Cheap Amusement Book Review

Dereck Rick homophile Scott Keys History 9September2012 In the track record, Cheap Amusework forcets Working Women and Leisure in Turn-of-the-Century New York, Piess takes the reader on the journey of trials and tribulations in working-class womens lives in the turn of the century. Going in depth of the unfair familial roles and societal pistillate disparities, all the way to what women same(p)d to wear and do for leisure, Piess allows the reader to step into a conviction machine and gives them a first-class mail look into what a womans e precise mean solar day life was like in late 1800s and early 1900s.By using expert sources and investigators, Piess succeeds in her goal by honing in on a special(prenominal) time and topic which allowed the reader to feel as if they were reading an in-depth taradiddle standard on the matter, precisely failed at providing deeper substance and backbone through concrete details. Starting discharge by explaining the typical family roles in th e turn of the century, Piess expresses how age the men may spend his plainings at a local saloon, at a baseball game or reading his daily paper, the women would often be expected to work her epitome day.Piess explains this invention of the double day to be that the woman is expected to go ab break her daily work day of typically domestic servants, needlewomen, laundresses (Peiss 1986), and come home to travel her other suppose, being the housewife. The housewife duties usually entailed cooking, cleaning, washing, scrubbing, and roughly importantly make her husband and kids happy. All the while, when the woman got her hard earned paycheck, it was expected to go towards family needs.Even as young women in the family home, young working girls were expected to submit over their paychecks in their entirety while their male counterparts were completely asked for a small portion of their earnings. Even though women were getting paid at lower wages and it being justified because women were seen as temporary wage-earners who worked only until marriage (Peiss 1986), Piess automatically shows the struggles and disparities women faced in the work field and even at the home front.Even if the young girl or woman hypothesize the disparities for what they were, she were to keep her opinions of the unjust actions to herself or she would find herself alienated and estranged from her take family. Even though the disparities and unequal behavior was seen and picked up throughout the book, Piess moves on to lighter topics such as leisure and fashion. Not content with the simmer down recreation in the home, they women sought adventure in leap halls, low-budget theaters, amusement parks, excursion boats, and picnic grounds (Peiss 1986).Women would often time test refuge through the cheap amusements they would find in their spare time. If non the small concept of gossiping on the walk home from work, passing game to parks, or catching a small gossip break at work, women would often frequent the local saltation halls where most of the time their entrance was waived or lowered. These dance halls were a way for women to dress in their flashiest attire, lecturing in their unladylike manner, be pursued by the opposite sex, suck in alcoholic beverages, and let loose on the dance floor. When it came to fashion and and the by-line of men in the dance halls, the two went hand and hand.Piess found that a pair of sisters frequently opted out of such social gatherings simply because they could non afford the fashion to attract the likes of the opposite sex We have non the money for pretty clothes to attract the boys who would really care for us and of course we have no money to pay for our own amusement, and as a result we stay at home (Peiss 1986). Even if it was a new hat to wear to work, women would find the means to get their female itch for retail even if it meant going without a meal or walking the bully lengths to work.Even when women wer e at the leisure, they were still being treated as unequal partners to the superior man. When out at a dance hall, men would choose who they wish to dance with and it was customary for women, like it or not, dance with the man who chose them for at least the remainder of one song. Peiss explains a movement that was customary at dance halls and is even seen at modern day clubs, At the beginning of a dance, women would dance together, with the men watching them from the sidelines past the boys step out, two at a time, separate the girls, and dance off in couples (Peiss 1986).The aforementioned process was known as breaking in which the women involved had no give voice in who she wished to dance with. If a man were to treat a woman, it was only polite that the woman dish out just aboutthing in return. Be it flirtatious notions or sexual gestures, women were expected and most of the time willful partner in the prostitution-like proposition of the male and female interaction. Many wo men do their washing in this yard, noted a upper-middle-class tenement inspector (Peiss 1986). Piess uses inspectors and random sources throughout her book as guides to ascend or solidify her point.What I was very curious about was who these plurality were in which she was quoting. I do appreciate the fact that she uses outside sources, but who are these outside sources and how reli fitted can they be? When it comes to her more than specific sites, such as, Some never boarded a street car for an eventides ride without planning days ahead how they could spare the atomic number 28 from their lunch or clothes money noted reformer Esther Packard, describing women who lived on six dollars a week (Peiss 1986), Peiss never goes into depth who the source is or a deeper back-story to the individual that the reader would really be inclined to know.When Piess was able to give names to the quotes she used, it showed credibility and left the reader wanting more of an understanding of the p ersons story. Though Peiss did a phenomenal job at proving her thesis in the sense of giving a book on a specific time and topic, she failed to give the reader some real life backbone through a more personalized aspect. The reader is left feeling the need of wanting more from the sources instead than from Peiss as a historian.Just as a simple observation was do throughout the length of the book, it seems that Peiss may have been suggesting a certain duplicate that is seen in the 1890s-1920s in comparison to todays world. When referring to the saloons and how women who came unescorted by a male counterpart was seen as fair game. In todays world, if a woman attends a bar without a man, she is also seen as such game. Though the dangers as being seen as a prostitute are not paralleled between the two unlike eras, the concept of men pursuing an unescorted female in such a setting remains conformable.In another similar tone, the notion Peiss points out of dance halls either lowering their fares for women or wafture the fare altogether is consistent with the parallel thought of clubs often times lowering or waving cover charges for women for the simple fact of luring women into their establishments. Peiss explains that owners of dance halls would alter their fees for women because women were usually inefficient to afford the fee and the owners really wanted more women, like today, to be at their establishment so the men would also come and teeming the women with drinks.Other similarities are seen throughout Peiss work such as women going on outings in pairs or mathematical groups of women, and also how when on the outings their popularity with the men is dependent on their willingness and capability to drink alcohol. An Appalachian State University student, bottom C. McKnight at www. scribd. com boldly and confidently states, Her study should be considered a valuable source by all historians and should die a reoccurring theme of the Gilded and Progressive term as far as the history of American woman is pertain (McKnight 2011).Though I could understand where Mr. McKnight is coming from as far as the history aspect is implicated, to go as far as to openly say that this piece of work should be considered a valuable source and should become a reoccurring them is a tad outlandish. As far as a concentrated topic of a forty year time span is concerned, Peiss did a phenomenal job at capturing the essence of a sanely large group of women. But the fact of the matter is that Peiss only concerned herself with a forty year window of a specific gender, of a specific class.Moreover, it took her nearly two hundred pages to repeat her central liking several times over. Peiss, though could manage to make her book a less repetitive insight into working womens leisure, did a great job at showing the reader what life looked like at the turn of the century for working class women. Peiss created a very set apart window for the reader to look into a nd gave them a concentrated view of what a certain time frame looked like for a specific group of people in a certain social class.The book was very well organized and was interesting in its topic of choice. I cogitate that this is an O. K. book for historians to engage in. Besides the books incredible organic law and interesting topic, the book itself is very repetitive and I believe too concentrated to take much more than needed on the concept of working-class women and their leisure time in the turn of the century. Bib Mcknight, John C. Cheap Amusements Review. Scribd. N. p. , n. d. Web. 18 Sept. 2012. .

Change for the Better

neer would he have thought that we would have ended up amiable t there, falling in cope, and gain vigoring about the culture as much as he did. Although a persons perception apprise be a good a thing, it also can get in the right smart of having a great friendship, go steadying something new, and well(p) being happy. Todays engineering science is very friendly in meeting new volume on unalike sites like Backb unmatched, Twitter, and Chattahoochee. Some hoi pollois perception of meeting new volume with applied science that are around the world will get discharge of their local cultures, traditions, and control over their cultures communication (Borderer, Borderer & Swollen, 2010, peg. 12). What people dont get Is technology Is one of the ways we learn the most about a culture. A way to get more respect for your culture Is to share It to people and not to be afraid to show It. When making friends you dont want to be the weird one, and for me seeing someone that Is so n oble of their cultures exclusively hold backs me want to learn more about them. Plus you might be surprised that our cultures have some similarities and are part of the dominant culture. Having something in common is always a good base to a tremendous Friendship. Cultures in the world are what makes the world so interesting.So many different things we can learn and discover where things came from. Now some people are to proud of there country to even take the time to learn about another country because they thing its wrong and their cultures is the right way of doing things. All the different cultures have probably something in common with one an other, and you will probably find out that a lot of them Just a have some tweaks to make them different. Learning about a culture that you are going to go visit Is respectful to the people of that country whether they are Into the big tradition or not.In the end everyone is proud of their countrys accomplishments and what they contribute d to make the world it is today. Outsourced is a great way on demo how your perception affect your attitude and happiness. While Toad just absentminded a burger, he went to a Mac Donas to realize they dont sell burgers. He meets a character, named Bob, who was in the same predicament that Toad was in but for much longer. Bob told Toad that it doesnt get fall apart until you accept Indians culture. at once Toad finally accepted the culture he wanted to learn more about it and found a way to communicate better with the people of India.Toad was a more happy person, and even found love during his months In India. When you totally accept something, whether its a different culture or It Is Just the way you look, you become a better and happy person. cognition Is a strong and powerful thing you use to view purport situations. It Is always going to be with you whether you want it or not, and is something that we control our actions, and make up our mind about something we heaven full learned about. Perceptions can change your life for the better or for the worst. It comes down to how you take your perceptions and whether you allow them change your life for the better.

A Game of Thrones Chapter Eleven

DaenerysDaenerys Targaryen wed Khal Drogo with solicitude and barbaric splendor in a field beyond the w al mavens of Pentos, for the Dothraki believed that wholly in all things of importance in a humans life must be through with(p) beneath the open sky.Drogo had called his khalasar to attend him and they had come, forty thousand Dothraki warriors and uncounted poetry of women, pip-squeakren, and slaves. Outside the city walls they camped with their vast herds, rai fumbleg palaces of woven grass, eating everything in sight, and making the good folk of Pentos more than anxious with every casual day.My fellow magisters have doubled the size of the city guard, Illyrio told them over platters of edulcorate duck and orange snap peppers one night at the antechamber that had been Drogos. The khal had joined his khalasar, his estate prone over to Daenerys and her brother until the marriage.Best we lodge Princess Daenerys wedded quickly before they muckle half the wealth of Pent os external to sells lyric and bravos, Ser Jorah Mormont jested. The exile had offered her brother his sword the night Dany had been sold to Kbal Drogo Viserys had accepted eagerly. Mormont had been their perpetual companion ever since.Magister Illyrio laughed feeblely through his forked beard, nonwithstanding Viserys did non so frequently as smile. He can have her tomorrow, if he alikes, her brother express. He glanced over at Dany, and she lowered her eye. So persistent as he pays the price.Illyrio waved a languid hand in the air, ring glittering on his fat fingers. I have told you, all is settled. swear me. The khal has promised you a crown, and you shall have it.Yes, simply when?When the khal chooses, Illyrio express. He will have the missy offset, and after they are wed he must make his onward motion across the plains and present her to the dosh khaleen at Vaes Dothrak. afterwards that, perhaps. If the omens favor war.Viserys learnthed with impatience. I water system on Dothraki omens. The Usurper sits on my fathers throne. How keen-sighted must I custody?Illyrio gave a massive shrug. You have waited most of your life, vast king. What is a nonher hardly a(prenominal) months, another few years?Ser Jorah, who had traveled as cold due east as Vaes Dothrak, nodded in agreement. I counsel you to be patient, Your Grace. The Dothraki are true to their word, tho they do things in their own cartridge holder. A lesser man may beg a favor from the khal, but must never presume to berate him.Viserys bristled. Guard your tongue, Mormont, or Ill have it knocked out(p). I am no lesser man, I am the rightful Lord of the 7 Kingdoms. The genus Draco does not beg.Ser Jorah lowered his eyes respectfully. Illyrio smiled enigmatically and tore a wing from the duck. Honey and grease ran over his fingers and dripped pig into his beard as he nibbled at the tender meat. There are no more dragons, Dany aspect, staring at her brother, though she did no t dare say it aloud. provided that night she dreamt of one. Viserys was hitting her, hurting her. She was naked, clumsy with fear. She ran from him, but her body seemed heavyset and ungainly. He struck her again. She stumbled and fell. You woke the dragon, he screamed as he kicked her. You woke the dragon, you woke the dragon. Her thighs were slick with blood. She shut her eyes and whimpered. As if in answer, thither was a hideous rending sound and the crackling of some great fire. When she looked again, Viserys was gone, great columns of flame flush all s mildly, and in the midst of them was the dragon. It off its great head slowly. When its melt down eyes set up hers, she woke, shaking and cover with a fine shine of sweat. She had never been so afraid . . .. . . until the day of her wedding came at cash in ones chips.The notice began at dawn and continued until dusk, an endless day of drinking and junket and fighting. A powerfulnessy ear wherefore ramp had been raised a mid the grass palaces, and on that point Dany was place beside Khal Drogo, above the seething sea of Dothraki. She had never seen so many a(prenominal) people in one place, nor people so strange and frightening. The horselords might hurtle on rich fabrics and newly perfumes when they visited the Free Cities, but out under the open sky they kept the old rooms. Men and women similarly wore painted leather vests over bare chests and horse pilus leggings cinched by dye laurel wreath belts, and the warriors greased their long braids with fat from the rendering pits. They gorged themselves on horseflesh roasted with honey and peppers, drank themselves blind on fermented mares milk and Illyrios fine wines, and spat jests at to for each one one other across the fires, their voices harsh and foreigner in Danys ears.Viserys was put just below her, splendid in a new morose wool tunic with a ruddy dragon on the chest. Illyrio and Ser Jorah sit down beside him. Theirs was a place of high honor, just below the khals own blood movementrs, but Dany could see the anger in her brothers lilac eyes. He did not like sitting beneath her, and he fumed when the slaves offered each dish setoff to the khal and his bride, and served him from the portions they refused. He could do zip fastener but moderate his resentment, so nurse it he did, his mood increase blacker by the hour at each insult to his person.Dany had never felt so alone as she did seated in the midst of that vast horde. Her brother had told her to smile, and so she smiled until her face ached and the bust came unbidden to her eyes. She did her best to hide them, knowing how angry Viserys would be if he proverb her crying, terrified of how Khal Drogo might react. Food was brought to her, steaming joints of meat and dull black sausages and Dothraki blood pies, and later fruits and sweetgrass stews and gentle pastries from the kitchens of Pentos, but she waved it all away. Her subscribe was a roil, a nd she knew she could keep none of it down.There was no one to babble to. Khal Drogo shouted commands and jests down to his bloodriders, and laughed at their replies, but he scarcely glanced at Dany beside him. They had no common language. Dothraki was incomprehensible to her, and the khal knew unaccompanied a few haggle of the bastard Valyrian of the Free Cities, and none at all of the Common language of the Seven Kingdoms. She would even have welcomed the conversition of Illyrio and her brother, but they were too far below to hear her.So she sat in her wedding silks, nursing a cup of honeyed wine, afraid to eat, talking silently to herself. I am blood of the dragon, she told herself. I am Daenerys Stormborn, Princess of Dragonstone, of the blood and seed of Aegon the Conqueror.The sunbathe was however a quarter of the way up the sky when she saw her head start man die. Drums were beating as some of the women danced for the khal. Drogo watched without expression, but his ey es followed their movements, and from season to time he would toss down a dye medallion for the women to fight over.The warriors were watching too. One of them finally stepped into the circle, grabbed a terpsichorean by the arm, pushed her down to the ground, and jump oned her right in that location, as a stallion mounts a mare. Illyrio had told her that might march on. The Dothraki mate like the animals in their herds. There is no privacy in a khalasar, and they do not understand sin or shame as we do.Dany looked away from the coupling, frightened when she realized what was happening, but a second warrior stepped forward, and a third, and soon there was no way to avert her eyes. Then two men seized the same muliebrity. She heard a shout, saw a shove, and in the blink of an eye the arakhs were out, long razor-sharp blades, half sword and half scythe. A dance of death began as the warriors circled and slashed, leaping toward each other, whirling the blades nearly their heads , shrieking insults at each clash. No one do a move to interfere.It ended as quickly as it began. The arakhs shivered together faster than Dany could follow, one man bewildered a step, the other swung his blade in a flat arc. brace bit into flesh just above the Dothrakis waist, and opened him from puntbone to breadbasket button, spilling his entrails into the dust. As the loser died, the winner took allow of the nearest womannot even the one they had been quarreling overand had her there and then. Slaves carried off the body, and the leaping resumed.Magister Illyrio had warned Dany nearly this too. A Dothraki wedding without at least three deaths is deemed a dull affair, he had said. Her wedding must have been especially rejoiced before the day was over, a dozen men had died.As the hours passed, the misgiving grew in Dany, until it was all she could do not to scream. She was afraid of the Dothraki, whose ways seemed alien and monstrous, as if they were beasts in human skin s and not true men at all. She was afraid of her brother, of what he might do if she failed him. Most of all, she was afraid of what would happen tonight under the stars, when her brother gave her up to the hulking giant who sat drinking beside her with a face as still and cruel as a bronze mask.I am the blood of the dragon, she told herself again.When at run the sun was low in the sky, Khal Drogo clapped his manpower together, and the drums and the shouting and feasting came to a sudden halt. Drogo stood and pulled Dany to her feet beside him. It was time for her bride gifts.And after the gifts, she knew, after the sun had gone down, it would be time for the first ride and the consummation of her marriage. Dany tried to put the thought aside, but it would not leave her. She hugged herself to try to keep from shaking.Her brother Viserys expert her with three handmaids. Dany knew they had cost him nothing Illyrio no doubt had provided the girls. Irri and Jhiqui were copper-skinned Dothraki with black hair and almond-shaped eyes, Doreah a fair-haired, blue-eyed Lysene girl. These are no common servants, sweet sister, her brother told her as they were brought forward one by one. Illyrio and I selected them in person for you. Irri will teach you riding, Jhiqui the Dothraki tongue, and Doreah will instruct you in the womanly liberal arts of love. He smiled thinly. Shes very good, Illyrio and I can both swear to that.Ser Jorah Mormont apologized for his gift. It is a small thing, my princess, but all a poor exile could afford, he said as he laid a small bus of old books before her. They were histories and songs of the Seven Kingdoms, she saw, written in the Common Tongue. She thanked him with all her heart.Magister Illyrio murmured a command, and four burly slaves hurried forward, bearing between them a great cedar chest bound in bronze. When she opened it, she found piles of the finest velvets and damasks the Free Cities could produce . . . and resting on top, nestled in the velvety cloth, three huge eggs. Dany gasped. They were the most beautiful things she had ever seen, each antithetical than the others, patterned in such rich colors that at first she thought they were crusted with jewels, and so large it took both of her hands to hold one. She move it delicately, expecting that it would be made of some fine porcelain or delicate enamel, or even blown glass, but it was much heavier than that, as if it were all of solid stone. The surface of the shell was cover with tiny scales, and as she turned the egg between her fingers, they shimmered like polished metal in the light of the setting sun. One egg was a deep green, with burnished bronze flecks that came and went depending on how Dany turned it. Another was pale cream streaked with gold. The out extreme was black, as black as a midnight sea, yet alive with scarlet ripples and swirls. What are they? she asked, her voice hushed and full of wonder.Dragons eggs, from the Shadow Lands b eyond Asshai, said Magister Illyrio. The eons have turned them to stone, yet still they burn bright with beauty.I shall treasure them always. Dany had heard tales of such eggs, but she had never seen one, nor thought to see one. It was a truly magnificent gift, though she knew that Illyrio could afford to be lavish. He had collected a fortune in horses and slaves for his part in interchange her to Khal Drogo.The khals bloodriders offered her the traditional three weapons, and splendid weapons they were. Haggo gave her a great leather reprimand with a coin handle, Cohollo a magnificent arakh chased in gold, and Qotho a double-curved dragonbone bow taller than she was. Magister Illyrio and Ser Jorah had taught her the traditional refusals for these offerings. This is a gift worthy of a great warrior, O blood of my blood, and I am but a woman. allow my lord husband bear these in my stead. And so Khal Drogo too certain his bride gifts.Other gifts she was given in plenty by other Do thraki slippers and jewels and silvern rings for her hair, medallion belts and painted vests and soft furs, sandsilks and jars of scent, needles and feathers and tiny bottles of purple glass, and a gown made from the skin of a thousand mice. A handsome gift, Khaleesi, Magister Illyrio said of the last, after he had told her what it was. Most lucky. The gifts mounted up around her in great piles, more gifts than she could possibly imagine, more gifts than she could want or use.And last of all, Khal Drogo brought forth his own bride gift to her. An expectant hush frilly out from the center of the camp as he left her side, growing until it had swallowed the whole khalasar. When he returned, the dense press of Dothraki gift-givers parted before him, and he led the horse to her.She was a young filly, spirited and splendid. Dany knew just abundant about horses to know that this was no ordinary animal. There was something about her that took the wind away. She was grey as the winter sea, with a mane like silver smoke.Hesitantly she reached out and stroked the horses neck, ran her fingers through the silver of her mane. Khal Drogo said something in Dothraki and Magister Illyrio translated. money for the silver of your hair, the khal says.Shes beautiful, Dany murmured.She is the pride of the khalasar, Illyrio said. Custom decrees that the khaleesi must ride a mount worthy of her place by the side of the khal.Drogo stepped forward and put his hands on her waist. He lifted her up as easily as if she were a child and set her on the thin Dothraki saddle, so much smaller than the ones she was used to. Dany sat there uncertain for a moment. No one had told her about this part. What should I do? she asked Illyrio.It was Ser Jorah Mormont who answered. Take the reins and ride. You need not go far.Nervously Dany gathered the reins in her hands and slid her feet into the short stirrups. She was only a fair rider she had spent far more time traveling by ship and wagon and palanquin than by horseback. Praying that she would not fall off and disgrace herself, she gave the filly the lightest and most timid touch with her knees.And for the first time in hours, she forgot to be afraid. Or perhaps it was for the first time ever.The silver-grey filly moved with a smooth and silken gait, and the crowd parted for her, every eye upon them. Dany found herself moving faster than she had intended, yet somehow it was kindle rather than terrifying. The horse broke into a trot, and she smiled. Dothraki scrambled to clear a path. The slightest pressure with her legs, the lightest touch on the reins, and the filly responded. She sent it into a gallop, and now the Dothraki were hooting and express feelings and shouting at her as they jumped out of her way. As she turned to ride back, a firepit loomed ahead, directly in her path. They were hemmed in on either side, with no room to stop. A daring she had never known filled Daenerys then, and she gave the filly her hea d.The silver horse leapt the flames as if she had wings.When she pulled up before Magister Illyrio, she said, Tell Khal Drogo that he has given me the wind. The fat Pentoshi stroked his yellow beard as he repeated her words in Dothraki, and Dany saw her new husband smile for the first time.The last sliver of sun vanished tail end the high walls of Pentos to the west just then. Dany had mixed-up all track of time. Khal Drogo commanded his bloodriders to bring forth his own horse, a skimpy red stallion. As the khal was saddling the horse, Viserys slid close to Dany on her silver, dug his fingers into her leg, and said, Please him, sweet sister, or I swear, you will see the dragon wake as it has never woken before.The fear came back to her then, with her brothers words. She felt like a child once more, only thirteen and all alone, not ready for what was about to happen to her.They rode out together as the stars came out, leaving the khalasar and the grass palaces behind. Khal Drogo intercommunicate no word to her, but drove his stallion at a hard trot through the gathering dusk. The tiny silver bells in his long braid rang softly as he rode. I am the blood of the dragon, she whispered aloud as she followed, trying to keep her courageousness up. I am the blood of the dragon. I am the blood of the dragon. The dragon was never afraid.Afterward she could not say how far or how long they had ridden, but it was full dark when they stop at a grasslike place beside a small stream. Drogo swung off his horse and lifted her down from hers. She felt as fragile as glass in his hands, her limbs as weak as water. She stood there helpless and trembling in her wedding silks while he secured the horses, and when he turned to look at her, she began to cry.Khal Drogo stared at her tears, his face strangely empty of expression. No, he said. He lifted his hand and rubbed away the tears roughly with a callused thumb.You speak the Common Tongue, Dany said in wonder.No, he said aga in.Perhaps he had only that word, she thought, but it was one word more than she had known he had, and somehow it made her feel a little better. Drogo touched her hair lightly, sliding the silver-blond strands between his fingers and murmuring softly in Dothraki. Dany did not understand the words, yet there was warmth in the tone, a tenderness she had never expected from this man.He put his finger under her chin and lifted her head, so she was spirit up into his eyes. Drogo towered over her as he towered over everyone. Taking her lightly under the arms, he lifted her and seated her on a locomote rock beside the stream. Then he sat on the ground face up her, legs crossed beneath him, their faces finally at a height. No, he said.Is that the only word you know? she asked him.Drogo did not reply. His long heavy braid was gyrate in the dirt beside him. He pulled it over his right shoulder and began to take out the bells from his hair, one by one. After a moment Dany leaned forward to help. When they were done, Drogo gestured. She understood. Slowly, carefully, she began to unbrace his braid.It took a long time. All the while he sat there silently, watching her. When she was done, he shook his head, and his hair spread out behind him like a river of darkness, oiled and gleaming. She had never seen hair so long, so black, so thick.Then it was his turn. He began to undress her.His fingers were deft and strangely tender. He removed her silks one by one, carefully, while Dany sat unmoving, silent, looking at his eyes. When he bared her small breasts, she could not help herself. She averted her eyes and covered herself with her hands. No, Drogo said. He pulled her hands away from her breasts, gently but firmly, then lifted her face again to make her look at him. No, he repeated.No, she echoed back at him.He stood her up then and pulled her close to remove the last of her silks. The night air was chilly on her bare skin. She shivered, and gooseflesh covered her arms and legs. She was afraid of what would come next, but for a while nothing happened. Khal Drogo sat with his legs crossed, looking at her, drinking in her body with his eyes.After a while he began to touch her. Lightly at first, then harder. She could sense the fierce strength in his hands, but he never hurt her. He held her hand in his own and brushed her fingers, one by one. He ran a hand gently down her leg. He stroked her face, tracing the curve of her ears, running a finger gently around her mouth. He put both hands in her hair and straighten out it with his fingers. He turned her around, massaged her shoulders, slid a knuckle down the path of her spine.It seemed as if hours passed before his hands finally went to her breasts. He stroked the soft skin underneath until it tingled. He circled her nipples with his thumbs, pinched them between thumb and forefinger, then began to pull at her, very lightly at first, then more insistently, until her nipples stiffened and began to ache .He stopped then, and drew her down onto his lap. Dany was flushed and breathless, her heart fluttering in her chest. He cupped her face in his huge hands and looked into his eyes. No? he said, and she knew it was a question.She took his hand and moved it down to the wetness between her thighs. Yes, she whispered as she put his finger inside her.

Consumer Behavior Toward Dry Shampoo

change lave Introduction Dry lave is a spray that bath be utilise to clean and freshen up the bull when its not possible to actually wash it. Dry wash work by s aerateping come on all the excess oil on with leftoer sweat and general nastinessthat the tomentum cerebri is producing because youre not washout it. Dry shampoo piece of tail revitalize greasy, limp blur if you dont apply fourth dimension to wash it As research suggests that washing hair too frequently can be really, really bad for it particularly using commercial shampoos and conditioners, often loaded with harsh, unpronounceable shitand strips outside the hairs natural oils.Beauty experts recommend washing your hair less(prenominal) frequently to keep it healthy. Dry shampoo can be used in among washes if youre trying to lengthen the life of your blow-out, for example, when youre dashing to the office without time for a shower, or even in situations when irrigate isnt readily available. It can extend that time between washing a few extra days, plainly keep you from looking at like a greasy, drug-addled mess.It also helps to refresh any blow- juiceless for languish lasting hairstyles and promise to offer instant root lift, texture and eubstance to hairs. It gives the hair a soft, warm and freshly-washed look. Though it is based on feed starch and oatmeal, its less chalky and contains volatizing periodnts that ground it as a good deal(prenominal) a styling harvesting as a shortcut. Dry shampoo leave behind only help to absorb excess oil and it wont necessarily clean out the dirt and grime from a coarse days work, though it might mask it with a bewitching scent.Good enough for your lunch break after a quick trip to the gym. Usage * You can apply prohibitionist shampoo directly to your root by spraying it over the portion of the hair working it finished with a comb. * After applying dry shampoo, thoroughly run hands finished hair until it has completely dissolved. After a pplying the ingathering to the top of honcho, flip head upside down and massage around into scalp at the roots. If you rake up your roots before flipping your head upright, youll also get some added volume.Target market It constitutes young egg-producing(prenominal) persons professionals or disciples who do not have much time to wash their hairs on daily bases and are much intended to set their hairs in a better way. As our country is lining electric power crisis and we dont even have worthy natural gas facility especially in winters so the dry shampoo is the instant solution to the problem of time constraint of washing hairs mendingly to avoid greasy, stinky and rough hairs.Demographics name gender age income geography profession Social class religion lifestyle namra womanly 21 8000 Defence,Lahore pakistan Teacher assistant and student Upper-middle Islam Outgoing and social beenish female 19 5000 Cantt, Lahore pakistan student Upper-middle Islam Daring and social asma fe male 24 30,000 amaze town, lahore Internee in nestle upper Islam Trendy and try new things. raheema female 20 3000 Cantt, lahore student middle Islam conventional ayesha female 22 5000 Askari X, Lahore student Upper-middle Islam social ramsha female 20 15000 Defence, lahore student Upper-middle Islam outgoing shayan female 21 6000 Johar town, lahore student Upper-middle islam trendy Response and feedbacks regarding the new product ( focus group) 1. What comes top of your creative guesser while you buy a shampoo? Which attributes you prefer and the results associated with them? * it should suit our hair structure and should not over dry the scalp. It should give a moisturizing effect. * Moreover, the price should be reasonable and makes hairs more shiny and softer. 2. Does the price of the shampoo effects the quality of the product? * If the brand have a good opinion in the market and have a strong word of spill the beans developed regarding the product so they willing surely pay whatsoever the price is. 3. How often you use shampoo? * Most of them wash hairs on regular basis which over dries the scalp and leads to hair breakage whereas if they do not wash regularly, it leaves the hairs greasier. 4. What comes in your mind when you hear about dry shampoo? It is unhygienic because they dont shade satisfied of clean hairs without washing them with water. * It leaves whitish texture over the hairs * Dont feel comfortable because washing hairs is a traditional way as it gives a feeling that we have took a bath to clean our hairs properly. * They are pass for new products none of them utter that they wouldnt use it 5. Do you think that time is a major factor behind it as it saves times to wash hairs? * They agreed over the fact that it takes time to wash hairs. sometimes its difficult to take shower and wash hairs due to want or time constraints. Furthermore, it should leave the same texture of hair when blow-dried or straightened to save time. 6. Se nsation * It should have good and convenient packaging that they can easily carry in their bags and size at the same time bottle should be attractive not very colorful but not too dull as hearty. 7. Exposure * Word of verbalise plays an important role in enhancing the exposure of dry shampoo. Individuals will assign their experiences from the product and tell others regarding their experience that will induce attention of the consumer. 8. fund Target market will retain the concept of dry shampoo through common memories of events occurred. Every miss experiences times when she is unable to bind herself because she has projects the next day or going through menstrual cycles or have a load of work. Lastly, we will relate their past memories and experiences in our advertisements. 9. Learning * Instrumental learning suggests that through negatively reinforce the consumer, they will learn new concept in terms of dry shampoo. However, the product will be associated with negative forc es that will modify the behavior.For instance, if a girl does not have time to wash her hair and without rinsing them it would make them look greasy and smell outy that would ultimately make other plenty away from her because of smell and untidy look. She wont be comprehended or praised among her peers, friends and family members and loses her self confidence. 10. What would motivate you to buy a dry shampoo? * if the fragrance is good than that would be a big plus for the product because our hair normally dont smell that good when we use hair sprays and since its being launched for the first time pot have change integrity views about it.So if the product promises to have good fragrance as well as freshness they would want to go for it. * Another thing is that price should be reasonably high. it shouldnt be over the top because although the people understand that it cant match their existing shampoo prices it should not exceed too much otherwise it might act as a demotivator an d despite having the desired need people may specify that its not worth it but still some said that price should be high otherwise we would not totally assurance the quality of the shampooMoreover, the dry shampoo contains natural ingredients that helps to clean dirt, grease and smell from hairs without damaging your hairs and maintains the natural oil leaving your hairs soft and shiny whereas the regular shampoo contains harsh chemicals that damages your hairs and eliminates natural oil. Problem/ values The major constraint faced by the target market while conducting focus group regarding dry shampoo was that they denied over the concept of washing hairs without water as values and culture in Pakistan depicts the regular cleaning f hairs and body with water so all of them agreed on the ethnical significance of taking bath regularly which condemns the purpose of dry shampoo that cleans hairs without water. However, it is a convenient solution to clean hairs when the time is runnin g out especially on occasional basis. They would prefer regular shampoo over dry shampoo but keep it as alternative when they have short of time.

Lost Worlds Essay

Some the Statesns remember where they came from others dont. Thats the case in Daniel Chacons invoice The Biggest City in the World. It is a layer about Harvey Gomez who is a Mexican the Statesn young man whose grandparents migrated to the Unites States from Mexico. Harvey has yet been to Mexico once in his entire life and neither of his parents has ever been on that point before. Therefore he doesnt know anything about his native finis or language. In this story Harvey break downs deep inside of Mexico for the first era with his Mexican history Professor David P.Rogstart and gets exposed to its culture and language. On the contrary, Carolina hospitals poem Finding Home is about Mexicans who were innate(p) in Mexico and later migrated to America. When Harvey arrives in Mexico he tries to distance himself from the countrys culture. In fact, shortly after he spots out of his hotel room the first stray that he goes to is La Zona Rosa because The expensive shops, Gucci, Polo, Y ves St. Laurent, relaxed him because they reminded him of Beverly Hills (Chacon 58).Harvey is going to places in Mexico that he is familiar with back in the joined States and is not attempt to research his heritage. by chance this is because he doesnt feel like he is a Mexican and that he is only an American. After all, he was born and raised in the United States by parents who have never been to Mexico themselves. Harvey lastly gets exposed to ancient Aztec monuments when he runs into Professor Rogstart who is viewing stone carvings. As Harvey decides to take a closer look at the stone carvings, he is seeing history of his heritage and begins to compare it. Gomez wondered how many Aztecs were scared into accept in their gods, like his father tried to make him confide in Jesus and the Virgin Mary (Chacon 60).He starts thinking how the Aztecs were raised up into worshiping their gods in Mexico and how his father brought him up into believing in God in America. Harvey learns abou t the Spanish Conquest of Mexico and begins to ask Professor Rogstart questions. He gives him impartial answers Rogstart, feeling a professorial obligation, explained to Gomez the meaning of each panel, each symbol, freehanded such fine details (Chacon 61).During the explanation, Harvey feels a sense of pride in his heritage. You can tell that Harvey now wants to learn more about his somemagazine(prenominal) however, he is still struggling to accept his heritage. As Harvey continues his journey in Mexico, he repeatedly distances himself from the Mexicans. Harvey is reacting this way because he is attached to specie. That will in brief come to an end as Harvey himself loses all of his money. He slipped his hand into his liberation for his roll of bills (Chacon 63). After he realizes that he is broke, he starts to panic.Harveys immediate reaction is to find his money no matter what it takes, but when he does not find it, Harvey starts to feel the same way the Mexicans did when they begged him for money. This is the first time that he feels this way because he was raised in America where money is a major influence in life. When it looks like it will be the end of his journey in Mexico, he discovers it is beginning. Harvey enters a taxi and tells the number one wood Take me to the Zona Rosa (Chacon 65). During the ride, Harvey is relaxed and begins to feel like a Mexican deep in his heart.When it seems that he is going to continue his denial, he tells the driver Take me to Chapultepec Park (Chacon 66). The cab driver is surprised and Harvey laughs telling him that he wants to explore Mexico. Harvey finally ends the denial of his Mexican heritage and goes on to explore Mexico. The poem Finding Home written by Carolina Hospital tells the story of how Mexicans who come to America try to find their heritage in the United States. Like many who migrate to America, the immigrants miss their country and are relate about losing their culture.In contrast to Harvey Gomez, this poem shows that many Mexicans in America apprise their heritage. I have travelled north again,/to these gray skies/and renounce doorways, (Hospital 101). This shows that they miss their native country and are concerned about forgetting their heritage. Perhaps Harveys grandparents thought the same thing when they first came to America from Mexico. ir detective of their arrival in America, they want to return to Mexico someday. I must travel again soon (Hospital 102).Despite leaving their ative land they have respect for Mexico and will visit again. After the experience that Harvey had in discovering his heritage, I am sure that he will visit Mexico again. Daniel Chacon is clearly making a statement that Mexican immigrants whose kids are born and raised in America forget their own culture. In the story Harvey Gomez is denying his heritage and was embarrassed at times to admit that he is Mexican. This is because he barely knows anything about Mexico and doesnt even speak the language. Eventually Harvey accepts who he is and discovers his heritage throughout the story.I believe that Chacon wants to demonstrate how important it is for people to know where they come from and not to forget who they are. Carolina Hospital indicates that Mexican immigrants in America continue to appreciate their heritage. In her poem the Mexicans are not embarrassed to admit where they come from. The Mexicans embrace their heritage and plan on visiting Mexico. I believe that Hospital wants to demonstrate that Mexicans immigrants do appreciate their heritage. However the fact is that no matter where people come from they must appreciate their heritage.

American Literature Essay

When the English preacher and writer Sidney smith imploreed in 1820, In the four qu im metierers of the globe, who demonstrates an Ameri empennage book? picayune did he suspect that less than twain hundred years after the answer in lit eonte qu trickers would be just nearly e very ane. Indeed, just a few years after Smith comprise his inflammatory drumhead, the the Statesn writer Samuel Knapp would begin to assemble wizard of the premier histories of Ameri canister buoy belles-lettres as part of a lecture series that he was giving.The course materials offered by American Passages continue in the tradition begun by Knapp in 1829. One goal of this theater accept is to champion you learn to be a literary historian that is, to introduce you to American lit as it has evolved everywhere cartridge holder and to stimulate you to make water connections amongst and among schoolbooks. Like a literary historian, when you make these connections you ar enumerateing a sto ry the story of how American publications came into being.This everywhereview outlines four paths ( at that throw in ar m both another(prenominal) others) by which you can narrate the story of American lit one based on literary movements and diachronic change, one based on the American Passages Overview Questions, one based on conditions, and one based on multi heathenishism. TELLING THE STORY OF AMERICAN LITERATURE Literary Movements and Historical transfer American Passages is organized around sixteen literary movements or twist blocks. A literary movement centers around a group of authors that sh be plastered sty dipic and thematic concerns. to each one unit includes ten authors that argon be either in The Norton Anthology of American Literature or in the Online Archive. ii to four of these authors atomic number 18 discussed in the video, which calls attention to important historical and heathenish influences on these authors, defines a genre that they share, and proposes some key thematic parallels. bring in literary movements can sustain you chit-chat how American themes has changed and evolved oer clock. In general, heap think about literary movements as reacting against sooner modes of writing and earlier movements. For T E L L I N G T H E S T O R Y O FA M E R I C A N L I T E R AT U R E 3 example, just as modernism (Units 1013) is oft befooln as a response to realism and the Gilded Age (Unit 9), so Romanticism is seen as a response to the Enlightenment (Unit 4). Most of the units focalization on one era (see the chart below), precisely they exit practically include relevant authors from other eras to second draw out the connections and discordences. (Note The movements in parentheses are not limited to authors/ plant intent from the era in question, but they do cover some material from it. ) Century Fifteenth 17th Eighteenth Era spiritual rebirth American Passages Literary Movements.(1 autochthonal Voices) 2 Explorin g Borderlands 3 Utopian bid (3 Utopian pact) 4 Spirit of patriotism (7 thrall and Freedom) 4 Spirit of Nationalism 5 masculine Heroes 6 knightly Undercurrents 7 Slavery and Freedom (1 aborigine Voices) 6 mediaeval Undercurrents 8 regional Realism 9 neighborly Realism (1 inherent Voices) 10 Rhythms in metrical composition 11 Modernist Portraits 12 migrator pare 13 Confederate Renaissance 1 Native Voices 2 Exploring Borderlands 12 Migrant Struggle 14 nice in sight 15 meter of firing off 16 hunting for identity operator Enlightenment Nineteenth wild-eyed Nineteenth RealistTwentieth Modernist Twentieth Postmodernist Each unit contains a timeline of historical events a gigantic with the dates of key literary texts by the movements authors. These timelines are designed to help you make connections mingled with and among the movements, eras, and authors covered in each unit. 4 W H AT I S A M E R I C A N L I T E R AT U R E ? Overview Questions The Overview Questions at th e start of each unit are tailored from the five American Passages Overview Questions that follow. They are meant to help you cerebrate your viewing and redeing and participate in discussion afterward. 1. What is an American?How does literary deeds create conceptions of the American experience and American identity? This both-part question should travel discussion about issues such(prenominal) as, Who belongs to America? When and how does one become an American? How has the search for identity among American writers changed over time? It can too encourage discussion about the ways in which immigration, colonization, conquest, youth, race, class, and gender dissemble national identity. 2. What is American literature? What are the distinctive voices and styles in American literature? How do social and political issues influence the American mandate?This multi-part question should instigate discussion about the aesthetics and reception of American literature. What is a masterp iece? When is something considered literature, and how is this category culturally and historically dependent? How has the rule of American literature changed and why? How have American writers used phrase to create art and meaning? What does literature do? This question can excessively raise the issue of American exceptionalism Is American literature contrasting from the literature of other nations? 3. How do place and time incarnation the authors creams and our understanding of them?This question addresses America as a location and the many ways in which place impingements American literatures determine and content. It can provoke discussion about how regionalism, geography, immigration, the frontier, and borders impact American literature, as well as the role of the vernacular in indicating place. 4. What characteristics of a literary work have make it influential over time? This question can be used to spark discussion about the evolving impact of various pieces of Ameri can literature and about how American writers used diction both to create art and respond to and call for change.What is the individuals responsibility to uphold the communitys traditions, and when are individuals compelled to resist them? What is the race amidst the individual and the community? 5. How are American myths created, challenged, and re-imagined through this literature? This question returns to What is an American? But it poses the question at a cultural rather than individual level. What are the myths that make up American shade? What is the American Dream? What are American myths, dreams, and nightmares? How have these changed over time? T E L L I N G T H E S T O R Y O F A M E R I C A NL I T E R AT U R E 5 Contexts Another way that connections can be made across and between authors is through the five Contexts in each unit three long-acting Core Contexts and two shorter Extended Contexts. The goal of the Contexts is both to help you read American literature in i ts cultural background and to teach you close-reading skills. Each Context consists of a brief narrative about an event, trend, or opinion that had particular resonance for the writers in the unit as well as Americans of their era questions that connect the Context to the authors in the unit and a list of related texts and images in the Online Archive.Examples of Contexts include discussions of the concept of the Apocalypse (3 Utopian Visions), the reverend (4 Spirit of Nationalism), and baseball (14 fitting Visible). The Contexts can be used in conjunction with an author or as stand-alone activities. The Slide exhibit Tool on the Web site is saint for doing assignments that draw connections between archive items from a Context and a text you have read. And you can create your declare contexts and activities apply the Slide Show Tool these materials can then be e-mailed, viewed online, projected, or printed out on overhead transparencies.Multiculturalism In the past xx years , the field of American literature has undergone a radical trans gradeation. Just as the mainstream public has begun to understand America as more diverse, so, too, have scholars moved to integrate more texts by women and ethnic minorities into the standard canon of literature taught and studied. These changes can be both exhilarating and disconcerting, as the breadth of American literature appears to be about limitless.Each of the videos and units has been carefully balanced to pair canonical and noncanonical voices. You may experience it helpful, however, to trace the development of American literature according to the rise of un resembling ethnic and minority literatures. The following chart is designed to full(prenominal)light which literatures are represented in the videos and the units. As the chart indicates, we have set variant multicultural literatures in dialogue with one another. Literature African American literature video recording Representation.7 Slavery and Free dom 8 Regional Realism 10 Rhythms in rhyme 13 Southern Renaissance 14 Becoming Visible 15 Poetry of Liberation Study flow Representation 4 Spirit of Nationalism 5 manlike Heroes 7 Slavery and Freedom 8 Regional Realism 9 Social Realism 10 Rhythms in Poetry 11 Modernist Portraits 13 Southern Renaissance 14 Becoming Visible 15 Poetry of Liberation 16 expect for identicalness 6 W H AT I S A M E R I C A N L I T E R AT U R E ? Native American literature 1 Native Voices 5 mannish Heroes 14 Becoming Visible.1 Native Voices 2 Exploring Borderlands 3 Utopian Promise 4 Spirit of Nationalism 5 Masculine Heroes 7 Slavery and Freedom 8 Regional Realism 14 Becoming Visible 15 Poetry of Liberation 16 explore for individuation 2 Exploring Borderlands 5 Masculine Heroes 10 Rhythms in Poetry 12 Migrant Struggle 15 Poetry of Liberation 16 Search for identicalness 9 Social Realism 12 Migrant Struggle 16 Search for Identity 9 Social Realism 11 Modernist Portraits 14 Becoming Visible 15 Poetry o f Liberation 16 Search for Identity 1 Native Voices 2Exploring Borderlands 3 Utopian Promise 4 Spirit of Nationalism 5 Masculine Heroes 6 Gothic Undercurrents 7 Slavery and Freedom 8 Regional Realism 9 Social Realism 10 Rhythms in Poetry 11 Modernist Portraits 12 Migrant Struggle 13 Southern Renaissance 14 Becoming Visible 15 Poetry of Liberation 16 Search for Identity 2 Exploring Borderlands 5 Masculine Heroes 10 Rhythms in Poetry 11 Modernist Portraits 12 Migrant Struggle 13 Southern Renaissance 14 Becoming Visible 15 Poetry of Liberation 16 Search for Identity Latino literature 2Exploring Borderlands 10 Rhythms in Poetry 12 Migrant Struggle 16 Search for Identity Asian American literature 12 Migrant Struggle 16 Search for Identity Jewish American 9 Social Realism literature 11 Modernist Portraits 14 Becoming Visible 15 Poetry of Liberation 16 Search for Identity Womens literature 1 Native Voices 2 Exploring Borderlands 3 Utopian Promise 6Gothic Undercurrents 7 Slavery and Freedom 8 Regional Realism 9 Social Realism 11 Modernist Portraits 12 Migrant Struggle 13 Southern Renaissance 15 Poetry of Liberation 16 Search for Identity Gay and lesbian literature 2 Exploring Borderlands 5 Masculine Heroes 10 Rhythms in Poetry 11 Modernist Portraits 15 Poetry of Liberation 16 Search for Identity T E L L I N G T H E S T O R Y O F A M E R I C A N L I T E R AT U R E 7 Literature contd Working-class literature Video Representation 2 Exploring Borderlands 4 Spirit of Nationalism 5 Masculine Heroes 7 Slavery and Freedom 9 Social Realism 12 Migrant Struggle 16 Search for IdentityStudy buy the farm Representation 2 Exploring Borderlands 4 Spirit of Nationalism 5 Masculine Heroes 7 Slavery and Freedom 9 Social Realism 10 Rhythms in Poetry 12 Migrant Struggle 14 Becoming Visible 15 Poetry of Liberation 16Search for Identity LITERATURE IN ITS CULTURAL CONTEXT When you study American literature in its cultural context, you enter a multidisciplined and multi-voiced conversation w here scholars and dilettantes in contrastive fields examine the homogeneous topic but demand very different questions about it. For example, how energy a literary critics understanding of nineteenthcentury American market-gardening compare to that of a historian of the same era?How can an art historians understanding of favorite ocular metaphors enrich our readings of literature? The materials presented in this section of the Study Guide aim to help you enter that conversation. Below are some redeions on how to begin. Deep in the rawness of the Vatican Museum is an exquisite marble statue from starting signal- or second-century Rome. Over seven feet high, the statue depicts a scene from Virgils Aeneid in which Laocoon and his sons are penalize for warning the Trojans about the Trojan horse.Their bodies are entwined with large, devouring serpents, and Laocoons font is turned upward in a dizzying portrait of anguish, his muscles rippling and turn beneath the snakes stron g coils.The emotion in the statue captured the heart and eye of critic Gotthold Ephraim Lessing, who used the work as the starting promontory for his seminal es narrate on the relation institutionalize between literature and art, Laocoon An taste on the Limits of Painting and Poetry. For Lessing, one of the most common errors that students of ending can make is to assume that all aspects of conclusion develop in bicycle-built-for-two with one another. As Lessing points out, each art has its own strengths.For example, literature works well with notions of time and story, and thus is more flexible than visual art in terms of imaginative freedom, whereas painting is a visual mean(a) that can reach greater beauty, although it is static. For Lessing, the mixing of these two modes (temporal and spatial) carries great risk of infection along with rewards.As you study literature in conjunction with any of the fine arts, you may find it helpful to engage whether you agree with Lessi ng that literature is primarily a temporal art. Consider too the particular 8 W H AT I S A M E R I C A N L I T E R AT U R E ? strengths of the media discussed below. What do they offer that may not be acquirable to writers?What modes do they use that complement our understanding of the literary arts? okay artistic productions Albrecht Durer created some of the most disturbing drawings known to humans they are rife with images of death, the end of the world, and dark creatures that inhabit hell. Images such as The demise Judgement (below) can be found in the Online Archive.In Knight, Death, and the daimon (1513), a devout Christian knight is taunted by the Devil and Death, who gleefully shakes a quickly depleting hourglass, mocking the soldier with the passing of time. Perhaps the stress and anxiety in Durers print resonated with the American poet Randall Jarrell in his engagement with mental illness. In The Knight, Death, and the Devil, Jarrell opens with a description of the scene Cowhorn-crowned, shockheaded, cornshucked-bearded, Death is a scarecrowhis deaths-head a teetotum . . . Jarrells description is fill up with adjectives in much the same way that the print is crowded with detail. The meter is an instance of what critics call ekphrasis the verbal description of a work of visual art, usually of a painting, photograph, or sculpture but sometimes of an urn, tapestry, or quilt.Ekphrasis attempts to bridge the gap between the verbal and the visual arts. artworkists and writers have perpetually influenced one another sometimes directly as in the fictitious character of Durers drawing and Jarrells poem, and other times indirectly.The Study Guide allow help you navigate through these webs of influence. For example, Unit 5 pull up stakes introduce you to the Hudson River 7995 Albrecht Durer, The Last School, the great American landscape painters Judgement (1510), politeness of the of the nineteenth century. In the Context digestprint collection of Connecticut ing on these artists, you go forth learn of the interCollege, New London. connectedness of their visual motifs.In Unit 11, William Carlos Williams, whose poems The jump and Landscape with the Fall of Icarus were invigorate by two paintings by Breughel, will draw your attention to the use of ekphrasis. Williamss work is a epochal example of how multiple traditions in art can influence a writer in assenting to his liaison in European art, Williams imitated Chinese landscapes and poetic forms. When you encounter works of fine art, such as paintings, photographs, or sculpture, in the Online Archive or the Study Guide, you may find two tools used by art historians helpful black-tie analysis and iconography. established L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 9 3694doubting doubting Thomas Cole, The Falls of Kaaterskill (1826), courtesy of the Warner Collection of the Gulf States Paper Corporation, Tuscaloosa, Alabama. analysis, like close reading s of poems, seeks to describe the temper of the object without reference to the context in which it was created. A formal analysis addresses such questions as Where does the central interest in the work lie?How is the work composed and with what materials? How is lighting or shading used? What does the scene depict? What allusions (mythological, religious, artistic) are found in the work? Once you have described the work of art using formal analysis, you may neediness to extend your reading by tone biography attention to the cultural climate in which the work was produced. This is called an iconographic reading.Here the Context sections of the Study Guide will be useful. You may notice, for example, a public approach pattern of nineteenth-century paintings of ships in the Online Archive. One of the Contexts for Unit 6 argues that these ships can be read as symbols for nineteenth-century America, where it was common to refer to the nation as a ship of state. The glowing light o r wrecked hulls in the paintings reflect the artists change optimism and pessimism about where the young country was headed. Below are two viable readings of Thomas Coles painting The Falls of Kaaterskill that employ the tools of formal analysis and iconography. W R I T E R A F O R M A L A N A L Y S I SIn this painting by Hudson River School artist Thomas Cole, the falls that give the painting its name grab our attention. The shock of the uncontaminating falls against the concentrated brightness of the rocks ensures that the pissfall will be the focus of the work. Even amidst this brightness, however, there is darkness and mystery in the painting, where the falls come in out of a dark quarry and crash down onto upset tree limbs and staggered rocks. The descent is neither peaceful nor verdant, unlike the presentation of temper in Coles other works, such as the Oxbow. The enormity of the falls compared to the lone human figure that perches above them also adds to the intell igence of big businessman the falls embody.Barely recognizable as human because it is so minute, the figure still pushes forward as if to embrace the cascade of the water in a painting that explores the tension between the individual and the power of nature. W R I T E R B I C O N O G R A P H Y I agree with source A that this painting is all about the power of nature, but I would argue that it is about a particular kind of power one that nineteenthcentury thinkers called the sublime. Coles portrait of the falls is particularly indebted to the aesthetic ideas formulated by Edmund Burke in the eighteenth century. Burke was implicated in categorizing aesthetic responses, and he distinguished the sublime from the fitsque. While the beautiful is calm and harmonious, the sublime is majestic, wild, and even savage. While viewers are soothed by the beautiful, they are overwhelmed, awestruck, and sometimes terrified by the sublime. Often associated with huge, overpowering innate(p) 10 W H AT I S A M E R I C A N L I T E R AT U R E ? phenomena like mountains, waterfalls, or thunderstorms, the delightful brat inspired by sublime spates was supposed to both remind viewers of their own insignificance in the face of nature and divinity and inspire them with a feel of transcendence. Here the miniature figure is the object of our gaze even as he is obliterated by the grandeur of the water.During the nineteenth century, tourists often visited locales such as the Kaaterskill Falls in order to experience the delightful terror that they brought. This experience is also echoed in Ralph Waldo Emersons essay Nature, in which he writes of his desire to become a transparent eyeball that will be able to absorb the oversoul that borders him. The power that nature holds here is that of the divine nature is one way we can experience higher realms. How do these readings differ? Which do you find more compelling and why? What uses can you see for formal analysis or iconographic rea dings? When might you choose one of these strategies over the other?HistoryAs historian Ray Kierstead has pointed out, tale is not just one damn thing after another rather, autobiography is a way of telling stories about time or, some might say, making an argument about time. The Greek historian Herodotus is often called the catch of memorial in the western world, as he was one of the low historians to notice patterns in world events.Herodotus saw that the course of empires followed a cyclical pattern of rise and fall as one empire reaches its blooming and self-destructs out of hubris (excessive pride), a wise empire or new nations will be born to take its place. Thomas Coles five-part series The Course of Empire (1833) mirrors this Herodotean notion of time as his scene moves from savage, to pastoral, to consummation, to devastation, to desolation.This vision of time has been tremendously influential in literature whenever you read a work written in the pastoral mode (litera ture that sayings back with nostalgia to an era of rural life, lost simplicity, and a time when nature and culture were one), ask yourself whether there is an implicit optimism or pessimism about what follows this lost rural ideal. For example, in Herman Melvilles South Sea novel Typee, we find the narrator in a Tahitian village.He seeks to determine if he has entered a pastoral or savage setting is he surrounded by savages, or is he plunged in a pastoral bliss? Implicit in both is a suggestion that there are earlier forms of elegance than the United States that the narrator has left behind. Any structural analysis of a work of literature (an analysis that pays attention to how a work is ordered) would do well to consider what notions of floor are embedded inside.In addition to the structural significance of history, a dialogue between history and literature is crucial because much of the early literature of the United States can also be categorized as historical documents. It is helpful, therefore, to understand the genres of history. Like literature, history is comprised of different genres, or modes. Historian Elizabeth Boone defines the main traditional genres of history as res gestae, geographical, and annals.Res gestae, or deeds done, organizes history through a list of accomplishments. This was a popu- L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 11 lar form of history for the ancient Greeks and Romans for example, the story of Julius Caesar chronicles his deeds, narrated in the third person.When Hernan Cortes and other explorers wrote accounts of their travels (often in the form of letters to the emperor), Caesars autobiography served as their model. Geographical histories use travel through space to shape the narrative Mary Rowlandsons incarceration narrative is an example of a geographical history in that it follows her through a sequence of twenty geographic removes into Indian country and back. Annals, by contrast, use time as the organizing principle.Information is catalogued by year or month. Diaries and journals are a unafraid example of this genre. These three genres can also be found in the histories of the Aztecs and Mayans of Mesoamerica and in those of the native communities of the United States and Canada.For example, the migration legend, a popular indigenous form of history, is a geographical history, whereas trickster tales often tell the early history of the world through a series of deeds. Memoirists also mix genres for example, the first section of William Bradfords Of Plimouth Plantation is a geographical history, whereas the second half is annals.Today the most common historical genres are intellectual history (the history of ideas), political history (the story of leaders), and diplomatic history (the history of foreign relations). To these categories we might add the newer categories of social history (a history of day-after-day life) and gender history (which focuses on the construction of gender roles).Finally, history is a crucial tool for understanding literature because literature is written inand arguably often reflectsa specific historical context. Readers of literary works can deepen their understanding by drawing on the tools of history, that is, the records people leave behind political (or literary) documents, town records, census data, newspaper stories, captivity narratives, letters, journals, diaries, and the like.Even such objects as tools, graveyards, or trading goods can tell us important information about the nature of everyday life for a community, how it worshipped or what it thought of the relationship between life and death. 12 W H AT I S A M E R I C A N L I T E R AT U R E ? Material nuance 6332Archibald Gunn and Richard Felton Outcault, New York Journals Colored Comic Supplement (1896), courtesy of the Library of Congress, Prints and Photographs Division LC-USZC4-25531. When you work out at an object, it may call up associations from the p ast. For example, for the first-time viewer the clown figure in the image above may seem innocuous, yet at the end of the nineteenth century his popularity was so intense that it started a newspaper war fierce enough to spawn a whole new term for sensationalist, irresponsible journalismyellow journalism. Objects such as this queer supplement constitute material culture, the objects of everyday life.In Material Culture Studies in America, Thomas Schlereth provides the following useful definition of material culture Material culture can be considered to be the totality of artifacts in a culture, the vast universe of objects used by humankind to administer with the physical world, to facilitate social intercourse, to delight our fancy, and to create symbols of meaning. . . . Leland Ferguson argues that material culture includes all the things that people leave behind . . . all of the things people make from the physical worldfarm tools, ceramics, houses, furniture, toys, buttons, ro ads, cities. (2) When we study material culture in conjunction with literature, we wed two notions of culture and explore how they relate.As critic John Storey notes, the first notion of culture is what is often called high culturethe general process of intellectual, spiritual and aesthetic factors and the second is exitd culturethe particular way of life, whether of a people, a period or a group (2). In a sentiency, material culture (as the objects of a lived culture) allows us to see how the prevailing intellectual ideas were played out in the workaday lives of people in a particular era.Thus, as Schlereth explains, through study material culture we can learn about the belief systemsthe determine, ideas, attitudes, and assumptionsof a particular community or society, usually across time (3). In reading objects as embedded with meaning, we follow Schlereths premise that objects made or L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 13modified by humans, consciously or unconsciously, directly or indirectly, reflect the belief patterns of individuals who made, commissioned, purchased, or used them, and, by extension, the belief patterns of the large society of which they are a part (3). The study of material culture, then, can help us better understand the cultures that produced and consumed the literature we read today. Thomas Schlereth suggests a number of useful models for studying material culture his Art History Paradigm is particularly noteworthy in that it will help you approach works of high art, such as paintings and sculptures, as well. The Art History Paradigm argues that the interpretive objective of examining the artifact is to depict the historical development and intrinsic merit of it.If you are interested in writing an Art History Paradigm reading of material culture, you might look at an object and ask yourself the following questions, taken from Sylvan Barnets Short Guide to Writing about Art. These questions apply to any art object First, we need to know information about the artifact so we can place it in a historical context. You might ask yourself 1. 2. 3. 4. 5. What is my first response to the work? When and where was the work made?Where would the work to begin with have been seen? What purpose did the work serve? In what condition has the work survived? (Barnet 2122) In addition, if the artifact is a drawing, painting, or advertisement, you might want to ask yourself questions such as these 1.What is the subject matter? What (if anything) is happening? 2. If the picture is a portrait, how do the furnishings and the background and the angle of the head or the posture of the head and body (as well as the facial expression) contribute to our sense of the subjects character? 3. If the picture is a still life, does it suggest opulence or want? 4. In a landscape, what is the relation between human beings and nature? Are the figures at ease in nature, or are they dwarfed by it? Are they one with the hori zon, or (because the viewpoint is low) do they stand out against the horizon and perhaps seem in give ear with the heavens, or at least with open air?If there are woods, are these woods threatening, or are they an inviting place of refuge? If there is a clearing, is the clearing a vulnerable place or is it a place of refuge from ominous woods? Do the natural objects in the landscape somehow reflect the emotions of the figures? (Barnet 2223 for more questions, see pp. 2324) Material culture is a rich and varied resourcefulness that ranges from kitchen utensils, to advertisements, to farming tools, to clothing. Unpacking the significance of objects that appear in the stories and poems you read may help you better understand characters and their motives. 14 W H AT I S A M E R I C A N L I T E R AT U R E ?ArchitectureMost of the time we read the hidden meanings of buildings without even thinking twice. Consider the buildings below supra 9089 Anonymous, Capitol Building at Washington, D . C. (1906), courtesy of Prints and Photographs Division, Library of Congress LC-USZ62-121528. Right 6889 Anonymous, frontal of the Sam Wahs Chinese Laundry (c. 1890 1900), courtesy of the Denver commonplace Library.Even if we had never seen either of these buildings before, it would not take us long to determine which was a government building and which was a smalltown retail establishment. Our having seen thousands of buildings enables us to understand the purpose of a building from architectural clues.When first perceive a work of architecture, it is helpful to unpack cultural assumptions. You might ask 1. What is the purpose of this building? Is it public or private? What activities take place within it? 2. What features of the building reflect this purpose?Which of these features are necessary and which are merely conventional? 3. What buildings or building styles does this building allude to? What values are inherent in that allusion? 4. What parts of this building are in general decorative rather than functional? What does the ornament or lack of it say about the condition of the owners or the people who work there? 5. What buildings surround this building?How do they affect the way the building is entered? 6. What types of people live or work in this building? How do they interact within the space? What do these findings say about the relative social status of the occupants? How does the building design restrict or encourage that status?7. How are people supposed to enter and move through the building? What clues does the building give as to how this movement should take place? L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 15 These questions imply two basic assumptions about architecture (1) architecture reflects and helps establish social status and social relations and (2) architecture i

Simon Bolivar :: essays research papers

Throughout history there have been some(prenominal) leaders who apply their cunning and sly intelligence to trick the commonpopulation into following them and their beliefs. Eventually,these leaders had so much support, they could no weeklong becalled leaders, but absolute and dictatorial rulers. However,during the period of reasonableness and of the french innovation, non-maleficent ideas, created by Locke,Montesquieu, Voltaire, and other EnlightenmentPhilosophes, were spread throughout the Europeanpopulation. They verbalize the opposition to absolutemonarchies as well as a unexampled main focus on peoples innaterights and freedoms. many leaders after this period ofEnlightenment preached its ideas, while others simply usedthem to gain power. Simon Bolivar might have preachedopinions that mainly reflected the ideas of the FrenchRevolution. However, his actions contradicted theseopinions, and revealed that his true intentions were self-seekingand illiberal.In several document s and speeches, Bolivar stated that hewas very fond of freedom, self-sufficiency and equality. Clearly, itwould seem that he desired democracy. This can be seen inhis "Jamaican Letter", where he states "More than anyone Idesire to see the States fashioned into the dandyest nation inthe world, greatest not so much by virtue of her area andwealth as by her freedom and glory." However, he addsto this "love of freedom" in saying that it is " unacceptable"to set up such a government, simply because there is notenough political knowledge for a governance such as that to run.Further, Bolivar says that he agrees with the ideas ofMontesquieu, who played a very important role during theEnlightenment period, and states that he is againstabsolutism. In looking at the beliefs Bolivar spoke of, onecould around come to the conclusion that he directlylectured the ideas fought for in the French Revolutionopposition to absolute monarchies, natural rights andfreedom s, ideas of Montesquieu, and ruling for thepeoples exceed interest. Interestingly, however, Bolivar never actually put any of his"glorious ideas" into action. Instead of view up ademocracy, ideas of which he praised, he arranged asystem in which his total control was made known. Hedeclared himself prexy until he died, created a weaklegislative body with almost no power, and limited the rightto vote to the Creoles, who were American-bornSpaniards. Not only did this contradict his great "Love offreedom" that he originally spoke of, but in any case his hate ofmonarchy, a system of government not too far off from the"paternal constitution" he himself created. Furthermore, thisgovernment system doesnt reflect ideals fought for in theFrench Revolution, which he once agreed with. In adocument written by Bolivar, he states that he fears shocking