limiting the scope of foregrounding theory to literary works is a hasty decision because the same devices can be applied to literary and non-literary works such as jokes, advertising and politics. In fact, Mukaiovsky (cited in Miall and Kuiken, 1994) addressed this problem and explained the difference between the two types of foregrounding. Foregrounding may occur in non-literary or everyday language. However such type of foregrounding is not systematic in design. Moreover, the main purpose of such language is communication and foregrounding is so much used. In literary texts, on the other hand, foregrounding is very common, systematic a nd structured. Here, the purpose of foregrounding is to deviate from everyday language and takes the reader to the unexpected to make him enjoy the aesthetic experience of the literary text. A more impressing solution to the problem is presented by van Peer and Hakemulder (2006) who distinguished between two cases of foregrounding: functional and non-functional. Only the former can be seen as literary while later is not a literary use of foregrounding. For example, when a writer uses metaphors or similes in a scientific report, the purpose is not to deviate from the expected and impress the reader. Here, foregrounding is non-functional. In literary use of language, on the other hand, foregrounding is functional and the general aim is to deviate from the expected and present the unexpected To conclude this section, foregrounding theory has its own problems. The scope of the theory should be clearly identified in terms of the text type (literary vs. non-literary) and form (written vs. spoken). Also, its boundaries should be discussed and assigned with regard to other theories and perspectives in the literature. Similarly, abstract terminology should be clarified and fully explained. Finally, deviation, novelty and constraints should have compromised in the course of the theory discussion. 7. Conclusion Foregrounding theory is required for the analysis of literary works and history. This theory yields the best conclusions in textual analysis that it is indispensable analytic methodology to describe the specific features and characteristics of any text and explain the poetic effects on the reader. It can be used in both literary and non-literary works, yet the function is different in each situation. By doing extensive research and exploring its rules and effects in cross-cultural texts, the study of literature and literary works will flourish. Foregrounding device, devices of deviation and parallelism, will lose their important value if they are not developed. Thus, their defamiliarization needs to be under continuous development and replacement. A critical problem of constraints threatens the basic feature of foregrounding which is novelty. Novelty is reached to by violation of rules, and violation is seen here as breaking up everyday routine. Therefore, how can we expect the unexp ected? How can we control and constrain deviation? Such question and enquires should be the main concern of researchers in this field. All in all, foregrounding is the best theory for innovation in literature because it gives unexpected forms of novelty and creativity.

Sonnet 138 Essay -- Literary Analysis, Shakespeare

Truth and honesty are key elements to a good, healthy relationship. However, in Shakespeare's Sonnet 138, the key to a healthy relationship between the speaker and the Dark Lady is keeping up the lies they have constructed for one another. Through wordplay Shakespeare creates different levels of meaning, in doing this, he shows the nature of truth and flattery in relationships. Shakespeare's Sonnet 138 is one of his sonnets about the Dark Lady. Dark both in appearance, and in her actions, she is once again the subject of the sonnet. The speaker is the lover of the Dark Lady. Whether the speaker is married to her or not is not completely clear. Based on lines regarding age â€Å"...she knows my days are past the best† (6), it seems that they have been together for a long time, but not necessarily married. The sonnet doesn't sound like the speaker is talking to anyone, but rather musing to himself. When reading aloud, the sonnet sounds like it could a soliloquy, simply the speakers saying his thoughts out loud to himself. The first quatrain In this sonnet the speaker starts to reveal more about the relationship between him and the Dark Lady, and also his fear of growing old. He starts the sonnet by saying â€Å"When my love swears she is made of truth/ I do believe her, though I know she lies† (1-2). In these first two lines the speaker contradicts himself right away by saying that he believes her, but knows she is not telling the truth. He is very aware of the delusion he is in, but he is willing to let it pass. He is willing to let it pass because of the mutual dishonesty that exists in the relationship. In the next two lines, he talks about youth, and age. He is talking about the Dark Lady considering him a younger ma... ...anings of the word. The ironic part about it, the only reason they lie together, in the sexual meaning of the word, is because they are lying to each other. Without the lie, their relationship would fall apart. There are a number of words used twice throughout the sonnet. The words â€Å"truth†, â€Å"lies†, â€Å"love†, â€Å"best†, â€Å"wherefore†, â€Å"think†, and â€Å"know† are all used twice. The fact that they are all used twice helps to emphasize the duality of their relationship. There are two sides to these people, and this relationship has two faces as well. All of these words can be used to describe the relationship between the speaker and the Dark Lady. More specifically, all the words can be understood multiple ways. They both know the truth about the other, but aren't willing to accept their own truths. They lie to each other while they lie with each other, and others.

Comparison of Kevin Kleins Hamlet, Lawrence Oliviers Hamlet and Mel Gibsons hamlet :: comparison compare contrast essays

Compare/Contrast Kevin Klein's Hamlet, Lawrence Olivier's Hamlet and Mel Gibson's hamlet   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Hamlet is one of the best known pieces of literature around the world, and has fascinated many people from all walks of life, from critics to psychologists.   There has been much speculation to the different interpretations of the play.   Every reader has his or her own views of the play, like which words are emphasized in a speech and what actions the actors are making throughout the play.   Several Hollywood directors have created their own versions of the play, including a soon to be released full length version.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   One of the versions which was brought to the big screen was the Kevin Klein version.   After viewing three different versions of Act 3 Scene 1, this one was my favourite.   When Hamlet and Ophelia meet in the room and begin to talk, they seem as though they where once very much in love, and that their relationship would have blossomed if it wasn't for the recent interference. Their conversation remains about their love for each other and then they kiss. It seems as though after the kiss, Hamlet realizes what might be going on and asks where Polonius is.   Hamlet then realizes that he is in the room and continues his charade of acting mad.   I think that this interpretation is the best one because it reflects my view of this scene as well as what I think Shakespeare's intentions were.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Another version was the with Lawrence Olivier.   Compared with the other two, this version didn't quite seem as realistic.   When Hamlet enters them room, it seems like he already knows what's going on, and that Polonius and the King are in the room.   You can tell that he thinks something's up when glances over at the hanging tapestries before he talks with Ophelia.   They don't seem as if they are, or ever were in love.   They don't have any chemistry during their conversation and I think that wasn't what Shakespeare intended.   When Ophelia nervously glances over at her father and the king, Hamlet's suspicions are confirmed.   He then asks where her father is and begins to act mad much like the other version.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The last version that I saw was the most recent interpretation starring Mel Gibson.   Although I liked this version better then the Lawrence Olivier one, I found it to be more awkward then the Kevin Klein interpretation.   When Hamlet and Ophelia begin their conversation, their relationship is present but their love doesn't seem as intense as it was shown in the Kevin Klein version. Comparison of Kevin Klein's Hamlet, Lawrence Olivier's Hamlet and Mel Gibson's hamlet :: comparison compare contrast essays Compare/Contrast Kevin Klein's Hamlet, Lawrence Olivier's Hamlet and Mel Gibson's hamlet   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Hamlet is one of the best known pieces of literature around the world, and has fascinated many people from all walks of life, from critics to psychologists.   There has been much speculation to the different interpretations of the play.   Every reader has his or her own views of the play, like which words are emphasized in a speech and what actions the actors are making throughout the play.   Several Hollywood directors have created their own versions of the play, including a soon to be released full length version.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   One of the versions which was brought to the big screen was the Kevin Klein version.   After viewing three different versions of Act 3 Scene 1, this one was my favourite.   When Hamlet and Ophelia meet in the room and begin to talk, they seem as though they where once very much in love, and that their relationship would have blossomed if it wasn't for the recent interference. Their conversation remains about their love for each other and then they kiss. It seems as though after the kiss, Hamlet realizes what might be going on and asks where Polonius is.   Hamlet then realizes that he is in the room and continues his charade of acting mad.   I think that this interpretation is the best one because it reflects my view of this scene as well as what I think Shakespeare's intentions were.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Another version was the with Lawrence Olivier.   Compared with the other two, this version didn't quite seem as realistic.   When Hamlet enters them room, it seems like he already knows what's going on, and that Polonius and the King are in the room.   You can tell that he thinks something's up when glances over at the hanging tapestries before he talks with Ophelia.   They don't seem as if they are, or ever were in love.   They don't have any chemistry during their conversation and I think that wasn't what Shakespeare intended.   When Ophelia nervously glances over at her father and the king, Hamlet's suspicions are confirmed.   He then asks where her father is and begins to act mad much like the other version.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The last version that I saw was the most recent interpretation starring Mel Gibson.   Although I liked this version better then the Lawrence Olivier one, I found it to be more awkward then the Kevin Klein interpretation.   When Hamlet and Ophelia begin their conversation, their relationship is present but their love doesn't seem as intense as it was shown in the Kevin Klein version.

Warrior Dodt Cry

Saladin Bradwell CCP English 98/99-481 Warriors Don’t Cry The 1950’s a time where so-called Negros was not allowed to use the same public facilities as whites. Melba Pattillo Beals was one of nine black teenagers who integrated central high school in Little Rock Arkansas, in 1957. At the age of fifteen her life is about to change forever. The book, â€Å"Warriors Don’t Cry†, drawn from Melba Beal’s personal diaries is a spellbinding true account of her first year at Central High. I believed that Melba was molded into a warrior due to the conditions of integration. Most of all, she was influence by her mother, grandmother, and the student, Link to overcome all obstacles in her path such as discrimination, racism, and taunting on a daily basis. Although, she was young she was able to make it thru all the pressure of integration, and that’s what a warrior will do. However, when Beals arrived at little Rock Central High, the first day she did not know that singing up to integrate an all white school would put herself, friends, and family in so much danger. Melba had to fight one of the most courageous wars in history a war against color. This was one of the most important civil right movements in American history. However, Melba lived with her mother, grandma, and her brother in a strict and religious house hold. According to Melba â€Å"the experience gave her an indestructible faith in GOD [ and] also gave her courage, strength, and hope†(2). Faith in GOD allowed her to endure the abuse that she faces on day to day basis, integration was war, and the nine brave students, refuse to be stop. Grandma said, â€Å"Even when the battle is long and the path is steep, a true warrior does not give up†(3), and Melba never forgets , and these saying get her thru the school year. Lois Maria Pattillo, Melba’s mother is one of many to be an influence in her life, the mother was one of the first few blacks to integrate the University of Arkansas, and this gave Melba her motivation to achieve and pursue the dream of attending Central High. The mother Lois, being an English teacher as also a big help to Melba, she was able to gain insight into matter that at times were difficult to handle, her mothers education gives her the edge and the ability to achieve and succeed. India Anette Peyton, is Melba Grandmother she is a great influence, and of great importance because she gave her the main ingredient to succeed, by incorporating religion in her life. Grandma India is Melba’s back bone during her struggle to integrate Central High school. When ever Melba wants to giv e up the struggle, Grandma India encourages her to keep going . Grandma India , fortifies Melba with faith and stubbornness, and it is grandma who tells Melba that GOD’S† warriors don’t cry†(57). This gives Melba the idea that in order to successfully integrate into the school, she will need to become more than a regular teenager. Melba writes in her dairy â€Å"Okay , God, so Grandma is right it’s my turn to carry the banner, please help me to do thy will†(102). This means that Melba is ready to accept the challenge to integrate. Grandma India is deeply religious, she is able to provide Melba with a sense of purpose. She reminds Melba that she is a child of God and that the opinion of her fellow teenagers doesn’t matter as long as God loves her. Grandma India always assures Melba that God approves of what she is doing. She also shows Melba that there are peaceful, respectful ways of standing up to the white people. Melba is thus able to avoid the provocations of Andy and his friend and avoid the temptation to fight back. Link, who is also a student, the most influential person that becomes Melba’s friend the son of a prominent white family, helps Melba escape from the violent segregationists Andy, who wants to kill her. However, Link’s father is pro-segregation, but shocked by the attacks on black teenagers and children. Link he helps Melba,† his winks or pleasant expression some times came just at the moment she needed to know she was alive and valuable† (254). This helps to motivate Melba. According to Melba, â€Å"having him as a friend got to be fun for both of them† (266). In spite of his racist family Link has a different perspective on black people because of his close relationship with Nana Healey. â€Å"Who’s Nanny Healy? My nanny. She colored-like you† (271). Nana Healey is black, and Link loves her and resents the treatment she receives from his parents. Because he knows that Nana Healey is a good and loving person, he can imagine that other black people might be good and loving as well. Link is the only white student who shows Melba any kindness, and he is the only white person she comes to trust during her time at Central High School. Link undermines the efforts of the violent segregationists,† he said the worst part of it for him was that he felt himself a traitor† (266). Link is never able to openly confront them and say publicly his friendship with Melba. Although, Link is fearful of becoming an outsider. While Melba puts aside those fears in order to do something for the greater good, Link hides behind them. He still helps Melba, but he does it in secret. What is most important to Melba at this time is proving that she cannot be defeated by the anger and hatred of the segregationists. Link, is able to help Melba accomplish her mission to integrate Central High School. ? . Inclosing, Melba and the other eight students should be considered heroes of the war on integration, thru their struggles; perseverance many school across the nation became integrated, for understanding the trauma of her year at Central High School. She has become an adult, toughened by life and her experiences, but also able to forgive the world for its cruelty towards her. She help paved the way for desegregation in public schools across the nation.

A World Without Computer

I have once believed that the world would not change much because I’m not interested in computers at all, but it turned out to be quite the opposite. When I got up early in the morning, I found the sun still shining in the sky, the streets were still congested with cars. â€Å" Oh, I have said that, nothing will happen! † I murmured to myself. On my way to my school, everything was going in order. â€Å"Ha!It,s peculiar that there are still a lot of people living on computers while I cannot find the change they have brought to the society, you see, nothing changed at all!† A few minutes later, I arrived at the school safe and sound. Oh!†I was surprised by the new utensil in my familiar classroom when I took the first pave into the classroom. The place where the big computer in our classroom should have been is now put a new blackboard in. And the teacher stepped into the classroom with a thick pile of books instead of a laptop. â€Å"Oh, yes. †I began to realize that the computers have disappeared in our life. At 12 o,clock, when I finished my lunch ,I walked into the library as usual to go to translate the English book with a PC . To my surprise, I found several students looking up some words from the dictionary . They were sitting on wooden chairs in the room where computers used to be placed in. â€Å"God!†I uttered,â€Å" I will come to know it soon. † After spending the whole computerless day in the school, I went home with the feeling of something’s lose. I was not surprised to see the empty table where the computer had been putting for so long a time . when I entered my room, suddenly I realized that I should hand in some paper about the physic experiments. Soon, I was in a dreadful mass. For piles of books were placed in front of me, and I was buring my head into the paper. I was obliged to check it up all the books I had. Because I couldn’t click the mouse and browse through the ?any more. Finally, I managed to finish the papers and lay in the soft sofa. â€Å"Oh,I felt that I cannot stay alive without a computer ,Hope that it will show up tomorrow. †I was so tired that I quickly fall asleep. I dreamed of various kinds of computers. Oh, a world without computers is terrible!

Economics Essay Example | Topics and Well Written Essays - 2000 words - 8

Economics - Essay Example Basically, the Irish Government and European Central Bank are fixing a problem that has struck worldwide. In the end, the Irish economy will bounce back. As around the world, Ireland had a massive amount of bad bank debt. This bad bank debt has created a crisis within the Irish economy. This phenomenon has been worldwide. Banks have been making irresponsible loans, Irish banks were no exception. Kirby (2010: 4) reports â€Å"Government subsidies fuelled a frenzy of building around the country and banks lent recklessly to developers to buy land at grossly inflated prices and to customers to buy the houses and apartments built on this land at equally high prices.† When the economy was better, mortgage interest and collateral were seen as a win/win situation. However when the economy started taking a downward turn the banks began having too much collateral. Bankers do not want collateral, they want mortgage payments. Once these mortgage payments started to decrease, Irish banks started to fail. The banks were not tightly regulated before the recessions. Loans could be given on inflated prices. McCormick (2009) explains, â€Å"Overreliance on construction, cheap credit and securitization of housing loans exposed Ireland to a sharp reversal of economic activity. Irish housing prices collapsed and the banking sector faced losses and liquidity pressures.† The more given, the more the banks expected to receive. If regulations had been in place on how much could be loaned, property assessed correctly, and other common sense rules, the Irish economy might not be in a recession. McDonald and Moya (2010) reports: Hard-pressed Irish taxpayers are now rescuing the banks from the consequences of their greed and folly. In return, we must now insist that they go back to basic business, and that means keeping every fundamentally profitable company in business. As a result of the failing banks, the Irish Government and

The Moral Problem Of The Death Penalty Essay Example | Topics and Well Written Essays - 750 words

The Moral Problem Of The Death Penalty - Essay Example America has done x amount of damage and must pay Canada for that. There are several problems with this, however. For one thing, the environmental damage will affect people who will never get money from the restitution. Furthermore, environmental degradation can be long term in a way that neither Canada nor the US could predict, so it is possible that any payment that the United States makes would be insufficient. There are several other options, however. Canada has an abundance of hydropower, which is how it can operate more greenly than America. Canada could agree to sell hydroelectricity to American municipalities close to the border, reducing their need for coal. But probably the best solution would be for America to agree to a plan to move away from coal power, avoiding the environmental degradation entirely, while possibly making economic restitution for damage already done.3. The line of thinking that â€Å"If you’re not doing anything wrong, you don’t have anyth ing to worry about† in terms of surveillance is patently ludicrous. There are a wide variety of things that may not be morally or ethically wrong but should not be public knowledge. If, for instance, a high school teacher happens to be a gigantic fan of Justin Bieber, have many of his decorations and listen to his music all the time, this is far from morally wrong. But it is also possible that his high-school teacher’s life would be more difficult if his students found out about his love for Bieber.... But it is also possible that his high-school teacher’s life would be more difficult if his students found out about his love for Bieber. Furthermore, it is not wrong or right to practice any particular religion or align one’s self with any particular political party, but one could face challenges in their personal or professional life because of widespread knowledge of this. 4. The boss is fundamentally assuming that his or her employees are doing things they shouldn’t be at work, and refusing to trust them. This monitoring should usually not be justified and is usually not a good management tool. For one thing, as long as an employee is meeting their job expectations then what else they do at work should not be at issue – if, as an employer, you have a problem with someone’s performance than you address it, as a performance problem, and if there is no problem with their performance you have no reason to have to monitor confidential information. Thi s could even lead to decreased productivity – for some people surfing the internet to give their brain a break might be an important part of what they do, and interfering in that could make them less productive. 5. This is a very interesting question. Seat belt laws from adults are very different than seatbelt laws for infants, because infants are not able to make these decisions for themselves, and society has decided that there are a lot of ways that they need to be protected, even from their parents (for instance you can’t give an infant poison they might eat either). In the case of an adult though, you could say that the adult taking those kinds of risks provides problems for the rest of society (for instance tying up