In Broken April, Ismail Kadare tells two tales of how the traditions of the High Plateau affect the individuality of a man that lives within it and two newlyweds on their honeymoon. These newlyweds try to immerse themselves within this new culture, the Kanun, but fail to realize the detrimental effects of such a culture on their relationship. The author uses the Physical proximity of the newlyweds, Bessian and Diana, as a representation of the division that arises between the two, as they both interact with and learn more about the Kanun.
On his journey to the unknown Kulla, Bessian`s struggle to balance his attention between his wife and the physical representations of the Kanun, depict a shift in the attention that is present between both characters . On their carriage ride to the Kulla of Orosh ,Bessian “holding
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wife`s hand [moves] his head close to the window” (61), drawing his attention to the terrain of the high plateau.The physical connection that Bessian has with his wife begins to deteriorate as he seems captivated by the mountains of the High Plateau and his anticipation to encounter other physical aspects of the Kanun. Later, Bessian tells Diana to look out of the window “taking her hand” (65), and disturbing her sleep upon his shoulder to observe the mountaineers of the High Plateau. By “taking” Diana's hand Bessian disregards his wife's wish to sleep and the relaxation she enjoys as she lays on his shoulder, as he focuses on the landscape outside the carriage. As a result of their exposure to the Kanun a rift arises between what each intends to do on their honeymoon. Shortly,Bessian explains the tombstones and muranes outside the carriage while Diana listens “looking at him still” (70).
Diana gives Bessian the attention requested of her, even though she has little interest in learning about the muranes. Bessian then leans “his forehead against the glass” (70).Bessian does contrary of his wife’s actions and pushes his wife away by not reciprocating the effort she puts to interact with him. The Kanun acts against the traditional values of marriage and goes forth to create division between the betrotheds as Bessian is still enticed by the physical aspects of the Kanun rather than his wife. After explaining what the Blood Code is to his wife, Bessian seems to wait “for a word of approval” (72), connecting his relationship with his wife to that of the code. “But she was silent” (72) struggling to cope with her husband’s expectation concerning his own interest.When Bessian looks for his wife's approval, the rift already present between the two enlarges as Bessian`s evaluation of the Kanun continues to overshadow their relationship. After discussing the status of guests within the Blood Code ,Bessian begins to pay more attention to his wife “slipping his arm around her shoulders” (83). Their
intimate moment is short lived as Bessian looked towards the window “to glance outside” (83), as he drifts away from her comfort into the hands of the Kanun. When the two arrive at the unknown Kulla, Bessian “lets go”(86) of Diana and she walks towards the Kulla with “not very confident” (86) steps. Diana`s confidence waning depicts the division between her and her husband because he lets go suddenly rather than an appropriate gesture. By letting go of Diana's hand Bessian still is tempted to follow his curiosities rather than interact with his wife. As they continue on their journey to the Kulla of Orosh after leaving the unknow Kulla , the division between Bessian and Diana enlarges as Diana formation of her own independent view on the Kanun leads to development of opposing views . After having separated into different rooms for the night because of the Blood Code Bessian holds Diana’s hand, she seems “pale to him”(91).The change in Diana`s appearance can be attributed to her first physical encounter with the traditions of the Kanun and how it begins to mold her personal appearance. After getting to the location of the boundary dispute, Diana talks to Bessian saying “they take me for a princess”(100). She begins to experience the Kanun in a new light different from Bessian`s. Ali Binak begins to explain the boundary issue and as Diana begins to ask questions of Ali Binak about the dispute Bessian looks “at his wife questioningly” (101), shocked at her new found independence. Diana`s effort to formulate her own view of the Blood code, leaves Bessian fearful of his wife’s behavior and a possible change in their relationship. As the boundary ceremony begins, Diana slips “her hand under Bessian’s” (103), as she realizes the danger amongst the Blood Code adherence to rifles. Here a physical connection between the couple is present but an emotional detachment is also present between the two, for Bessian is indifferent to the presence of the rifles. After leaving Ali Binak and later on Gjorg, Bessian begins to discuss the Bessa with his wife, Diana interrupts her Husband saying “Gjorg …that is his name” (110). Bessian`s approach to the Bessa is detached and impersonalized, contrary to his wife’s approach as she tries to connect it to Gjorg .This difference between Bessian and Diana`s approach to the Code enlarges the rift between the two. After noticing the tower of refuge, Bessian puts his arm around his wife asking “how are we going to sleep tonight” (117), but she replies with a shrug, depicting a progression in the distance between the two. She is no longer interested in how the rules of the Kanun will affect her interaction with her husband. Looking out of their bedroom at the Kulla of Orosh Bessian and Diana see the Murderers Gallery, discussing the Gallery`s history Diana refers to it as “terrifying”(124), for rather than the history she connects with what could have been Gjorg’s experience at the Gallery. Still facing the window, Bessian holds his wife and he asks her “what’s the matter”(127) but she “did not answer”(127). Diana doesn’t care nor does she listen for her husband’s explanation of the gallery but rather becomes completely enamored in her representation of the physical face of the Kanun, Gjorg. Her mindset on the Kanun now begins to overshadow her relationship with her husband. As the story comes to a closing, there is only the physical appearance of marriage between Bessian and Diana for their emotional and mental connection has been detoured by their individual perspectives on the Kanun. Before meeting the old woman on the road, Bessian looks out onto the road protected by the Bessa and then kisses his wife timidly, “she did not move”(169),but rather continues to look out the windowpane. While Bessian seems to be the only one adding attention to their marriage, both individuals are found following their own survey of the Kanun rather than focusing on the relationship they had chosen to foster. After encountering a mountain woman that speaks about the deaths in her village, the couple settles into an inn where Bessian makes an attempt to fornicate with his wife but she says “no ,not now” (181), distancing herself from any intimacy with her husband. Diana follows her on individual intentions and chooses to separate from the affection of her husband as a result of the “cold” (181) environment of the high plateau. When Bessian and Diana reach the Upper White Water , they walk side by side near a lake and Diana asks Bessian to write something “natural and .. truer” (185) about the High Plateau. Diana interrupts the intimacy of the moment to demonstrate her desire to portray her new and more personalized aspect of the High Plateau and how it is contrary to Bessian. After they arrived at the tower of refuge, Bessian looks for Diana but he does not “see her” (196) for she has “gone inside the tower of refuge” (197), in search of her personal view of the Kanun, Gjorg. Her venture into the Tower of refuge increases the rift between her and her husband because she disregards her marital obligations in search of a man that embodies her new perspective on the Kanun. As the carriage leaves the High Plateau Bessian turned to his wife feeling that “he had left” his wife “somewhere in the mountains” (215), depicting the complete division between Bessian and his wife. Diana`s new view of the Kanun embodies her whole character, such a character is contrary to that which Bessian had married. Bessian now realizes the impact of his trip to the High Plateau as he faces the division that is his marriage. Through their interaction with the Kanun, Bessian and Diana develop individual perspectives that create division between the two, and eventually leave their relationship with only an outward appearance of marriage. Bessian`s struggle to balance his attention between Diana and the physical aspects of the Kanun ultimately push his wife to look for her own outlook on the Blood Code. The Division between Bessian and Diana demonstrates how individualist ideals can throw off the connection between two individuals and eventually crack the initial relationship that the individuals have created. A change in culture can cause individuals to realize the differences that are presented amongst each other, as it happens with Bessian and Diana.
This book differs from most ethnographies in that it was not authored by an anthropologist. Fernea originally set out to accompany her husband as he completed research for his doctorate in social anthropology from the University Chicago. Henceforth, Fernea did not enter the field with any specific goals, hypotheses, or particular interests. In many ways, Guests of the Sheik reads as a personal narrative, describing Ferneas struggles integrating into a society that has vastly different expectations and guidelines for women. Fernea recalls the culture shock she first experienced as well as her eagerness to overcome it. Her goals were mainly of a human nature: she wanted to feel a sense of belonging, to have friends, and to establish a life in El Nahra. The first part of Guests of the Sheik largely mimics Fernea's own journey to feeling accepted as it introduces readers to the various groups of women who soon become Fernea's close friends and confidants, most importantly Laila, who will later introduce many aspects of Muslim culture to Fernea. Throughout the book, each chapter emphasizes a different aspect of life as Fernea discovers it, or details an important event. As such, readers experience Ramadan and Eid, two staples of the Muslim culture, Weddings and marriage arrangements, discussions of monogamy and polygamy, the Pilgrimage to Karbala, and many other customs
It is important to note that Elizabeth Warnock Fernea herself is a brilliant writer, and her piece of Guests of the Sheik offers a very in debt analysis of an Iraqi village that would not be seen from most outsiders. How while Fernea concedes the fact that she is not an anthropologist she was married to one and the first two years of their marriage they lived in an Iraqi village called El Nahra. Since she lived in a village that has hardly any social contact between men and women, Fernea is able to give us a beautiful account of what the women’s life style, roles, and other aspects of a women’s life in an Iraqi village. While women are not treated incredibly badly there lifestyle was a lot different than the one an American woman would live. One of the primary directions of Fernea’s study are to show how the author could be credible in ultimately idealizing her culture and peoples in this ethnography. She uses her Self authority to convince the reader of that and her interactions with other women. The
April Morning, by Howard Fast, is a novel that depicts what it was like for a 15 year old boy, Adam Cooper, fighting in the Revolutionary War in Lexington. His struggles began with his father, who is the antagonist, Moses Cooper. Moses Cooper is a character who is strict, strong-willed, and loving.
“Black Awakening in Capitalist America”, Robert Allen’s critical analysis of the structure of the U.S.’s capitalist system, and his views of the manner in which it exploits and feeds on the cultures, societies, and economies of less influential peoples to satiate its ever growing series of needs and base desires. From a rhetorical analysis perspective, Allen describes and supports the evidence he sees for the theory of neocolonialism, and what he sees as the black people’s place within an imperial society where the power of white influence reigns supreme. Placing the gains and losses of the black people under his magnifying glass, Allen describes how he sees the ongoing condition of black people as an inevitable occurrence in the spinning cogs of the capitalist machine.
There are many cultures throughout the world, which may be far apart and yet still have similarities. Two of those such cultures, the Basseri, that live in Iran, and the Nuer, whom live in Sudan, have their differences, but also have some similarities. Many of the differences and similarities come from their subsistence strategies and the social and political organization of their societies. With the regions of the world, both the Basseri and the Nuer live in, they’ve had to adapt to the environment they live in along with the limitations imposed by that environment.
Being a culture under pressure from both sides of the contact zone, there needs to be passion and emotion or else the culture might disappear into history. Anzaldua’s text makes great use of passion and emotion while merging the ideas of multiple cultures together through the tough experiences in her life. Autoethnographic texts give perspective to outsiders on how a culture functions from the inside point of view. Anzaldua’s “How to Tame a Wild Tongue” excellently portrays her culture’s plight and creates a fiery passionate entrance for her culture in their uprising through the contact zone.
“The Sambia: Ritual, Sexuality, and Change in Papua New Guinea” is a book written by Gilbert Herdt. It is based on a case study Herdt did during the 1970’s of the culture of the Sambia people. His study took place in Eastern Highlands Province of Papua New Guinea. He didn’t know much about their language, however through out his time there he was able to learn their language and customs. As he settled into their village, he mostly slept in the clubhouse with the other Nilangu villagers; however, eventually they built a house for him to stay at. Herdt had a great interest in gaining new knowledge about the Sambia culture.
Beowulf is an epic poem telling the story of Beowulf, a legendary Geatish hero who later becomes king in the aforementioned epic poem. While the story in and of itself is quite interesting, for the purpose of this paper it is important to look at the character more so then his deeds, or rather why he did what he did.
This novel and film commentary analysis or interpretation will be first summarised and then critiqued. The summary will be divided into twenty- four episodes. While summarising it is well to remember that the film was made out of the book.
In Nectar in a Sieve, Rukmani and Kenny highlight the differences in the two cultures, showing how the two cultures have different standards for relationships and how Westerners try to change suffering and poverty while Easterners accept it. As Rukmani points out to Kenny, “Have I not so much sense to see that you are not one of us? You live and work here… but this is not your country” (Markandaya 106). Kenny and Rukmani are friends, but their different values on subservience in relationships and suffering cause them to butt heads during most of their conversations.
The account of Berengaria's life ends here, but the few known facts about her raise more questions than answers. An unanswered question relates to her marriage, which gives no evidence that her husband ever had any deeper attachment for her than total indifference.
The way of the Ju/‘hoansi life has changed dramatically in many ways throughout the years. However, it is still possible to reflect upon their original way of life and compare it with their present state of living. Most of the changes occurred due to environmental, economical, developmental, social and cultural changes. All of which play a vital role in determining a Ju’s way of life. Although the land of the Dobe and !Kangwa have developed and changed in recent years, there are still some remnants of how the environment used to be. A significant shift in social and cultural aspects of the Ju/‘hoansi life can be observed in the new environment. However, some important aspects of their culture and belief system are still reflected in their everyday lives.
... things up to the worst of it all. The readers can take away that just because you believe something different then somebody else, doesn’t make them or you a bad person or different in any way. This topic shows that long before the concentration camps, Jews were being singled out and treated terribly. The study of the Holocaust matters to show people what happened so that others can learn from it and learn to accept people no matter what their religion. It must not be forgotten because the people who suffered in it should be remembered. It was a terrible time that should never happen again. All of the laws passed leading up to the Night of the Broken kept increasing Hitler's power and ability to persecute the Jews because there was little reaction to his actions; the violence and persecution increased leading to the final solution because of this indifference.
In the piece Doing Nothing is Something written by Anna Quindlen, she explains how doing nothing is beneficial to children in many ways. Children should be able to do nothing for as long as they want, it should not have to be penned into their schedule. Children having down time is where they can become themselves. Through doing nothing or having down time can light a spark in children's creativity, have time to reflect and just relax and it also fosters independence.
Khaled Hosseini’s A Thousand Splendid Suns features at the most basic level the compelling life story of a two women, Mariam and Laila, and their lives. However, the true heart of this work lies in a much broader issue through all of the characters and the events that took place in Afghanistan around the time of this novels story.Hosseini writes characters into his novel as characters in themselves on the surface, but can be seen as representations of a much larger population of Afghanistan. Hosseini uses individual characters as a window into the larger scene of the entire country of Afghanistan, and the many facets of its people, in order to illustrate the political issue in a new light so as to demonstrate to the audience Hosseini’s hope for the future of Afghanistan.