Zahalka ‘Down his Luck’, the appropriated image of ‘Down on his Luck’ highlights the beauty of the Australian bush, and its role in connecting people to the serenity of the outdoors. The dry, homey bush is captured through the scattered gum trees with rough bark and the wired pale green grass. The tone emphasises each form in the image, creating subtle effects from the direction of light. This soft light renders the idea of the bush being quite relaxing. Although the light addresses this, the texture of the photograph contradicts the softness of colour by highlighting the weathered bush and its sharp lines created by the surrounding nature. Unlike the original, Zahalka’s appropriation of ‘Down on his Luck’ is more clear, as there is no smoke from the fire. Both the men’s posture and position they are situated in are the same. This opposes the sharp lines of the photograph, by adding a curvaceous aspect to the image. This communicates that the man is …show more content…
Set in 1889, it could imply that the man is quite sad, as he has been unsuccessful as a gold prospector. This highlights the importance of gold in the early development and growth of Australian colonies. Throughout this time the painting of an individual prospector struggling for a lucky break, and taking shelter in the bush, creates the symbol of hope and freedom for the rest of Australia. However, ‘Down his Luck’ contradicts the idea of hope and freedom as the emotion conveyed on face is more prominent. Over time, society have become more judgemental on religion and belonging. The technique of contrasting the black of the man’s clothing and hat against the bush in ‘Down his Luck’, suggests the man could be an outcast to society, as it could be implied that he is an outcast to the Australian bush. Being the main focal point in both images, it can also depict the men as
Mary Hoge had gone into labor Sunday 23rd of July 1972 giving birth to her fifth child, Robert Hoge. When Robert Hoge was born, his own mother didn’t want him. Robert’s mother Mary thought he was too ugly, that he was, in appearance, a monstrous baby. Robert was born with a tumor the size of a tennis ball right in the middle of his face and with short twisted legs. Robert was born in Australia, where he would have to undergo numerous operations that carried very high risk in order to try and live a “normal” life.
The repetition of the word, 'bush' in, " Bush all round - bush with no horizon.." creates a vivid visual image of the bush setting and emphasises the loneliness experienced by the drover's wife and her family. The family's loneliness is reinforced in, "...The everlasting, maddening sameness ...longs a man to break away and travel as far a way as trains can go...". This juxtaposes the traditional perception of the bush,which is that of beauty and pleasure, and depicts a tedious environment incapable of nurturing curious thought,an another hardship on the family. This is ironic as this iconic story symbolises Australia, it does this by portraying the country side in a negative light. Therefore, the harsh environment highlights the determination of Australians in the face of
Without the use of stereotypical behaviours or even language is known universally, the naming of certain places in, but not really known to, Australia in ‘Drifters’ and ‘Reverie of a Swimmer’ convoluted with the overall message of the poems. The story of ‘Drifters’ looks at a family that moves around so much, that they feel as though they don’t belong. By utilising metaphors of planting in a ‘“vegetable-patch”, Dawe is referring to the family making roots, or settling down somewhere, which the audience assumes doesn’t occur, as the “green tomatoes are picked by off the vine”. The idea of feeling secure and settling down can be applied to any country and isn’t a stereotypical Australian behaviour - unless it is, in fact, referring to the continental
‘The Drover’s Wife’ opens with a vivid visual image of the house which becomes a character in itself, the lexical word chain “round timber, slabs, and stringy bark, and floored with split slabs” shows us the poor, rough materials used to build only what is necessary to survive. Thus, we can visualise the simplistic nature of the lives the drover’s wife and her children live in their environment. Strong visual imagery is employed to depict the landscape; “Bush all round – bush with no horizon, for the country is flat. No ranges in the distance… No undergrowth”. The repetition of “no” emphasises the lack of distinguishing features, the land is monotonous and contains “nothing to relieve the eye”. The environment is isolated; they are alone “There is nothing to see, however, and not a soul to meet”. This helps the audience to develop an understanding of the isolation and loneliness of Australians living in the bush during the Colonial
Throughout the poem "Two Hangovers" many vivid and descriptive images are given by the author. The images the reader gets are cold, lonely, and dark as some think winter to be; however, in the second part the reader receives an image of bright colors which could be interpreted as a time of renewal, spring, or a time when things are looking up. Imagery and metaphors are used to show the reader the feeling and life depiction of the person in the poem while portraying the image that reflects this. In "Two Hangovers," James Wright uses imagery and metaphors to illustrate a harsh winter changing into spring, and how he feels and acts during these seasons.
Charlotte Perkins Gilman’s short story, “The Yellow Wall-Paper”, is a first-person narrative written in the style of a journal. It takes place during the nineteenth century and depicts the narrator’s time in a temporary home her husband has taken her to in hopes of providing a place to rest and recover from her “nervous depression”. Throughout the story, the narrator’s “nervous condition” worsens. She begins to obsess over the yellow wallpaper in her room to the point of insanity. She imagines a woman trapped within the patterns of the paper and spends her time watching and trying to free her. Gilman uses various literary elements throughout this piece, such as irony and symbolism, to portray it’s central themes of restrictive social norms
The life of a lady in the 19th century is painted in a romantic light. Pictured in her parlor, the lady sips tea from delicate china while writing letters with a white feathered quill. Her maid stands silently off in the background, waiting for orders to serve her mistress. What is not typically pictured, is the sadness or boredom echoed on the lady’s face. Perhaps the letter is to a dear friend, not seen in ages, pleading with the friend to visit, in hopes that the friend will fill the void in the lady’s life made from years spent in a loveless marriage. Possibly the lady isn’t writing a
As man developed more complex social systems, society placed more emphasis of childbearing. Over time, motherhood was raised to the status of “saintly”. This was certainly true in western cultures during the late 19th/early 20th century. Charlotte Perkins Gilman did not agree with the image of motherhood that society proposed to its members at the time. “Arguably ‘The Yellow Wallpaper’ reveals women’s frustration in a culture that seemingly glorifies motherhood while it actually relegates women to nursery-prisons” (Bauer 65). Among the many other social commentaries contained within this story, is the symbolic use of the nursery as a prison for the main character.
On Tuesday, Feb. 23, The Faculty Jazz Sextet seamlessly performed eight pieces, six of which were original compositions of a few members. The sextet consisted of Michael Hackett (trumpet), Will Campbell (alto saxophone), Noel Freidline (piano), Ron Brendle (bass) and Ocie Davis (drums). The 8 pieces performed were “Down South,” “Everything I Need,” Mealy Mouth,” “South American Getaway,” “Blue Robin,” “Leaving Soon” and “New Point of View.”
A huge meadow bristling with flowers and animals. A house engulfed in flames. A couple having a conversation. What do they all have in common? They all provoke a feeling in the audience. Whether it's anger, sympathy, or joy, they all create feeling in one way or another. It is this feeling, called mood, that Tim Burton uses to convey his messages. He uses many cinematic techniques to accomplish this. Sometimes they are subtle, but at other times they are pivotal to a scene. Throughout his movies, Tim Burton uses the techniques of lighting, camera angles, and framing to convey the message that when people take risks, they may fail, but will learn in the process.
Although partially true in its time, the Australian bush legend fades more and more as time progresses. The Australian identity of the 1890s was not the same as it was in the 1950s, nor do we have the same self-image today, as portrayed in 'The Australian Legend'. Recent statistics show that we work longer hours and drink far less then we used to. Many more Australians go to the beach than to the bush and despite the iconic male bushman, for most men and women in Australia the beach is far more central to our identity and lives, as the majority of the population lives closer to our coastal shores.
Charlotte Perkins Gilman, author of the short story “The Yellow Wallpaper,” wrote this story with the intent of opening society’s eyes to the truth behind mental illnesses during the late nineteenth and early twentieth centuries. Although Gilman was considered to be “…the leading intellectual in the women’s movement during the first twenty years of the twentieth century” (Billy 1), she suffered from mental health problems for the majority of her life. Marital problems and opposing social opinions caused Gilman much grief through her lifetime. Charlotte Perkins Gilman’s life, and mental health struggles are clearly reflected in her short story “The Yellow Wallpaper.”
The way that each individual interprets, retrieves, and responds to the information in the world that surrounds you is known as perception. It is a personal way of creating opinions about others and ourselves in everyday life and being able to recognize it under various conditions. Each person’s perceptions are used as a kind of filter that every piece of information has to pass through before it determines the effect that it has or will have on the person from the stimulus. It is convincing to believe that we create multiple perceptions about different situations and objects each day. Perceptions reflect our opinions in many ways. The quality of a person’s perceptions is very important and can affect the response that is given through different situations. Perception is often deceived as reality. “Through perception, people process information inputs into responses involving feelings and action.” (Schermerhorn, et al.; p. 3). Perception can be influenced by a person’s personality, values, or experiences which, in turn, can play little role in reality. People make sense of the world that they perceive because the visual system makes practical explanations of the information that the eyes pick up.
As James Joyce's A Portrait of the Artist as a Young Man unfolds, the central theme of isolation and rejection becomes evident. From birth to adolescence, the protagonist of the story, Stephen Dedalus, responds to his experiences throughout life with actions of rejection and isolation. He rebels against his environment and isolates himself in schoolwork, family, religion and his art, successively. James Joyce uses Stephen Dedalus' responses of isolation and rejection to illustrate the journey that the artist must take to achieve adulthood.
‘A Stranger in the Mirror’ written in 1976, is one of the earliest work’s by Sidney Sheldon. The book is about the life of two protagonist – Toby Temple and Josephine Czinski a.k.a. Jill Castle, before and after they enter Hollywood. This book narrates the different ways in which the Hollywood and civilian life influence each other.