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An Analysis of The Dead
To start in absolutely the least likely place, we have here another version of family life in Ireland (moving East, and from here through The Snapper make a unit contrasting with the previous one), with another way of picturing what the Irish take to be their insularity and closedness, their ludicrous longing for union with the supposedly superior but alien culture of "the continent", and especially that confusion and torment about sexuality which derives so directly from the Irish church's inability to reconcile desire as sin and desire as life-affirming. A fact (at least according to a major recent survey): married Catholics have better sex than other married Americans. Why? It's been suggested that you can't preach so fully the analogy between the union of man and woman with the union of Christ and his church and indeed of man with God without giving a celebratory turn to married love. But this would be inconceivable to the Irish, whose church (despite its being the dominant influence on American Catholicism) focuses on the ascetic and the equation of sex with sin.
In a sense, because he is so firmly embedded in this tradition, struggling against it, Joyce seems both hopelessly dated and eternal: hopelessly dated because we don't have enough residue of the sense of sinfullness in our culture to have it be much of a force we have to struggle against, and eternal because it remains true for everyone that passing into adulthood (especially through adolescence) means somehow coming to terms with what is a strand of conflict between sexuality insofar as it is self-aggrandizing and aggressive and the affectional life as it is non-self-aggrandizing and other-centered and in some sense more "pure"-seeming. It is of course possible to come to good terms with this contradiction, but it is also possible to understand and be undermined by its existence, and Gabriel is a very clear instance of the person who can't really reconcile simple physical desire for his beloved wife, a 'getting close to and taking' motive, with equally simple adoration and affection for her in the grace and authenticity of her autonomy, a 'standing back and in some sense giving' motive (I read two passages from Portrait, 171, as against 99-101).
So Gabriel is troubled by what strikes us awfully oddly as his moments of pure and "clownish" "lust", and
The quote, “Man is not truly one, but truly two.” can be analyzed from a behaviorally or mentally aspect. Physically, man is one, but if you delve deeper into the man, he can be separated into two parts which creates a whole man. In the play Macbeth and in the novel Lord of the Flies, some of the characters can be split into two conflicting parts. The characters are neither entirely good or entirely bad. In both the novel and the play, something happens to the characters that made them split into an evil side, thus creating two men.
“Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relations as an individual to the world within and about her” as she swims in the sea. When Edna learns how to swim she feels the power that she has in controlling herself without obeying anyone. Her action of teaching herself how to swim and “want to swim where no woman swam before” symbolizes empowerment, independence and freedom. The sea represents baptizing and rebirth which baptized Edna and awakened her. Even though it was the sea who awakened Edna’s self-awareness, but it was also the sea where Edna commit suicide.
When one thinks of African American spirituals, images of a church service with a choir singing in beautiful harmony swaying in rhythm to the music usually ensue. Spirituals are far more significant than hymns sung by Christians in a church setting, as we shall soon see.
The origins of African American religious music are directly linked to the Negro spirituals of enslaved Africans. One cannot research religious music of blacks in this country without first exploring these spirituals. The spirituals were part of a religious expression that enslaved people used to transcend the narrow limits and dehumanizing effects of slavery. It was through the performance of the spirituals that the individual and the community experienced their God, a God who affirmed their humanity in ways whites did not and a God who could set them free both spiritually and physically. These “sacred songs” were also used as secret communication. That is not to say that all spirituals functioned as coded protest songs or as some sort of secret language. The structure of the spirituals and the way in which they were created and performed allowed for flexibility in their function and meaning.
Throughout early American history, musical repertories have shown traces of how painful and agonizing the experiences that African American’s had dealt with during the Slave era and how painful and tragic the transition was. This a moment in African American history in which developing a new culture was a difficult process, due to the fact that they were previously stripped away from their homeland and were forced to adapt a new way of life. Spirituals were introduced throughout the culture of African American Slaves as a new form of musical expression who had converted to New World
The early childhood years are a period of rapid change in the brain, this leaves children exceptionally vulnerable to psychological abuse. Psychological abuse includes rejecting, ignoring, criticizing, belittling, humiliating, threatening with violence, or otherwise terrorizing the child, all of which have the effect of eroding the child's self-esteem and sense of security. Psychological abuse can come as a result of actions that do not specifically target the child. Studies show that children who have experienced domestic violence are more anxious and insecure then those who do not. Children who observe violence react with many of the same psychological symptoms as children who have experienced it directly. Psychological abuse is often accompanied by other forms of abuse. It is difficult to prove, however, and rarely is
Search for Meaning in James Joyce's Dubliners Throughout Dubliners James Joyce deliberately effaces the traditional markers of the short story: causality, closure, etc. In doing so, "the novel continually offers up texts which mark their own complexity by highlighting the very thing which traditional realism seeks to conceal: the artifice and insufficiency inherent in a writer's attempt to represent reality.(Seidel 31)" By refusing to take a reductive approach towards the world(s) he presents on the page - to offer up "meaning" or "ending" - Joyce moves the reader into complex and unsettling epistemological and ontological realms. Meaning is no longer unitary and prescriptive, the author will not reveal (read impose) what the story "means" at its close and therefore we can't definitively "know" anything about it. Instead, meaning, like modernism, engenders its own multiplicity in Joyce's works, diffuses into something necessarily plural: meanings. An ontological crisis is inextricable from this crisis of meaning and representation.
The ending of the story is almost as ambiguous as its back-and-forth treatment of religion and romance. It is not clear exactly what he has realized, nor is it clear whether there is a clear distinction between what is religious and what is romantic, between what is sacred and divine and what is worldly and base. But perhaps Joyce, in whom these two elements were equally confused, would have wanted it that way.
Contemporary, as well as older, Gospel music originated from the “Spirituals.” The spirituals, also known as the “Negro Spirituals or African-American folk songs,” were religious songs sung by the African Americans slaves in Southern America. The spirituals spawned from teachings of Christianity from slave owners, the church and even hymns. The songs were usually about love, hope, peace, oppression, freedom and even used as a secret code. The African American slaves would sing while working so much so that slave o...
The notion that African American slaves interpreted songs as spiritual and powerful art is supported by the evolvement of music. Musical genres resonated with African stories, myths, and hardships, which is part of the blues music allure. Likewise, predecessors such as spirituals and work songs conveyed an intense association to religious belief, often delivered by the euphoric, passionate outbursts. Even with the simplest of instruments, African musicians played a variety of styles that encapsulated grief and optimism, perhaps more enticingly than any other genre of indigenous music that America had yet experienced.
“Crevecoeur explained the tragedy it would be for two individuals with different religions to start a family and created generations upon generations of confusion”. Each family in early America marrying based on common religious beliefs, and teachings their children in the way of their beliefs, would create a stable home for children to grow in. In today’s Christian church this is a value we hold true to well. Setting genuine religious values and morals are very important in today’s world. Whether you choose to practice that religion or not, the core values that are indebted in you from your childhood follow you into adulthood. Having pure religious principles promotes a balanced and well-functioning home. “Thus religious indifference is imperceptibly disseminated from one end of the continent to the other; which is at present one of the strongest characteristics of the Americans”. With core religious values or even a lack thereof, families will be able to create a solid foundation of morals and values to be built
This paper addresses the long term and short term consequences of child abuse and the different treatments to work with traumas that come along this action. Different approaches to work with child abuse and the effectiveness of treatment with children are discussed. The definition of child maltreatment, its causes, and factors are also detailed.
A central theme in James Joyce’s works is that of love: what is it, and how can we discuss it? Joyce could not bring himself to use the word ‘love;’ when Nora asked him if he loved her he could only say that he "was very fond of her, desired her, admired and honored her, and wished to secure her happiness in every way; and if these elements were what is called love then perhaps his affection for her was a kind of love" (Ellmann 6). One can read Molly Bloom’s "Oh, rocks. Tell us in plain words" as Nora’s answer to Joyce’s intellectual, complicated answer (Joyce, Ulysses 64). Perhaps as a result of Joyce’s own concern and questions about love, many of his characters are also confused and looking for a definition of love. There are many kinds of love discussed in Joyce’s works, including love for ideals, family, friends, God, and most importantly, husband and wife. This paper will explore the theme of love in Joyce’s work and show that love is a basic concept in life; characters unsure of this concept need to find a concrete definition before they can be comfortable. To do this I will analyze characters from Dubliners, A Portrait of the Artist as a Young Man, and Ulysses, using the Greek ideals of agape; spiritual love, storge; familial love, philia; the love between friends, and eros; sexual love.
Nonverbal communication is communicating with other people without using any words whether they are written or spoken words (Ruesch & Kees, 1956). Anything nonverbal we do such as eye contact, facial expressions, touching, gestures, body movements, posture, general appearance and dress, our voice tone and smell send strong messages; it doesn’t matter if we were speaking or if we were being completely silent (Segal, Smith, Boose, Jaffe, n. d., para. 2). Usually when you are talking to a person, the person uses all five senses to receive your interaction with him: 83% sight, 11% hearing, 3% smell, 2% touch and 1% taste (The Definitive Book of Body Language, 2004). As Mark Twain said, “Actions speak louder than words” and what that quote basically means is that your behavior and actions count more than the words you are saying. Nonverbal communication speaks more than the words you say so you can say whatever you want to say but it is the nonverbal things like your tone and facial expression that tells what you really mean. Nonverbal communication is important because it tells you what the words do not tell; feelings, mood etc. (Lynn, 2012).
These questions arise from our own desires as Christians to reflect a biblically sound attitude towards sexuality and relationships. That same desire to act according to biblical scriptures is subject to opposition from today’s culture and views about sexual relationships, gender, and roles. A new definition of marriage, sexual orientation, and sexual practices is challenging our relationship with God and our view of human sexuality. Bishop John Spong defines sex and its impact on relationships: “Sex can be called at once the greatest gift to humanity and the greatest enigma of our lives. It is a gift in that is a singular joy for all beings and enigma in its destructive potential for people and their relationships.” (Spong, 1988)