Iago's web of Deceit

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IAGO'S WEB OF DECEIT

' I am not what I am '. These words spoken by Iago are a clear reflection that Iago is not the person perceived by the rest of the characters in the story, or by the audience for that matter. Iago is clearly the antagonist in this story, and is also a greedy person. He is not just greedy for money, but also for the position as Othello's lieutenant that Cassio holds. What enrages him more is that he has been around longer than Cassio, and yet it is Cassio who is made lieutenant. Thus greed and jealousy drive him to achieve what he believes should be rightfully his own, even if means going through great lengths of deceit. Though his deceitfulness enables him to be successful in the short term, it is his ultimate downfall. Iago's successful deceit can be attributed to several factors. From insecurity to love to obsession, Iago uses these weaknesses in the characters to conceive a deceitful plot, one that becomes the basis of conflict in Shakespeare's Othello.

Perhaps Iago's most important attribute in his deceitfulness, is the very title he

possessed; 'HONEST' Iago. People who wanted to share their problems or confess them,

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would come to Iago in the hope that he may help them. They all trusted him and never for a moment doubted his honesty. It is the very trust that is endowed on him by others, that he uses to his advantage. It begins with Roderigo who explains to Iago of his love for Desdemona, and wants to get her. He thus falsely helps Roderigo come up with a plan to win over Desdemona. Thus Roderigo's obsession leads him to be beguiled by Iago. ' Wilt thou be fast to my hopes if I depend on the issue? Roderigo asks Iago, to which Iago replies ' Thou art sure of me'. Roderigo believes him and does not doubt his words, and thus his vulnerability falls prey to Iago.

Another attribute that Iago uses, is his use of words to influence and his persuasive language. He first strikes up a conversation with Iago in which he uses tempting words of Desdemona to soften him. ( AC Bradley ).

IAGO - He hath Not yet made wanton the night with her, and she is sport for love.

CASSIO - She's a most exquisite lady.

IAGO - And I'll warrant her full of game.

CASSIO - Indeed, she's a most fresh and delicate creature.

IAGO - Well, happiness to their sheets

Then he persuades Cassio for a drink, ' What, man? 'Tis a night of revels. The gallants desire it'. He eventually gets Cassio drunk for the meeting between him and Roderigo. However he ends up with a fight with Montana and injures him. Othello finds out and stripes Cassio of his lieutenant title, leaving him extremely worried about his reputation, '' Reputation, reputation, reputation.'' Cassio exclaims to Iago. Here again, Iago uses Cassio's obsession with his reputation to further formulate his plan and elongate his web of deceit. He uses Cassio's desperation in convincing him that the only way he can restore his reputation is by taking his problem to Desdemona who will help him restore his position. At this point Cassio cannot possibly be aware of the plan Iago has set forth, since he is so worried about reputation. Therefore it cannot be said that he is ignorant, he is merely a victim of circumstances.

Again the plan plays out perfectly. Cassio's conservation with Desdemona is spotted by Othello, and now Iago uses this as a starting point for the conservation between him and Othello. Here again Iago uses Othello's trust in him to his advantage. Othello as we see is very trustful, and put his entire confidence in Iago. Although Othello falsely placed confidence in Iago, it was not because of stupidity. Othello's opinion of Iago was the same opinion everybody else had for Iago. ( AC Bradley ).

Thus together with the Othello's trust and the meeting between Cassio and Desdemona, Iago stabs vicious statements at Othello about the false affair between Cassio and Desdemona. Also since Othello is emotionally unstable as well as insecure, he buys this plot from Iago. '' Iago does not bring these warnings to a husband who had lived with a wife for months and years and knew her like his sister or his bosom-friend ''. ( AC Bradley ). In addition Iago also exploits his Emilia's love for him to his advantage. Since Emilia wants to earn Iago's love, she hands him the misplaced handkerchief of Desdemona. Deceitful as always, Iago used the handkerchief to frame that Cassio slept with Desdemona, and has Othello witness it. Again Othello gets seizures and is even more blinded from the truth.

Othello was newly married to Desdemona and thus he could have not know known much about Desdemona. Thus it is quite natural for him to be greatly disturbed by Iago's words, especially when Iago uses them with ' extreme reluctance and manifestly from a friend's sense of duty.'' ( AC- Bradley ).

Thus we can see how everyone who had fallen to Iago's vicious plan and treachery were deeply worried about their very own issues. One might argue that the very ignorance and refusal to see things from a broader perspective, may have allowed Iago's plan to materialize. However since each one of them were after solving their problems, it becomes very difficult for them to see from a different perspective , especially after everybody trusted Iago..

ANNOTATED BIBLIOGHRAPHY

William Shakespeare criticism by AC Bradley

http//web.singnet.com.sg/~yisheng/notes/shakespeare/othello_b.htm

I used his literature to extract portions on how Iago is able to successfully deceive Othello in convincing him of the false affair between Cassio and Desdemona. I have also used Othello's weaknesses which allowed him to be manipulated. I have used direct quotations as well as indirect. I have also used how Iago is able to influence Cassio to get drunk.

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Biased Essay

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English 100

Essay Assignment

Through past interpretations relating food and gender, one can observe a struggle of "power" in the once female dominated kitchens. Although food has been known as a female oriented subject, a male presence in the kitchen particularly involving the preparation of meat, has become prominent in the kitchens of today. With the increase in equality involving the preparation of food, it is likely the kitchens of tomorrow will be filled with both male and females participating on the same level. With this, could it be possible gender roles in our society are becoming obsolete?

In the past, as mentioned in Vissor's essay, women played a vital role in the preparation, and distribution of food, although it was seemingly forced upon them being the woman's responsibility. The woman in reference to Vissor's essay had very little rights around the house. When it was meal time, they were surely slaving away at a hot stove, preparing a feast fit for the awaiting men. After they has accomplished this task, they served their guests and proceeded to eat in another room altogether. In ancient Greek times, the dining room was called an "andron, "a room for men" and a woman eating there was a woman out of place, marginalized and unworthy of respect." Although in the Ancient Greek culture the men took no part in food preparation. Other cultures such as the Winnebego Indians had men partake in some aspect of preparation. These Indians "insisted on handling the meat (a prestigious, "masculine" food)", however as in the Ancient Greek culture, the women weren't permitted to join the men at dinner." When reading Vissor's essay, I often wondered why food was such a power struggle. Were the Winnebago Indian feasts the beginning to a male presence in the preparation of food, or just of that culture? The way these cultures viewed food in contrast to the culture we live in seems humorous and ultimately unjust to the interests of females.

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In our society today, the female dominant factor in the kitchen is becoming non-existent, asVissor states "the gap between the sexes has closed." Today you don't have much of the lopsidedness of the past with gender roles. The whole family may help out in the preparation of food, either male or female. The primary responsibility of the female has become balanced, however, in some pars of the world females may still be "slaving" in the kitchens, paying no attention to western traditions. With women becoming viewed as equals in society, they are no longer the primary sources of food, which I feel is the way it should be. In our society, gender roles in the kitchen are often overlooked from that of the past. We often forget, or fail to realize the struggle and hardship women have gone through regarding gender issues. Fortunately today, with the gap between the sexes closing in on one another, women can prepare food without the constant hardship that follows.

With the equality in the kitchen on the incline, the future of both male and female presences cooking is promising. The male biased view that women are somewhat slaves to their whims has become, "a thing of the past." As we have seen in the past, males have been in the driver's seat when it comes to equality. With the increase of females in the workforce, both men and women now compete for positions previously done by men. In the future there may not even be the notion of gender roles in existence. If you were to apply the equality of women to a graph from the1800's to present, you would see a dramatic incline in equality, both inside and outside the kitchen. With this dramatic increase, it may be possible to make generalizations about the future of woman's rights. The thought of the equality of women in the future, also proposes questions what does the future hold for women? Will the thought of gender roles be non existent to cultures of the future? Ultimately, one cannot answer these questions with much certainty, unless bearing of striking resemblance to Nostradamus.

In my family, the food is prepared in much of the same respects as the Winnebago Indian Tribe. My mother quietly prepares the side dishes, while my father prepares the "masculine" foods. I sometimes observe my father putting such delicate care into the production of the food he cooks (usually the meat), carefully observing every detail. My mother, on the other-hand, stands quietly in the kitchen making sure never to offer advice on his cooking, to do so would contradict the pride he so eagerly puts into his cooking. This sense of pride is even carried into the dining room. My father often marvels at his work, eagerly awaiting our response. My mother, however, doesn't share this emotion; she discusses daily events rarely ever mentioning the portion she has cooked. My father may and usually will, ask us what we thought of his masterpiece. Knowing the pride he takes in his cooking, we will say something positive not to break his sense of accomplishment. With the emotion, pride, and dignity involved in my father's preparation of food, it shows the contrast between what was previously done in the past, and what is done now. Women's positions in households of the past would have found themselves slaving over a hot stove not because she wanted to, but because that was her "place." With my family, everyone helps out in the preparation of food. Unlike the Winnebego Indian's, my family doesn't single out the women and children as the Indians had done. We all enjoy the feast that has been prepared equally between the sexes.

Through the hardship women have gone through "slaving" over a hot stove, women have risen upon a new era of equality. This is an era where gender roles are becoming unheard of in our society. Once a female dominated endeavor, now equally shared responsibilities are carried out in our society, a society where equal rights have become more of an agenda and less of a problem.

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Stranger Danger a contrast between where are you going, where have you been and the chrysanthemums

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In both stories Where are you going, Where have you been by Joyce Carol Oates and The Chrysanthemums by John Steinbeck the themes are based around coming out of a fantasy by the shock of the real world, deceitful strangers, and the dastardly things they do

Connie is a shallow fifteen year old girl in the year 170. She is very critical about physical appearance, and social status. Connie is obsessed with the image of being cool and doing the cool things that cool people do, like sneaking across a busy highway to go to a drive in restaurant where the older kids hung out. Connie is very fixated on the concept of cool, like her twenty four year old chunky sister who still lives at home, works at the high school as a secretary, saves money, and goes to family functions is not cool. Elisa is thirty-five and lives in a rural farm, her husband is a cattle herder and her main focus of attention her garden of chrysanthemums. Elisa has dreams of being rebellious, living out on the road and sleeping under the stars.

Both characters Connie and Elisa have their objects of obsession, or rather hobbies or phases of trend. Connie was the stereotypical teenage girl and was into going to the mall, boys, music, and looking in the mirror. Elisas hobby was her garden of chrysanthemums that she spends all her time tending to and literally pours her soul into her work.

Both Connie and Elisa where taken advantage of by strangers who played into their fantasies for their own gain. Connie was seduced by Arnold Friend who was a hunter who played sick delusional mind games to capture his prey. Arnold Friends costumed appearance was to appeal to her teenage mindset of the cool rebellious bad boy. He played in to this character by wearing shiny metallic sunglasses, listening to the same music station, wore the fashion of those times, he even wore makeup and bigger boots to disguise his height and footprints. Connie liked the way he was dressed, which was the way all of them dressed tight faded jeans stuffed into black, scuffed boots, a belt that pulled his waist in and showed how lean he was, and a white pull-over shirt that was a little soiled and showed the hard small muscles of his arms and shoulders. Even if you dissect his name, Arnold is not generally a bullies name or the stereotypical name of someone who intends ill will and Friend, a friend is someone you feel comfortable with. Arnold Friend fits the criteria of a serial killer. Serial killers choose victims weaker than themselves. The murders reflect a need to sadistically dominate the victim. Arnold Friend could of easily grabbed her and taken her and be done with it, but that would be too easy and wouldnt feed into his delusions. "She rushed forward and tried to lock the door. Her fingers were shaking. But why lock it, Arnold Friend said gently, talking right into her face. Its just a screen door. Its just nothing. I mean, anybody can break through a screen door and glass and wood and iron or anything else if he needs to, anybody at all, and specially Arnold Friend. If the place got lit up with a fire, honey, youd come runnin out into my arms, right into my arms an safe at home-like you knew I was your lover andd stopped fooling around. I dont mind a nice shy girl but I dont like no fooling around. Often their victims will fit a certain stereotype that has symbolic meaning for the killer; method of killing may reveal this meaning. Shes too fat. I dont like them fat. I like them the way you are, honey, he said, smiling sleepily at her They stared at each other for a while through the screen door. He said softly, Now, what youre going to do is this youre going to come out that door. You re going to sit up front with me and Ellies going to sit in the back, the hell with Ellie, right? This isnt Ellies date. Youre my date. Im your lover, honey. Who knows what sick fantasies Arnold Friend had bubbling in his head and what reasons he chose her. Serial killers objectify and humiliate their victims. Bundy deliberately kept the conversation brief -- if he got to know the victim and saw her as a real person, it would destroy the fantasy. This is why I think Arnold would start spurting out nonsense like talking about secret code numbers and other rants to re-anchor himself into his fantasy. Elisa is swindled by a roaming metal worker who plays on her interests. He first notices that she is a gardener and how she loves only one type of flower and how highly she speaks of her chrysanthemums. He uses this observation to score himself a free pot, and get his foot in the door in getting her to open up to him. He then plays into her dreams to get her to more interested in him, while doing this occasionally reminding her of how hard he has it. Elisa now feeling this newly formed bond, searches for something for him to fix. Then later while driving with her husband she realizes that she followed right in to the metal mans con job.

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Both the characters fell into the deception of strangers that they opened themselves up to. The conflicts could have been avoided if they used discretion in what they shared with strangers and knowing when to keep to themselves and walk away.

Please note that this sample paper on Stranger Danger a contrast between where are you going, where have you been and the chrysanthemums 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 Stranger Danger a contrast between where are you going, where have you been and the chrysanthemums, we are here to assist you. Your essay on Stranger Danger a contrast between where are you going, where have you been and the chrysanthemums will be written from scratch, so you do not have to worry about its originality.

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Tommorow when the War Began - series.Character study Homer.

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Homer Yannos is big, dark, about seventeen years old, and Greek. His favourite hobbies before the war were pulling pranks on unsuspecting bystanders, winding up the girls at school so they call him names like sexist, and generally being a huge pain who refuses to like sport. His parents are both Greek farmers, and he has one brother, George, a serious, vain older brother. Homer tells George before the camp Just dont go woggy with the bulls and put oil through their coats. He said to me, Poppas got a forty-four gallon drum of oil in the shed, especially for George on Saturday nights. As George was not known for his sense of humour, I kept my eyes down and had another mouthful of tabbouli. 1

Homer is a very laid-back guy. He jokes about his Greek heritage, and even makes up games about it. One game he played at school was called Greek Roulette. He and his friends would find an empty room in the school during lunchtime and take turns walking up and bashing their heads against the closed windows. First one to break a window loses, and has to buy a new window.

When Homer tells his parents that he is going camping, he is cool, calm and collected, although still immature. He is expecting a relaxed week away, even if it does mean missing the annual Commemoration Day Show.

Normally when it comes to girls, Homer lays back and lets them throw insults at him, but its a different story when secluded from the open world he becomes attracted to Fi, the fair, rich, gentle, stick insect Fi. When he bumps into her in the bush every ten minutes or so, he loses his voice, goes red and quickly makes up an excuse to be somewhere else.

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Homer grows up fast. When danger rears its ugly head he is quick, responsive and reliable. When Corries home is blown up in Tomorrow, When the War Began, he is calm and logical. He puts forward some pretty harsh-seeming suggestions sometimes, but they are suggestions with good theories to back them up, and they are strictly logical. Homer suggests that the group split up. It is very unpopular for everyone, even him. Were getting tired, and that alone will slow us down, not to mention the care that well have to take. Also, two people can move more quietly then seven. And finally, to tell you the truth, if there are any soldiers here and anyones caught... well, again, twos better than seven. I hate to mention the fact, but five people free and two locked up is a better equation than no people free and seven locked up. You all know what a whiz I am at maths.

Hed talked us into silence. We knew that he was right, except for the maths part, maybe.

Another example of Homers increased maturity is when he takes charge of the situation again, getting ready for their first night in wartime Australia. Ellie notes, Homer was becoming more surprising with every passing hour. It was getting hard to remember that this fast thinking guy, whod just spent fifteen minutes getting us laughing and talking and feeling good again, wasnt even trusted to hand out the books at school.

Nobody ever hears very much about Homers fear. Maybe one of the only times is when he and Ellie are on their way to blow up Cobblers Bay. A container of diesel not restrained by the fertiliser bags slid slowly downhill. I grabbed it as though I was drowning and it were a life buoy, clutching it hard and hoping the men outside hadnt heard the noise. Homer grabbed me and I realised that on the fear scale we were rating about the same figure. 4

Homer plays an active role in most of the attacks, or situations they get into with the enemy. Together with Ellie, he blows up the biggest ship in Cobblers Bay, and is mainly the brains of the group. Strong in mind and body, he throws himself into what he is doing, defending his friends, or trying to save himself. Homer, Ellie, Fi and a newer arrival to the group, Gavin, are caught during a food raid. Homer is pulled down to the ground by three men. ...Homer rose out of the ruck. It was one of the most awesome things Id ever seen. He had blood all over his face and his hair was red with it. But he towered above them. ...He threw two more guys off, one in each direction just threw them off like they were stuffed toys. A man came at him and Homer head-butted him with a dull thunk, like a breaking watermelon. He headed for the door again, kicking people clear with every step. ...A bloke jumped on Homers back and tried to ride him down to the ground. He managed to get his hands around Homers throat, to pull his head back. With his huge paws Homer started ripping the hands off his throat, but in doing so he tipped backwards, and two young blokes realised they had a good chance at last. They drove in simultaneously at his stomach and down he went again. This time he didnt come up.5

Homers character is developed throughout the story from an immature, young farming boy to a mature logically-thinking Australian guerrilla. Ellie notes changes in his character from time to time. Their friend Kevin Holmes has some sort of stress breakdown in Burning for Revenge, and they all try talking to him to make him feel better. Fi was sympathy, Lee was abuse, I was common sense and Homer, to my surprise, was encouragement.6 But Homer still lacks a sensitive side sometimes. What I saw nearly made me laugh. Homer sat there nursing this little kid. The kid was asleep in his arms, her head hanging back and her mouth open. She didnt look very comfortable. Neither did Homer. He glared at me as if to say Make a joke and Ill kill you 7

Tommorow when the War Began - series by John Marsden

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Batman

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'Apply a paradigmatic analysis to any Hollywood film. To what extent are these paradigmatic oppositions aligned with the manichean divide of melodrama?'

In this essay i intend to show how my chosen film fits into the preconception of classic Hollywood narration. The film which i have decided to study is Batman, staring Jack Nicholson and Michael Keaton. Batman is 'the' classic comic book movie and i would say it has been the blue print for all of its predecessors. I am going to closely analyse the two main characters, Batman and his arch enemy The Joker. I will show how linear there relationship is and how much these protagonists have in common.

Because of the comic book influence Batman is a perfect example of mainstream Hollywood narrative. The strong melodramatic plot of good verses evil follows right through the movie. The trajectory which each character takes is quite different yet these two centres of power always end up on the same path. For example Kim Basinger is introduced early on in the movie as a news paper photographer. Both Batman and the Joker fall for the same girl. This is a complete coincidence and is a typical melodramatic device in films as the two centres of power have to compete for the same women.

After closely analysing Batman i found it very interesting how Tim Burton framed the capped crusader and his arch enemy. Batman was mainly framed very close up, his eyes clear to see due to subtle lighting and the fact there were little shadows cast over his face. This gave me the impression of strength and power yet his mask covers so much of his identity ...... I found that this worked well because even though he is dressed in black he still seemed to stand out from the grey, dingy back drops. This darkness plays a big part in Batman psychological state. The camera really moves when he is in the shot, I think this sturdiness of the camera reflects Batman persona. The Joker on the other hand is framed very differently, because of his colourful vasard which he projects Burton frequently frames him against quite vibrant back drops which in this case helps take the evilness way from the character. I also noticed that when ever the joker was in the shot there was a lot more camera movement which gave a very disjointed and manic feel to the scenes.

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Both Batman and The Joker have there real faces hidden away from the people of Gotham City. Even though it is through an accident that Jokers face is burnt he still uses the scaring as a mask. Both characters use these masks to hide themselves from the real world. This is an on going issue in this movie as Batman discovers that it was Joker who killed his parents and therefore created 'Batman' with in Bruce Wayne, and it was Batman who dropped Jack Napier into the toxic waste to create the Joker. Therefore their reason for being are each other.

Another interesting scene was where Bruce Wayne invites Vicky Vail to dinner. The scene opens to a close up on Vicky Vail the camera then slowly begins to pan around and reveals that Bruce is sitting on the other end of a huge table. I found this very interesting because this immediate distance between the characters reflected Bruces lack of experience with other people and his initial uncomfortableness with intimacy. As he has always been an outcast and finds it hard dealing with relationships, due to the loss of his parents.

Batman is a classic example of Hollywood narration in the sense that the good and bad guys are obvious to the audience. Even though Batman is actually feared by the people he is helping until right at the end of the movie. On the other hand Batman is quite unique in the sense that he such a dark, and troubled hero. He has no remorse for the people he kills as he strives to find his parents killer even though he doesnt know it. This is very interesting as the Joker is seen as the good guy by the people of Gotham. This is due to the fact that he seems to be trying to help the people of Gotham and is always dressed so brightly, which is normally a character trait of the 'good' guy. This twist is very important in the fabula's progression because at the beginning of the film both Batman and the Joker were very similar, both serious and stoney faced. This parallelism obviously changed when Jack Napier was dropped by Batman into toxic waste. The scene which followed had a large paradigmatic significance to the films direction as this was the point were Jack turned into the Joker.

After seeing Jack being totally submerged in the waste the shot cuts to a close up of the bright green goo. Suddenly a hand bursts through and begins to move, this is an indication and introduction of a new character into the films syuzhet, a re-birth. Another example of this is right at the end of the film were the Joker is hanging from the building. Just before he falls his hat is blow over the edge, this again is an early indication of what is about to happen.

In conclusion, i hope i have shown how the structure of the classic Hollywood narrative can be played around with but still keep its signature manichean divide of good and evil. I found it very interesting how Batman and the Joker were portrayed to the audience through what they were wearing or how they were framed. This gave so much information about the characters personas and feelings without any spoken narrative. Also the fact that the characters linear progression was very different yet their psychological motivation was very similar. This in relation to the fact that they were after the same woman and they were both desperate to become the best at what they represent, good and evil.

Bibliography.

'The American Film Musical Paradigmatic Structure By Rick Altman

and Mediatory Function.'

'Modernist Narrative and Intertextuality.' By James Goodwin

'Batman' Directed By Tim Burton

Word Count.

100

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White Oreo

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Two weeks before I came to the United States to study at ELP, I had my final Marketing exam, in which all of the questions were open-ended. It was my first year as a university student and my first time studying marketing. Fortunately, we had Mr. Edward Rubelsh, a very good marketing professor, and one of my favorite professors ever. Because of his great sense of humor, every student in my class liked him; he always came up with good and funny examples to make us understand more clearly the topics he was lecturing. He always gave us opportunities to ask questions and provided excellent answers. However, I was really nervous about that exam because I had not finished my studies at all; the exam covered everything we had learned since the very beginning of the class, which included about nineteen chapters from a very thick textbook. Unfortunately, because I had spent too much time studying for another subject's exam, Finance, which was much more difficult than Marketing, by the time I had the exam, I had finished reading only the first few chapters.

Having completely no idea about what the questions in the exam were about, I sat in an exam room, which was very bright with white empty walls, knowing only that there would be eight essay questions waiting for me and I had to finish answering all of them in three hours. The room that once looked very big was crowded with many students, my classmates, my destiny-sharing fellows - causing the room become warmer than it normally was. Although there were almost sixty people in the room, it was so quiet that I could hear someone breathing. I looked around, trying to make eye contact with some of my friends to see if they felt the same, but there was nobody. Waiting impatiently for the time to start doing their papers, everyone was looking straight at their papers as if they could read what was behind the exams' covers. Therefore, I turned back, trying to concentrate on my papers and recalling whatever I knew about Marketing. Hearing the sound of people opening question books, I was aware that it was time to start doing the papers. I dared to look around again. It was the same; everyone was focusing only on their papers. With a shaky hand, I started to open the first page of the book and read the first question.

"Wow! This one is easy," I said to myself, and began to write my answers in the answer book. I had written only a few lines, then stopped; I had absolutely no idea what to write anymore. Deciding to skip the first question, I left two blank pages in the answer book, so that I could write my answers down if I came up with some. I continued reading the second question.

'What is he (the professor) talking about?' I thought and skipped to read the next question. Unfortunately, the more questions I read, the more difficult it got. Thus, I stopped at the sixth question and started to write my answers down. Although I was not sure at all if my answers were correct, I tried to write as much as I couldwhatever came up in my mind.

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The door slammed, I raised my head to see who had entered the room. It was my professor, Mr. Rubelsh. A plate of cookies in his hand, he kindly smiled and greeted everybody, as usual.

"How is the exam? Is it hard? I tried to make it easier than your mid-term exam." He said.

'Are you crazy? Our mid-term exam was mostly multiple choices. How could it be more difficult than these essay questions we are having right now?' I thought. I supposed that everyone was thinking the same as I was, as well, because the room, that once had been completely soundless, was, at that moment, noisy with sound of people complaining.

"All right. Calm down. Calm down," said Mr. Rubelsh. "I've got something for all of you. These are the new Oreo cookies I bought from the United States. Each of you can pick one of them and taste it." Then, he passed the plate to one of my classmates. She picked up a piece of them and passed the plate to another person next to her.

As I got the plate, I noticed that the cookies were not black, as the typical Oreo cookies are. They were white. However, I was not in the mood to be much surprised about image-changing cookies or to eat anything; I passed the plate to the person next to me almost at once. I didn't even pick it up. I turned back to concentrate on the exam in front of me and, again, tried to finish it. An hour later, having half an hour left to finish the exam, I had finished all of the questions, from the first to the seventh, except the last one, number eight, the most difficult and the highest scoring question. I read the question; it stated "After you have tasted the new Oreo cookie, called "Uh-Oh" Oreo, do you think that Nabisco (the company which produces Oreo cookies) have made the right decision or not? Explain your answer."

Suddenly, I felt like the temperature in the room had just dropped by ten degrees. I was freezing! I didn't know what to do. The teacher had already gone, and so had that plate of cookies. I turned around and saw that everyone - everyone had the cookie in front of them. I was running out of time and had totally no idea of how the cookie tasted like, or even how it actually looked.

With twenty minutes left, I knew that I could not waste any more seconds thinking. I decided to use my own guess. I wrote everything I could think of the cookie tasted so great, I liked it, Nabisco was very clever to come up with white cookies filled with tasty cream inside.

The bell rang, letting us know that it was time to stop writing and submit the papers. Walking out from the room, I saw a group of my classmates talking about what they thought about the exam. I joined them and asked about the Oreo cookies. All of them said that it tasted really awful, and it was not really Oreo; it was low-quality cookies and the professor just made it up that it was Oreo's.

In no time at all, I realized that Mr. Edward, my used-to-be favorite professor, had just taught me the final lesson, the most practical one, which is "never trust Marketing people".

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The Minister's Black Veil

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Nathaniel Hawthorne's "The Minister's Black Veil" was set in a small community called Milford village. There was no specific time frame, only the idea that this story had a Puritan impression.

This short story is about a minister, Parson Hooper, who comes to his congregation on Sabbath day wearing a black veil. Ironically, this occurs on the same day as a funeral for a young woman. This veil not only frightens those surrounding him, but also causes grief, tension, and endless gossip among others. Parson Hooper's refusal to remove the veil then causes him to lose Elizabeth, his bride to be. Because of this veil and the secrecy as to why he is wearing it, Hooper is condemned to a life of isolation and depression. Although he remained respected as a minister, he was alone in his everyday life. This remained until his deathbed, where Elizabeth stayed by his side. The veil accompanied him to his final judgment.

"The Minister's Black Veil" is told through a third person omniscient narrator. This narrator allows us readers to know what Parson Hooper, as well as those around him, is sometimes thinking without being a character in the story. Hawthorne relayed this story perfectly through this type of narration. Because the narrator was not a character in the story, we are allowed to read some of the thoughts from different characters. There was just the right amount of insight given in the story to make us as readers have to think. Mystery and wonder were carried out throughout the story as to what the veil was really for. The narrator was not even courteous enough to put our minds to rest at the closing of the story. There is still no definite answer to the mystery. Had Hawthorne chosen a character to narrate the story, deeper thoughts would have been revealed. This would have left less of an impression on readers.

The main character of the story is Parson Hooper, a minister in Milford village, who is around the age of thirty and still a bachelor. In the beginning of the story this soft-spoken man who usually carries himself in a proper way, always looking neat and tidy, shocks his congregation when he arrives looking unusual. "Swathed about his forehead, and hanging down over his face, so low as to be shaken by his breath, Mr. Hooper had on a black veil." (Hawthorne 7) This symbol of sin that he chose to wear all through the remainder of his life caused him to be shunned by those around him (Newman 0). Not only did it cause grief for others, but it did for himself as well. "At that instant, catching a glimpse of his figure in the looking-glass, the black veil involved his own spirit in the horror with which it overwhelmed all others." (Hawthorne ) He was so aware of his sins that he could not face the world. This also caused him to be all alone due to losing his bride to be, Elizabeth, when he refused to remove the veil. A certain stubbornness and sense of pride is apparent through these actions. After a depressing and lonely life, we once again see a remarkable stubbornness on the minister's deathbed when he refuses to remove the veil even then.

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Elizabeth was Parson Hooper's bride to be who showed a great sense of strength. When she was face to face with him, she was not frightened or different in any way. It was not until he refused to remove the mask that she broke down, most likely because she was so hurt by what he could have possibly done. Even then she was strong when she walked out of his life. We did meet her again, however, sitting by Parson Hooper's deathbed revealing her strength as well as compassion.

The last character is the community. All of those around the minister were so caught up in what he could have done so wrong to make him want to wear the mask throughout life, that they failed to see how they themselves sin.

The lifelong decision to wear the black veil represents the internal conflict Parson Hooper had with himself. What sin caused so much grief as to be reminded of it everyday haunted Hooper the rest of his life. Grief and a sense of depression fueled his inner battles. The external conflict included the minister an all others around him. He spent his life alone because of his refusal to open up to Elizabeth, and there were constant looks, whispers, and alienation from all others around him. The only time he was included was for sinners who saw a similarity in what he was doing.

Symbols in the story include the black veil and the funeral of the young woman. The fact that the veil was black added on to it's meaning. The color black represents death, grievance, and sadness. The veil hides the minister from the outside world revealing guilt and sin. The veil separates him from society and from God. (Dryden 18)

This veil causes all of the negative attention, which ultimately leads to a life of isolation and depression. The funeral of the young woman symbolizes the sins of the minister. "The fact that the veil appears on the same day as the funeral could possibly mean that he either loved the woman or had something to do with her death.

The major theme of the story is that of man's living with his own sins. This is portrayed through Hooper's sort of punishing himself for sins unknown to everyone else by wearing the veil. Because all others in the story were so worldly, they did not understand that his actions could have been done by all of them. They too should have been wearing a veil.

Works cited

1. Dryden, Edgar A. "Through a Glass Darkly "The Minister's Black Veil' as a Parable." New Essays on Hawthorne's Major Tales. Ed. Millicent Bell. New York Cambridge University Press, 1. 1-151.

. Hawthorne, Nathaniel. "The Minister's Black Veil." Nathaniel Hawthorne's Tales. Ed. James McIntosh. New York W.W. Norton, 187. 7-107.

. Newman, Lea Bertani Vozar. "The Minister's Black Veil." A Reader's Guide to the Short Stories of Nathaniel Hawthorne. Boston G.K. Hall, 17. 1-0.

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Matrix

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sorryJesus has been the source of faith to billions, the cause of a thousand wars and the subject of countless works of art and music. But who was He -- a rebel, a prophet, or was He something much more? Join experts as they reconstruct the life of Jesus using archaeology, history and science. Through re-enactments set in Israel/Palestine and computer generated backgrounds, youll relive the main events of his life and his death. Plus, for the first time, watch as experts strip away the layers of history that cover almost every biblical site to reveal the Jerusalem, Bethlehem and Nazareth that Jesus himself would have known. videos, 156 minutes.

The Early Years

Explore the strange fables that surround the birth of Jesus -- and learn how science and archaeology are showing that there may be more credence to the Christmas stories than many think. The Star of Bethlehem, for example, may well have existed but as an astrological event rather an astronomical one. Then, follow the childhood and early adult years of Jesus using a first century living museum newly opened in Nazareth. Join the boy Jesus on His first trip to Jerusalem where He would have been amazed at the fantastic temples, which are recreated with computer graphics, and witness a re-enactment of His baptism.

The Mission

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Learn how Jesus carried out His ministry as a healer and exorcist and how His taste for parties with undesirable guests became an attack on religious authorities. Visit the house of Peter and the fishing villages where Jesus began His mission. Follow Him to Jerusalem as He rides in to the city on a donkey, and see how dangerous it was for Him during the Passover Festival.

The Last Days

Relive the last days of Jesus life the Last Supper, and the Mount of Olives where He prayed and sweat blood. See a reenactment of the trial of Jesus where He was condemned for blasphemy. Join experts who examine the mechanics of the crucifixion -- was Jesus nailed through the hands or the wrists and what did He actually die of? Explore what may have accounted for His resurrection and learn the latest theories about what He may have looked like.

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CUSTOMER COMMENTS

(showing 1 - 4 of 118 reviews)

Martiez T. from Stone Mountain, Georgia

Apr-17-00

I am in the process of ordering this amazing video! I was totally caught up watching it on TV. I even shared my experience w/ my co-workers. This program really brings the New Testament to life!

Andrea from Orlando, FL

Apr-14-00

I watched this with my family on television. It was facinating! I dont have the videos yet, but I will be getting them soon.

Demitrice L. Venters from Houston, Texas

Jan-06-00

Seeing this program on television actually brought all of my biblical materials I have been studying in my bible class to life. This program makes the studying easier to understand. The words are put into play which clarifies everything.

kenneth hendrickson from glenburnie md

Dec--00

not bought it yet but saw it on TV. thought it was excelent. It proved what I believe but from an objective perspective.

Display all 118 reviews

sorryJesus has been the source of faith to billions, the cause of a thousand wars and the subject of countless works of art and music. But who was He -- a rebel, a prophet, or was He something much more? Join experts as they reconstruct the life of Jesus using archaeology, history and science. Through re-enactments set in Israel/Palestine and computer generated backgrounds, youll relive the main events of his life and his death. Plus, for the first time, watch as experts strip away the layers of history that cover almost every biblical site to reveal the Jerusalem, Bethlehem and Nazareth that Jesus himself would have known. videos, 156 minutes.

The Early Years

Explore the strange fables that surround the birth of Jesus -- and learn how science and archaeology are showing that there may be more credence to the Christmas stories than many think. The Star of Bethlehem, for example, may well have existed but as an astrological event rather an astronomical one. Then, follow the childhood and early adult years of Jesus using a first century living museum newly opened in Nazareth. Join the boy Jesus on His first trip to Jerusalem where He would have been amazed at the fantastic temples, which are recreated with computer graphics, and witness a re-enactment of His baptism.

The Mission

Learn how Jesus carried out His ministry as a healer and exorcist and how His taste for parties with undesirable guests became an attack on religious authorities. Visit the house of Peter and the fishing villages where Jesus began His mission. Follow Him to Jerusalem as He rides in to the city on a donkey, and see how dangerous it was for Him during the Passover Festival.

The Last Days

Relive the last days of Jesus life the Last Supper, and the Mount of Olives where He prayed and sweat blood. See a reenactment of the trial of Jesus where He was condemned for blasphemy. Join experts who examine the mechanics of the crucifixion -- was Jesus nailed through the hands or the wrists and what did He actually die of? Explore what may have accounted for His resurrection and learn the latest theories about what He may have looked like.

Would you like to rate this product?

CUSTOMER COMMENTS

(showing 1 - 4 of 118 reviews)

Martiez T. from Stone Mountain, Georgia

Apr-17-00

I am in the process of ordering this amazing video! I was totally caught up watching it on TV. I even shared my experience w/ my co-workers. This program really brings the New Testament to life!

Andrea from Orlando, FL

Apr-14-00

I watched this with my family on television. It was facinating! I dont have the videos yet, but I will be getting them soon.

Demitrice L. Venters from Houston, Texas

Jan-06-00

Seeing this program on television actually brought all of my biblical materials I have been studying in my bible class to life. This program makes the studying easier to understand. The words are put into play which clarifies everything.

kenneth hendrickson from glenburnie md

Dec--00

not bought it yet but saw it on TV. thought it was excelent. It proved what I believe but from an objective perspective.

Display all 118 reviews

Please note that this sample paper on matrix 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 matrix, we are here to assist you. Your cheap research papers on matrix will be written from scratch, so you do not have to worry about its originality.

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Godot

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Many religions emphasize that one who has faith in God will benefit from His graces. It is evident through his play that Samuel Becket, the author of Waiting for Godot, has his strong doubts about the matter. Vladimir and Estragon, the two protagonists of the play, wait endlessly on the empty country road for Godot, the character Beckett creates to represent God. By failing to reveal Godot at any point throughout the entire play, Beckett is not only expressing his own lack of faith and his disbelief in a higher being such as God, he is also advising the reader or audience not to waste his or her time with such an absurd concept as God.

Many readers of Beckett's play have either been under the assumption or have had the opinion that Godot represents God. The tie between the character of the play and God is revealed through the discussion of the white beard, a physical characteristic shared by both figures. The first and only time Lucky talks, he is addressing Vladimir and Estragon, and he immediately mentions "God… with [a] white beard" (Beckett 45). The connection occurs at the end of the play, after Godot has failed to appear for the third apparent time, when Vladimir is discussing Godot's physical appearance with the boy, apparently Godot's messenger

Vladimir (softly). Has he a beard, Mr. Godot?

Boy Yes Sir.

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Vladimir Fair or… (he hesitates)… or black?

Boy I think it's white, Sir. (106)

This is a parallel that so often seems to go unseen by those who try to deny that Godot represents God. Yet, there would be no other reason why Beckett would include this correlation other than to link Godot's character with God. Additionally, Beckett intends to convey his opinion that anyone is foolish to waste his or her time with such an absurd concept as God by representing Estragon and Vladimir as society as a whole, rather than two individual characters "at this place, at this moment of time, all mankind is us, whether we like it or not" (0). By relating the characters to society, Beckett expresses to his audience that it is not only his two characters who have wasted their time in 'idle discourse' by waiting for God, but rather that there are countless people worldwide who wait without receiving the benefit they expect to eventually receive.

Both Vladimir and Estragon show their interest in religion throughout the entirety of the play, but are never rewarded for their faith towards God. They wait idly for days together with hope as their only motivation that Godot will eventually com "What are we doing here, that is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing alone is clear. We are waiting for Godot to come" (1). The two characters make multiple references to religious figures such as Christ, Cain, Abel and others throughout the play. Such biblical allusions support the notion that Waiting for Godot has much to do with religion, and that Godot indeed represents God. Vladimir and Estragon remain by the willow tree for the entirety of the play, relentlessly waiting for Godot symbolically God for two days, both of which are monotonous and strangely identical to each other. It is through the fact that they are never once rewarded for their faith in his arrival that Beckett expresses his conviction to the audience. Beckett stages this irony to show his existentialist philosophy that it is absurd and unnecessary to have faith in God, and that one is doing nothing but wasting time when he is waiting for guidance or support from a higher power such as God.

As the play progresses, the hope that Godot will appear diminishes gradually for Vladimir and Estragon. Both acts end with the words of Vladimir and Estragon contradicting with their actions. They decide to go, losing hope and faith in Godot. However, the audience is able to see that they are hopeless and have nowhere to go as they remain motionless by the same willow tree. The two characters wait for days on end and willingly shelter themselves from the rest of the world as Godot, who will "come to-morrow, without fail" (105), consistently fails to appear at all. Their only hope seems to be instilled in Godot's character, yet Godot fails to appear at all. Therefore, since the only hope they have is in a false character, they really have absolutely no hope at all. Their existence is pointless, which is obvious as Estragon suggests to Vladimir "What about hanging ourselves?" (1). Despite the fact that what happens after the play has finished is up to the mind of the reader, little if any hope is left with Estragon and Vladimir for Godot's appearance. The audience feels an incredible lack of satisfaction at the conclusion of the play since Vladimir and Estragon are still left waiting for Godot. It is as if they have gone in two complete circles and done nothing except waste time. This is precisely Beckett's intent with the play to make the audience realize that waiting around for God is a complete waste of time.

Through his play, Samuel Beckett ultimately wants to emphasize to the reader that it is pointless to hold a strong faith in God. He has created two characters who are waiting for Godot, a significant figure in their lives who fails to appear at either of their scheduled meetings. Beckett makes Godot, who symbolizes God, into the antagonist of the play by having him keep Vladimir and Estragon waiting desperately and pointlessly for him. Again, Samuel Beckett creates the two characters of the play to represent all of mankind. In a view more broad than just the faith in the support and appearance of God, Beckett's message in Waiting for Godot could be applied in many different ways. We, as a society, could be waiting for Mr. or Mrs. right, for the job of our choice to have an opening, or simply for acceptance or recognition in whatever way we desire. It might never come, and in the end we very well may become stranded like Estragon and Vladimir. Through Godot's failure to appear in the play, Beckett is emphasizing his doubt in a God and expressing his opinion that it is pointless to "waste our time in idle discourse" (0), as Vladimir and Estragon have done, over whatever faith, dream, or aspiration we as a society may have.

Works Cited

Beckett, Samuel. Waiting For Godot. New York Grove Press, 18.

Please note that this sample paper on Godot 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 Godot, we are here to assist you. Your essay on Godot will be written from scratch, so you do not have to worry about its originality.

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Critical Comparision of 'The Color Purple' Novel into Film.

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Critical Comparison of 'The Color Purple' Novel into film.

The Color Purple is a novel which deals with many black moral issues such as the treatment of black women within the black family, the differences between whites and blacks and the position of black women in society. These issues have all been dealt with by a black female, Alice Walker, about the black experiences and culture. It has been felt that the transition into film has taken away the true intentions of the novel, and therefore the meaning changed, due to a different reading and perspective taken by an 'outsider', a white male, Steven Spielberg. 'Everyone reads a novel differently and depending on whether you are a feminist, African American, Civil rights activist, a folklorist or a religious believer might read with different attentions to the novel.'

Therefore the style of adaptation which Spielberg has taken is one without direct transposition, but comes in Wagner's' category of 'commentary'. This is 'Where an original is taken and either purposefully or inadvertently altered in some respect … when there has been a different intention on part of the film maker, rather than infidelity or outright violation.' This means that there is a critical engagement with the original novel; however there are some major differences.

I am concentrating on the final letter in the novel and seeing how Spielberg has chosen to adapt it.

One of the major differences Spielberg has made to the ending of the film is by portraying Mr.- as a hero. At the end of the novel Mr.- and Celie become friends and the search for Nettie involves Celie, Mr.- and Shug and Mr.- was actually there at Nettie's return. However in the end of the film you see Mr.- go the 'State Department of Immigration and Naturalization' and then looking onto the scene when Nettie returns. The viewer never truly knows if it is Mr.- who alone brought around Nettie's return, as there is no dialogue involving Mr.-, however by what the camera concentrates on and the use of editing, the viewer is directed through a set of events which leads to this decision of Mr.- being seen as the hero, reuniting the family he broke up. However gaps are prominent and there is possibility for a completely different reading.

Mr.- throughout the novel and film has been portrayed as the 'baddie' and although in the novel he is redeemed by Celie, it's a gradual process. 'Now us sit sewing and talking and smoking our pipes.' However in the film it all appears at the end and his way of apologising to Celie is by finding Nettie. Celie however doesn't know that it is him and only Shug realises that Mr.- is responsible. This however is another gap, as there is no dialogue between them, the camera just moves back and forth between each of their faces suggesting a silent conversation, where the viewer uses their facial movements to determine the outcome to be one of acknowledgement, understanding and forgiveness.

This major change in the ending, where Mr.- is made to appear a hero by initiating Netties return could be seen as one of Barthes Cardinal Functions, which are risky moments or alternatives within the narrative. 'When a major cardinal function is deleted or altered in the film version (e.g. to provide a happy rather than sombre ending), this is apt to critical outrage and popular disaffection. The film maker bent on faithful adaptation must, as a basis for such enterprise, seek to preserve the major cardinal functions'. Because Spielberg changed this moment in the film, it changes the whole outcome of the ending. This is one moment where I feel Spielberg should have kept to the original novel but he appeared to want a hero a saviour of the day, possibly to attract a wider audience and to make a much happier ending. This also emphasises Mr's.- change from 'baddie' to 'goodie' which isn't otherwise seen.

Spielberg uses conventions from the Western genre, possibly to appeal to a more diverse audience. This is seen with Mr.- as the big hero, and the way he watches the reunion scene by his white horse, which could possibly symbolise surrender, and emphasise his transformation, from bad to good. As well as him walking off into the sunset, in the foreground of Celie and Netties reunion. The diagetic sounds of birdsong and the wind, emphasises more western conventions along with the non diagetic playing of the harmonica.

'Walker's utopian ending was adapted by Steven Spielberg in 185 in a way which allows Mister to become the saviour of the film he alone arranges for Celie's family reunion which he witnesses in the style of a Hollywood western. On the edge of the family gathering, he slowly turns away and, with his horse, heroically walks into the sunset.'

Spielberg, in the film has added a scene just before this final one, where Shug is redeemed by her father in his church. This in some way mirrors the exchange made between Celie and Mr.- in the novel, where she forgives him for the wrongs he has done in the past. The same music is carried over from the scene with Shug and her fathers reconciliation to when Mr.- is at the state office, again possibly emphasising the fact that this is Mr's.- apology to Celie. However some may question why Spielberg decided to add a scene concentrating on Shug and her father rather than concentrating on the redemption between Celie and Mr.-, who are the characters who have been at the forefront of the novel. I and many others believe that this could have been done in order to again romanticise the ending and make it more appealing for 'Hollywood' at the time of production. It could appear that he is more intent on reaching a mass generalised audience than staying true to the end of the novel.

'His sensibility informs almost every frame, turning an intimate tale into a large-scale, overblown Disneyesque Victorian melodrama, full of big moments and simplified characters (who can neatly be defined in terms of good or bad).'

Spielberg was well known as a director when he took on the Color Purple. He was known for directing big action packed, Hollywood block busters and therefore wanted this film to appeal to the audiences he had already attracted. Because Spielberg was a such well known director, it is hard to believe that there was such a lack of continuity in the film, this is seen with Tashi and Adams scars not being visible even though the audience were previously told in the film they had been done and the fact that Adam and Olivia don't speak English even though they were brought up by Americans.

The major changes may also be necessary due to the film being made in a different time period to when the novel was based. Although the novel was only published three years prior to the film, the actual events happened a long time before, so he was directing for a different audience, who possibly held a different set of ideological values to those that the novel was originally intended. He could be seen as trying to give the novels subject matter a wider reach so it appealed to the wider audience he required. As Christopher Orr remarks 'Within this critical context (i.e. of intertextuality), the issue is not whether the adapted film is faithful to its source, but rather how the choice of a specific source and how that approach to that source serves the films ideology.'

The film also cuts out the final scene in the novel where the whole family are celebrating 4th July. Spielberg just ended on a note of reunion between the sisters, playing in the purple field which mirrors the beginning of the film. The music helps the audience realise its Nettie who has returned before Celie calls out her name, as the music is the same as the beginning of the film. The music helps the viewer link previous events as well as evoking emotion and feeling. Music is one of Metz five signifiers, which he uses to try and analyse film. However the whole 4th July scene is where all Celie's friends are there, and is there to show the unity between the black men and women, which was one of the main themes concentrated on throughout the novel.

'The novel was a fable ending on a note of reunion, not only between the sisters but symbolically also between black men and black women. I the film Mr.- undergoes a transformation. But one hardly understands it; one is merely puzzled by it.' The unity between black men and women is shown in the film in the end scene where the camera focuses on Harpo holding a tray of drinks, something you would never have seen previously. The transformation does puzzle the viewer as it goes unnoticed by all except Shug, and that is one aspect which should have been shown in the film, the reunion between Celie and Mr.-.

Overall Spielberg has adapted the ending of the film in various ways to make it more appealing to a 'Hollywood' audience. Many feel he has taken away the true meaning of the novel by his use of flashy editing, dramatic close ups and inflated musical sequences. However, I believe that Spielberg has got across the main theme of the novel, the treatment of women amongst the black family, but has taken away the positive side, the unity which comes out of it between the black men and women, by characterising Mr.- as a hero. These are the main changes he has made to make this novel suitable for a different, wider audience and for the time it was made.

Word Count = 161

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Anne frank

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"But the bright little girl soon enough recognizes that the cultivated inner life can be a much more powerful and dangerous weapon with which to repel intruders than any baseball bat. It may be in her diary that she discovers how to keep part of herself back, and to take revenge on those who have wounded what part of her has been exposed. She learns about herself faster than her brother…" This quote was written by Thomas Mallon in 184. The quote refers to Anne Frank being the "little girl". I think that Thomas Mallon thought the confessional diary that Anne Frank kept was very powerful. Anne Frank did not need any weapons to fight off her enemies because she had the powers of words. The diary Anne kept did not only disparage her enemies. A lot of the time she would criticize herself and talk about her flaws. The diary was not all bad things either. Anne talked about how she understood her relationship with others. She talks about her personal growth and the development of her private and public self. Anne's diary was published and soon everyone in the world knew of her secrets. The idea that Anne's words are more powerful that a bat are supported by all of Anne's writings, which is as simple as it sounds.

"I have … a dual personality."(71) Anne is one to say this because she acts a certain way, but feels a different way. Anne will go along with the crowd and seem normal but when she writes in her diary it is different. Anne talks about being smarter and deeper. She interprets herself as being more connected with herself. Her dual personalities are deeper than, let's say, a person who is bi-polar. Anne is afraid. She is afraid of what people might think if she shows her deeper side. She has a good reason to be scared, "I'm awfully scared that everyone who knows me as I always am will discover

That I have another side, a finer and better side. I'm afraid they'll laugh at me."(70) Anne is scared of what other people will think about her if they find out about her other personality. This quote shows that Anne's self worth is like a fetus, not matured at all. If Anne is afraid of what people think then she is not ready for what they will actually think. She will not look at the lighter side of showing her other personality, but she will look at the darker side of showing her personality. Being pessimistic is evidence that she has not developed her private and public self. If she were to be more optimistic and not think of all the bad things her personality offers she might be able to mature more into the person and personality she deeply wants to. More evidence that shows Anne is undeveloped is her wimpy will to fight off the personality she doesn't like and show everyone the personality she wants to. "Sometimes, if I really compel the good Anne to take stage for a quarter of an hour, she simply shrivels up as soon as she has to speak, and lets Anne no. 1 take over…" (70) Anne writes that she can't push out her deep personality because it will shrivel up as soon as it creeps its little head out. Why will it shrivel up? Because Anne doesn't have any willpower. She lives her life taking no action but what is given to her. The personality that makes Anne acceptable to public is a personality that other people around Anne originally formed. Anne didn't have a personality and others formed a materialistic one for her, she took it and morphed it into her own so she could live with it. Deep down inside Annes real personality is, I wish I could say bubbling up ready to explode out, but its not. It is just sitting inside her being pushed deeper and deeper down farther away where she can ignore it. I think that if

Anne had more willpower to fight and get her personality out it would be a lot easier for her because she would not care as much what people thought or how they reacted to her deep personality. Even though Anne can't bring her deep personality out she still has a great understanding of her relationships with others. She understands other people better then they understand themselves. Anne observes more, I think when she is in her materialistic mode rather then her real mode. When she observes she goes deep into peoples feelings to write down what she thinks is going on in their head. "Father accepts Mother as she is, is often annoyed, but says as little as possible, because he knows the sacrifices Mother has had to make."(50) Anne has observed her parents so long; she has come to the conclusion that they are in fact not in love. They are only together to sustain a family. With these words you could say that Anne has definably personally grown more and understands things better. The reason Anne has had such personal growth is because all she can do is observe. If her deep personality peeked its head out she would be very nervous and anxious because she has no self esteem. Anne would crumble if she tried to observe with her deep personality. She is too scared and does not have enough self esteem to bring the deep personality out. Her ideals are uneducated. "In spite of everything I still believe that people are really good at heart." (716) If she thinks that all people are good at heart then she is still thinking that one day she will be able to bring out her deep personality because everybody are good people and she won't have to change because everyone else is going to change. That is ignorant. Even though she might have

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Grown personally, I think she will never learn that she has to force herself to push out the deep personality and be who she really is.

The Diary of Anne Frank was a great autobiography, because it showed the deep thoughts of the writer not just what was happening in their life, like most other autobiographies. Without knowing Anne took autobiographies to a new level. She showed us what it was like to live with two personalities. Out of all the autobiographies I have read, I think that hers is the best, because she goes in depth. Not all auto biographies are the same. Some are more interesting than others. Some have more lies then others. But when you analyze a single biography, you become one with the writer. You go so deep into their writing you feel like you know them; this is what happened when I read Anne Franks Diaries. To be in her head was an adventure all of its own.

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Immigration

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Immigration in the United States

Immigration has played an important role in the building and formation of America, because of this federal laws have resulted in mass immigration. Asian Americans and Pacific Islanders account for a large number of Asians who now reside in the United States and consists of various other groups. These growing populations of immigrants include such groups as Chinese Americans, Filipino Americans, Japanese Americans, Korean Americans, and Vietnamese Americans, Hawaiians and Samoans, and people from India, Thailand, Laos, and Cambodia. According to 10 census, there are currently over than 7. million Asian American and Pacific islanders who currently live in the United States. Many of these immigrants migrate to the United States in search for better living conditions, better jobs, and just better economic opportunity.

Throughout history, Congress has enacted laws and has had to amend them to control the flow of both legal and illegal migration to the United States. Many proposition have been passed to support this halt in immigration Legislation was first enacted in an effort to control the number of applicants fleeing persecution; it permitted 05,000 refugees to enter the United States. Later on into the 0th century there would be laws repealing the older immigration laws and acts making it possible for many more foreigners to immigrate to the United States. Even with the new acts and laws that banned the older ones, no one can just walk right in and become a citizen. One must go through several examinations and tests before he or she can earn their citizenship.

A controversy which wavers through many minds is whether the United States is inherently a nation of immigrants who share the responsibility and the riches for the development of this country or whether the United States a nation where immigrants present the greatest current threat to national security and economic stability. I believe that immigration adds to the progress and formation of the United States. I believe that immigration helps our country's cultural literacy. Cultural literacy can be explained by this we are constantly receiving new people into our country and as they come, our cultures rub off on each other, beginning an intertwining, mixing and integration with another. By understanding these different groups we understand their cultures and we become more culturally literate (to the other person's culture) and our cultures actually mix. America is great because of this. The concept of cultural literacy is an important one to understand in order to make America a better place to live for everybody. By learning from the various cultures and ways of immigrants we can apply it to our own government to better it. We can teach and inform one another of new and different information that maybe helpful to each other's culture. People argue that our jobs are being taken by illegal immigrants and that it causes a shortage of employment. However, immigrants are the ones who take the jobs that average U.S. citizens do not want. They help in the development of our country in the way that they are employed in these jobs that offer cheap labor and minimum wage, and to add, which is not nearly enough to survive off of.

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If you were to ask me a long time ago which single immigrant group has had it harder than the others I would have told you none. Each and every immigrant group has suffered in many different ways and to different extents. They have all had it hard to ways we may not be able to understand. From the Jews and Japanese being forced to go to internment camps, the African Americans and Irish being whipped into submission as slaves to another race, to the Chinese being exiled from their own land. However, I can honestly say that I feel today Middle Easterners have it harder than other immigrant groups due to the tragic event of September 11. Since then, Middle Easterners have faced hate crimes, being falsely stereotyped, face racial profiling from law enforcement officials and from others of another culture. Those who are innocent live through the alienation caused by the ignorance of others.

I do not believe that there is a single official model minority group. Each and every immigrant group has their own differences and hardships. Although their problems may seem relatively alike each face these certain situations in their own way. Each group solely represents their own culture and traditions.

Again, because of September 11 I would have to say that Middle Easterners, today, generate the greatest negative public opinion. This disastrous event has caused some people to wrongly construe negative opinions toward all Middle Easterners. However, not all Middle Easterners are out to terrorize our country. But all the negative public opinion can be explained from the misdoings of others. And from the single minded ignorant views of the media. The media largely plays a role in influencing one's perceptions. The media--such as televisions, magazines, and advertisements--sways the public's view to solely one side. Majority of the time only one side of a story is taken into consideration and exposed. This causes misinterpretations and misunderstanding which can lead people into assuming negative things about Middle Easterners.

Immigrants do not present any kind of threat to our country, rather they help form our nation. Immigrants diversify our nation and contribute to the progress of the United States, whether its sharing a little information to expand out cultural literacy to taking unwanted jobs that our citizens reject. America is the large melting pot of cultures, ideas, beliefs, and systems which are greatly diverse. People need to diminish their negative misconceptions of other races which are falsely publicized by the media. We need to come to the truth and realize that individuals' actions do not account for everyone. There are those who are innocent and mean no harm. They simply migrated to the United States in hope for better economic opportunity and a better life style. We must also see that our nation was largely developed with the help of these immigrants. Our nation was born from the womb of the lost, the poor and the exiled. Our nation is one of immigrants and should remain in this manner.

Please note that this sample paper on immigration 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 immigration, we are here to assist you. Your essay on immigration will be written from scratch, so you do not have to worry about its originality.

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Death: we will surpass it and be forever beyond its reach

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In "Death be not proud, though some have called thee (46)," John Donne artfully uses words of verse to humble fearsome death. Though John Donne's poem was written over three hundred years ago, it has survived the centuries because it discusses the universal topic of death with a refreshing approach, one that causes people to reevaluate their concepts of death. Through use of personification, irony, and paradox, John Donne suggests that there is no reason to fear death and that the spirit, not death, shall be the victor of all things in the end.

The speaker of the poem begins by telling death blatantly that it has no reason to be proud "for thou art not so" (line ). Addressing death, a metaphysical being, rather than a single tangible being, clearly constitutes a metaphorical personification. John Donne uses this device continually in his poem to play on the logic of the readers. Examples of personification are as follows his use of capitalization of the letter "D" on Death, as if death was a proper name, and the capitalization of other improper nouns, such as fate, chance, poison, war and sickness. Most important is the fact that the entire poem is spoken to death as if it was a person to be accepting his criticism; Donne uses "thou," a direct address to some "one". To talk to death directly, in a literal sense, would sound ridiculous and foolish because the readers know that death cannot respond, so from the very beginning, the speaker uses a clear form of metaphor to ensure the suspension of disbelief.

A second technique John Donne uses to communicate his mockery of death is irony. The speaker almost sarcastically calls it "poor Death …" (line 4), which implies that the speaker pities death. Normally pity is reserved for the victims of death, not for death itself. In line nine, the speaker says that death is the "slave to Fate, Chance, kings, and desperate men." Are not these thing usually considered to be the slaves of death? It could be argued that fate, chance, kings and desperate men are decision makers and can design or cause the deaths of people, but since all of those variables ultimately result in death, it can be said that death is far superior to fate, chance, kings, and desperate men by virtue of its being the inevitable culmination of all events. It is also ironic that death "with Poison, War, and Sickness dwells" (line 10) because common knowledge suggests that poison and war and sickness would fall under the domain of death and fate. Changing the syntax so that it reads "… and Sickness dwells" connotes that death is under the domain of the poison, war, and sickness, not vice versa.

Another important rhetorical device Donne uses is paradox. In so many words, the speaker of "Death be not Proud, though some have called thee" tells death that sleep is superior to it because sleep is enjoyable, and can even be easily induced with "poppy or charms" (line 11), while death is not at all enjoyable. This may be true, but the paradox here is that a definition of death is eternal sleep, and if sleep is truly as wonderful as the speaker claims, logically speaking, death would be preferred. Also, in line three and four, the speaker tells death that it is foolish to think it has ever conquered anyone; it even goes so far as to tell death "nor yet canst thou kill me." In a physical sense, death is the very result of killing, so if that statement is taken literally, it is shown to be a blatant lie. "Nor canst thou kill me" is a powerful declaration; such strong remark would not have been stated if the reader did not think that it was true in some way. Therefore, to find the validity of this statement, the reader must look beyond to a deeper meaning than the literal one. The deeper meaning implied here is that although the speaker can be defeated by death physically, the speaker will remain immortal because the spirit will never die. This is more clearly expressed by a paradox in the final two lines of the poem "we wake eternally and death shall be no more; Death, thou shalt die"; notice that this is the only place in the poem that the author does not capitalize death. Obviously, death really can not die because it does not have a body, but if these lines are viewed from a spiritual viewpoint, death can die because after people die, they are no longer susceptible to death; therefore, death dies and it is no longer a factor in someone's existence. The idea of the spirit is also mentioned in line eight which states "Rest of their bones, and soul's delivery."

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During the entire poem, Donne clearly retains the same emphatic, confident, almost belligerent attitude, which invites us to view death as a morally inferior thing; he does this through diction. The speaker clearly links certain "inferior" sounding words with death; he uses "slave," "poor," and "with poison, war, and sickness dwell." To be a salve is a terrible existence, to be poor is a pitiable existence, and to live alongside poison, war, and sickness is a dreadful and volatile existence. No person would choose such a life and the thought that death does so makes death wretched and pathetic in the eyes of the readers. In addition, Donne uses many words that link Death's personality with arrogance, like "proud," "mighty and dreadful," "overthrow," and "swell'st," which may seem noble in other contexts, but are unwanted qualities in this poem due to its tone. All these words connote an amount of degradation because if we view them altogether, they create a pompous, tyrannical, terrible, and depraved picture of death.

Amazingly, by describing and addressing death through the use of all the previously mentioned literary devices, the poet actually winds up conquering and intangible. His words triumph over death because the poem ends with the following idea even though death can be terrible, powerful, and indiscriminate, we shall overcome it in the end, because when death comes for us, we will surpass it and be forever beyond its reach.

Please note that this sample paper on Death: we will surpass it and be forever beyond its reach 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 Death: we will surpass it and be forever beyond its reach, we are here to assist you. Your essay on Death: we will surpass it and be forever beyond its reach will be written from scratch, so you do not have to worry about its originality.

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