When a Minnesota dentist killed a prized African lion named "Cecil" he received an onslaught of criticism and reignited the debate concerning big game hunting. Is big game hunting wrong? Should big game hunting continue? Big game hunting has been a very controversial topic for some time and these types of questions are being asked daily. There are a lot of people for it and a lot of people against it. This issue causes a lot of extreme behaviors and ideas by both sides. Those who oppose it believe it to be morally wrong, unfair to the animals and damaging to the environment. Those individuals for it believe that it is the citizens' rights and a way to be involved in the environment. Hunting is the law and shall not be infringed upon. In defense of the hunters' I believe that there are five main issues of concern.
The first big issue concerning big game hunting is that it is considered to be the citizens' rights. Anti-hunters would believe that there is no right for anyone to take the life of another living creature. It would be morally wrong. The thought of going out and killing an animal for fun is just appalling to these individuals. Maybe they believe hunters will rear a generation of killers. They would argue that there are many other things in this world that could bring that sort of excitement to a person.
The right to hunt is the law. The twenty-ninth Article states, "...securing due recognition and respect for the rights and freedoms of others..." If this is the law then it can not be infringed. With this there really is no question of big game hunting. These rights are personal rights of the citizens of the United States. Parents can choose what they want for there own children and let them do what they desire, and if that desire is hunting then let it be. When other people who oppose hunting try and stop this freedom then they are the ones at fault and are doing wrong by infringing on the rights of others. These actions are illegal and should be taken care of. In C M Dixon's article, "The Banning of Hunting is an Affront to Freedom," he stated that, "He has never heard of hunters violating the just requirements of public order or general welfare" (2). From the hunting experiences that I have had I agree with this statement one hundred percent.
...sitive depiction of their sexual relationship. For Mina, however, renunciation of Dracula's evil must include the renunciation of her own physical needs and desires. The roles played by social mores and conceptions of gender and sexuality are, in the end, more than incidental. Indeed, the difference between Victorian England and 1990s America causes the subtle -- but significant -- valuation of the connections between good and evil and women and sexuality in two in many ways similar texts.
"The Yellow Wallpaper" by Charlotte Perkins Gilman is a story about a woman’s gradual descent into insanity, after the birth of her child. The story was written in 1892 after the author herself suffered from a nervous breakdown, soon after the birth of her daughter in 1885. Gilman did spend a month in a sanitarium with the urging of her physician husband. "The Yellow Wallpaper" is a story about herself, during the timeframe of when Gilman was in the asylum.
Jane has suffered from a mental illness even as a child and could not have received sufficient care due to the issues prevalent during the late nineteenth century.
The presence of racial stereotypes and commentary on the interaction of different races is a cornerstone of the Dracula narrative. In Stoker’s novel, Count Dracula is representative of the growing European culture of xenophobia and anti-Semitism which would rise to near hysteria in the coming decades. The concept of race was not limited to skin color or nationality in the nineteenth century, and was a means of categorizing people by “cultural as well as physical attributes” (Warren 127). Dracula is described as being covetous of ancient gold and jewels, childlike and simple in his malice, and more animalistic than human, traits frequently attributed to the Jewish people by Christian society (Newman). His material appearance is distinguished by extremely pale skin, dark features, a nose with a “high bridge…and peculiarly arched nostrils,” and “bushy hair that seemed to curl of its own profusion.” Stoker’s audience would have recognized...
It is precisely the point that Hollywood distorts and corrupts serious literature for the entertainment pleasures of a mass audience. In the task of comparing and contrasting the novel of "Dracula" to film extracts of "Bram Stoker’s Dracula", values, meaning and context discovered lie between discrepancy and similarity. The change from differing mediums, novel and film, reveal characteristics and possibilities of narratives. Through the advancement of technology, modern writers have gained a cinematic approach to their writing. However Dracula, written in 1987 by Abraham Stoker, where the introduction of technology was gradual, forging inventions such as the typewriter and phonograph, made reference to in the novel, had no anticipation of what technology would have an effect on such writings. With society’s fascination with the supernatural, and love of technology, Dracula’s many adaptations, film, stage, have ensured its survival through the passage of time.
The social conventions that are set up in this book play out in a small black community in Ohio called "the bottom." The community itself formed when a white slave owner tricked his naive black slave into accepting hilly mountainous land that would be hard to farm and very troublesome instead of the actual bottom (valley) land that he was promised. The slave was told "when God looks down, it's the bottom. That's why we call it so. It's the bottom of heaven-best land there is"(4), and on this lie a community was formed. The community struggles geographically to survive, having to combat bad weather and encroaching whites who want to convert most of the town into a golf course. The town unites social as they band together against Sula and her actions.
Stoker uses phenomenal imagery to produce a late nineteenth century setting, located somewhere within eastern Europe. Transylvania, the infamous home to Dracula himself, is described in great detail in Harker’s journal. There, Stoker purposely and meticulously outlines Dracula’s castle and the surrounding town. Stoker manages to do this with a very gothic tone, immediately lowering the societal status of women. In conjunction with Dracula’s gothic tone comes the understanding of male and female traditional roles of the era. The reader sees that there is no hesitation differentiating between the two, as Stoker “ cast[s] men as rational, strong, protective and decisive…[and] women as emotional (irrational), weak, nurturing and submissive.” (Tyson, 82).
Peters, Sarah L. "Repulsive to Romantic: The Evolution of Bram Stoker’s Dracula." Henderson State University. N.p., Mar. 2002. Web. 14 Apr. 2014.
Over the course of cinematic history, many filmmakers have attempted to recreate the chilling, unprecedented world of Bram Stoker’s Dracula. Arguably very few have succeeded, for the majority of directors tend to avoid the pervasive sexuality inherent in the novel. It is a difficult task to achieve, considering the blatant imagery surrounding sex and vampirism, such as the reproduction following a vampiric encounter and the phallocentric nature of the violence committed both by and against these creatures: penetration is involved in their hunting, and one must impale them with a stake in order to destroy them. Readers are thereby forced to admit that Dracula is, in fact, a highly eroticized piece of literature, though whether or not Stoker himself was aware of this suggestiveness, we cannot be sure. The most successful effort at capturing that sexual energy on film has been Francis Ford Coppola's 1992 movie, Bram Stoker's Dracula. In fact, it has often been proposed that Coppola’s version is too carnally focused in comparison to the original work, which leads a viewer to wonder about the purpose in this overt sexualization. It can be concluded that adding copious amounts of eroticism to the film is directly related to Coppola’s strive to depict Count Dracula as more human rather than monster, and sexuality in his film serves as a balance so that the lines between good and evil are blurred. Evidence for this deduction is found in three scenes in particular: Jonathan’s seduction by Dracula’s vampiric wives, Lucy’s demonic transformation, and Mina and Van Helsing’s relationship during the climax of the story.
Podonsky, Amanda M. "Bram Stoker's Dracula: A Reflection and Rebuke of Victorian Society." Student Pulse: The International Student Journal. N.p., 2010. Web. 25 Mar. 2014.
Charlotte Perkins Gilman’s tantalizing short story, “The Yellow Wallpaper,” tells the horrifying tale of a nineteenth century woman whose husband condemns her to a rest cure, a popular approach during the era to treat post-partum depression. Although John, the unnamed narrator’s husband, does not truly believe his wife is ill, he ultimately condemns her to mental insanity through his treatment. The story somewhat resembles Gilman’s shocking personal biography, namely the rest cure she underwent under the watchful eye of Dr. Silas Weir Mitchell in 1887, two years after the birth of her daughter, Katherine. Superficially, the rest cure the narrator in "The Yellow Wallpaper" endures loosely replicates Gilman’s personal anguish as she underwent such a treatment. More complexly, however, the story both accentuates and indirectly criticizes the oppression women faced in both marriage and motherhood.
time, then she possibly would not have gotten as bad as she did. Readers may become sympathetic for Jane because they know that there is more help today than there was
The late nineteenth century Irish novelist, Bram Stoker is most famous for creating Dracula, one of the most popular and well-known vampire stories ever written. Dracula is a gothic, “horror novel about a vampire named Count Dracula who is looking to move from his native country of Transylvania to England” (Shmoop Editorial Team). Unbeknownst of Dracula’s plans, Jonathan Harker, a young English lawyer, traveled to Castle Dracula to help the count with his plans and talk to him about all his options. At first Jonathan was surprised by the Count’s knowledge, politeness, and overall hospitality. However, the longer Jonathan remained in the castle the more uneasy and suspicious he became as he began to realize just how strange and different Dracula was. As the story unfolded, Jonathan realized he is not just a guest, but a prisoner as well. The horror in the novel not only focuses on the “vampiric nature” (Soyokaze), but also on the fear and threat of female sexual expression and aggression in such a conservative Victorian society.
Charlotte Perkins Gilman’s short story, "The Yellow Wallpaper," is the disheartening tale of a woman suffering from postpartum depression. Set during the late 1890s, the story shows the mental and emotional results of the typical "rest cure" prescribed during that era and the narrator’s reaction to this course of treatment. It would appear that Gilman was writing about her own anguish as she herself underwent such a treatment with Dr. Silas Weir Mitchell in 1887, just two years after the birth of her daughter Katherine. The rest cure that the narrator in "The Yellow Wallpaper" describes is very close to what Gilman herself experienced; therefore, the story can be read as reflecting the feelings of women like herself who suffered through such treatments. Because of her experience with the rest cure, it can even be said that Gilman based the narrator in "The Yellow Wallpaper" loosely on herself. But I believe that expressing her negative feelings about the popular rest cure is only half of the message that Gilman wanted to send. Within the subtext of this story lies the theme of oppression: the oppression of the rights of women especially inside of marriage. Gilman was using the woman/women behind the wallpaper to express her personal views on this issue.
The social conventions that are set up in this book play out in a small black community in Ohio called "the Bottom." The community itself formed when a white slave owner tricked his naïve black slave into accepting hilly mountainous land that would be hard to farm and very troublesome instead of the actual bottom (fertile valley) land that he was promised. The slave was told "when God looks down, it's the bottom. That's why we call it so. It's the bottom of heaven-best land there is" (4), and on the basis of this lie a community was formed. Its almost as if the towns misfortune is passed down ...