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Horace Miner’s Body Ritual Among the Nacirema
In Horace Miner’s article, “Body Ritual Among the Nacirema”, he talks about a tribe and describes their odd behavior. He tells about how the tribe performs these strange daily rituals and how their peculiarity is extreme, but in fact he is actually speaking of Americans as a whole (Miner). Miner uses this style of writing to more effectively prove his point: that Americans are ethnocentric.
Miner does an exceptional job in disguising the Nacirema as Americans. Some of the things he disguises are the bathroom, which he says is a cleansing shrine. He disguises the medicine chest as the main device in the shrine, a bundle of hog hairs on a stick as a toothbrush, and magical potions as medicine (Miner).
In this article, Miner gives a few hints that the Nairema are indeed Americans. The fact that Nacirema spelled backwards is American is a huge hint by itself. Another clue is the “holy-mouth-men.” If you sit down and think about it for a second it is obvious to realize that they are indeed dentists. Also the me...
The focal point of the shrine is a box or chest which is built into
... seeing and feeling it’s renewed sense of spring due to all the work she has done, she was not renewed, there she lies died and reader’s find the child basking in her last act of domestication. “Look, Mommy is sleeping, said the boy. She’s tired from doing all out things again. He dawdled in a stream of the last sun for that day and watched his father roll tenderly back her eyelids, lay his ear softly to her breast, test the delicate bones of her wrist. The father put down his face into her fresh-washed hair” (Meyer 43). They both choose death for the life style that they could no longer endure. They both could not look forward to another day leading the life they did not desire and felt that they could not change. The duration of their lifestyles was so pain-staking long and routine they could only seek the option death for their ultimate change of lifestyle.
In Sherman Alexie’s “This Is What It Means to Say Phoenix, Arizona” and “Dead Men’s Path”, the reader is given a glimpse into two different stories but share many similar characteristics of traditions. Tradition is the handing down of statements, beliefs, legends, customs, information and cultures within a group of people from generation to generation. However, these two stories will reveal that the protagonists in these stories, Michael from “Dead Men’s Path” and Victor from “This Is What It Means to Say Phoenix, Arizona,” will ignore their own traditions that they face throughout the story. In other words, the protagonists are westernized and have forgotten their own culture, which reflects the theory of the melting pot. The ignorance of ancestry and traditions brings the worst fates into the lives of the protagonists in each story.
As a scholar invested in the progression of the field of Native American material cultural studies, I consistently recondition my understanding of both epistemology and the appropriate ways to approach cultural circumstances of the so-called “Other” through personal encounters and the shared experiences of my contemporaries. My own ethical position is forever fluid, negotiated by both Native and non-Native sources as I attempt to find ground in what exactly I intend to do (outside of an occupation) with the knowledge I accumulate. Perhaps the most vulnerable facet of existence in the world of academia is the ease that comes in the failure to compromise one’s own advancement for the well-being of those being studied. Barre Toelken is an encouraging exception to this conundrum, considering his explicit analysis of both Navajo and Western ethics in the case of the Hugh Yellowman tapes. His essay argues for an approach that surrenders the fieldworker’s hypothetical gain to the socio-emotional needs of subjects’ epistemological structure and, most intriguingly, he treats ethnographic materials as praxis rather than data. After years of apprehension with the objectifying habits of cultural anthropology, a discipline internally dithered by the bickering of Science vs. Humanities, I am finally moved to disengage from such authoritatively based methods altogether as a result of Toelken’s example.
The Cold War was the perpetual rivalry that took place between the Soviet Union and The United States. The war was called the Cold War because no direct fighting took place between America and Russia. Instead, it was a war of words and threats. It was an ideological war based on ideas of communism and capitalism. The war never fully escalated because both powers knew that use of nuclear weapons would be disastrous, although, there was a nuclear arms escalation between both sides. The Truman Doctrine stated that it was America’s responsibility to contain communism. I think America should not have got involved in a war against communism and neither should China and Russia have rallied against democracy.
The cold war was a conflict between capitalist’s nations and communist nations following World War 2. The main reason the Cold War was started was over an ideological power struggle between atheistic communism and democratic capitalism. The principle players were the former Soviet Union (Communism) and the United States (Capitalism). The Cold War began in 1948 after Germany was divided between the western allies and the Soviets. What motivates a nation to become involved in world affairs is the idea of wanting other nations to adopt the same form of government.
of Native American Culture as a Means of Reform,” American Indian Quarterly 26, no. 1
Like in many tragically true stories, it would seem Mrs. Mallard 's freedom came too late. Kate Chopin’s, “The Story of an Hour” begins by introducing Mrs. Mallard as a person afflicted with heart trouble. The story builds on this by having Mrs. Mallard’s sister Josephine and her husband Richard explain the situation in a very sensitive manner. Their efforts would prove to be in vain however as Mrs. Mallard then proceeds to emotionally break down. The news shocks Mrs. Mallard to her very core and has her at odds with how she should feel now that all was said and done. After coming to terms with her situation, fate delivers its final blow in a cruel and deceitful ploy towards Mrs. Mallards. And with that, Mrs. Mallard 's dies. In her hour of change Mrs. Mallard 's was delicate, thoughtful and excitable.
In "The Story of an Hour," I can relate to so many different things that go on in this short tragic story. After reading the story I almost felt like Louise Mallard and I were living the same life with different events and a different outcome. Everything about the two of us comes down to being always misunderstood and just wanting to be free.
Mallard’s emotions over the presumed death of her husband. The author used both dramatic and situational irony to mislead the reader and surprise them with a plot twist ending. By utilizing both external and internal conflict the author expresses the internal debate of Mrs. Mallard’s true feelings and those of the people around her. The author used symbolism to display Mrs. Mallard’s desire for freedom from her marriage. In the end it was not joy that killed Mrs. Mallard but the realization that she lost her
The imagery in the middle of the story lets the reader feel as if they were in Mrs. Mallard’s shoes, because it is so heavily detailed. This story’s plot moves quickly along with Mrs. Mallard’s thoughts and lets the readers feel as if they are in her thoughts, which gives the theme more dimension. The tone shifts often, which keeps the reader’s attention throughout the story. Though this is an old piece, the theme still applies to to society today. These elements add layers of depth to “The Story of an Hour” so that readers understand the theme even
...d not want to live as a dutiful wife all her life. Now that her husband had passed away and she was alone. “She breathed a quick prayer that life might be long” (Chopin). She knew her life was going to get better, no more oppression no more exhaustion. No her days will be filled with “spring days, and summer days, and all sorts of days that would be her own” (Chopin).
...egaining her husband and all of the loss of freedom her marriage entails. The line establishes that Louise's heart condition is more of a metaphor for her emotional state than a medical reality.” (Koloski) It is ironic that she accepts the death of her husband and is joyous and free, and then he ends up being alive after she walks out of the room with a sense of power. The ending of The Story of an hour by Kate Chopin implies that maybe the only true resolution of conflict is in death.
The wife of Brently Mallard, a character in "The Story of An Hour," displays hope and despair. As she sits by a window in her room, thinking about her husband's death, an unexpected feeling comes over her. A feeling of freedom overwhelms her. "She said it over and over under her breath: `free, free, free!'" She envisions the moment she will see his dead body. She knows she will cry then; "but she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely." Her hopes for a happier future are demolished when her husband walks through the door, and she realizes that he is very much alive. Mrs. Mallard collapses. "When the doctors came they said she had died of heart disease." However, despair is seemingly the fatal disease.
The main theme in “The Story of an Hour” is a woman’s freedom from oppression. Mrs. Mallard does not react accordingly to the news of her husband’s death; in the third paragraph it states, “she wept at once, with sudden, wild abandonment.” After her initial wave of shock and sadness has passed, however, she becomes elated with the thought of finally being free of her husband. Originally, she is described as being “pressed down by a physical exhaustion that haunted her body” and having lines that “bespoke repression”; in an attempt to be a perfect wife to a man whom she did not even love, Mrs. Mallard has been masking her true self. Once she realizes that she has finally gained the freedom that she has been longing for, Mrs. Mallard begins to