Analysis of the setting in Kirikou and the Sorceress The story of the 1998 Animation Kirikou and the Sorceress takes place in a village on an African savannah with woodlands some distance away, and a mountain that is blocked from public access by Karaba the sorceress. The small rural village has several roundavels (round huts with pointed grass tops) with a few bare tree scattered around. The lands surrounding the village is dry and brown slowing fading to grey. With the exception of the woodlands with a spring which runs through it and the mountain. The presence of Karaba the sorceress prohibits life and growth. Karaba’s Dome and its radius is almost completely void of colour. Contrastingly, though aesthetically sound, the trees that lead
to Karaba’s dome have orange leafs the same colour that radiates from her entrance were she stands embellished in the gold of the villagers. There is no defined time period however most of the action in the film takes place during the day. As a result of the somewhat surreal nature of the story, the timeline is unclear. Did all of the action take place in a matter of days or years? The villagers in the film have a very defeatist perspective on life. Fear of Karaba the sorceress has become their custom. Obedience is recommended and the acceptance that life will always remain oppressive is being cemented. The majority of the village’s men have been taken away by Karaba and turned into fetishes though the women of the village believe that they have been eaten by the sorceress. Life is hard for the villagers and they complain plenty however they refuse to accept change or help. Moreover, the setting is in direct conflict with the main character Kirikou. A young man that could make demands from the womb and gives birth to himself. From the introduction of the self-named child, it is observed that he knows what he wants and will do what is required. His ‘can do’ attitude and tiny structure will be revealed to be the only hope that saves the village that rejects Kirikou even though he saves them repeatedly. Nature creates conflict with kirikou. Even when out of the sight of the look-out fetish Kirikou is faced with digging tunnels, squirrels that see him as a threat and predators that want to make a meal of him. What Kirikou expected to be a smooth journey was interrupted repeatedly and though he is vulnerable he keeps pushing forward. Kirikou was protective of a people that did not care equally about them but he intended to restore the water to the village so they did not have to go far for water and to stop the suffering they experienced. Once the conflict was resolved with the lack of water the people of the village celebrated by dancing and singing. When Karaba’s thorn was pulled out the plants in the woodland instantly bloomed and beauty was restored. The major change is that Kirikou grew into a tall handsome man when he kissed by Karaba. KiriKou now a man could no longer walk around naked and Karaba assisted him inn covering up The villagers attitude and outlook on life did not change and this is evidenced in the way the treat Kirikou when he returned with Karabas his woman.
In this paper I will discuss the print called Plum Garden at Kameido. This print was created by Ando Hiroshige in 1857. It is a woodblock print. In the front of the print is a close up of a tree. It is an image of a plum tree in a plum garden. The tree has pretty white blooms on it. For this reason it is logical to assume that it must be springtime. Working back, I see two more plum trees. None of the trees have much detail of the bark texture. I can see that if these trees are true to life, Plum trees are not very shapely trees. Behind the second row of trees is what appears to be an iron fence with people standing at various points along the fence. The fence line angles back to show a third row of trees in the distance. Green grass can be seen in much of the fenced in area highlighting the fact that it is a garden.
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
Known for her work as a historian and rather outspoken political activist, Yamakawa Kikue was also the author of her book titled Women of the Mito Domain (p. xix). At the time she was writing this work, Yamakawa was under the surveillance of the Japanese government as the result of her and her husband’s work for the socialist and feminist movements in Japan (p. xx-xxi). But despite the restrictions she was undoubtedly required to abide by in order to produce this book, her work contains an air of commentary on the past and present political, social, and economic issues that had been plaguing the nation (p. xxi). This work is a piece that comments on the significance of women’s roles in history through the example of Yamakawa’s own family and
Karmic retribution is a new narrative within the scope of magic and witchcraft since the 1950's with the invention of Wicca by Gerald Gardner. Ideas surrounding Karma being 'three-fold' is quite inappropriate and misguided because the origins of Karam (as within Hinduism) does not work on a three-fold basis. Karma is built up in one's life and expressed in the next. This very western idea of Karma was molded by the hands of post-Classical Witchcraft practitioners as a means to keep outsiders thinking that witches did not curse.
...hat make it real and separate it from the dangerous possibilities of nature. It is not to say that Disney’s Kilamanjaro Safari is naturalistically correct or incorrect; it is a representation, and not a reproduction of the true African savanna. How can nature be surpassed, you ask? Disney. That’s how.
While at the Museum of Modern Art, one might as well busk in Mito's serene and serendipitous scenery and drop by the Kairakuen Park. Nationally famous as a plum park, Kairakuen Park is one of the three great parks of Japan. This park was created in 1841 by the ninth Mito Clan Lord Nariaki Tokugawa. Its name means that the park is not only for the enjoyment of the Clan lord but also for the common people. This 13-hectare park has 3,000 plum trees of 100 varieties and with the coming of Spring, attracts crowds of plum blossom viewers. The park also flowers in Summer with azaleas and in Autumn with Japanese bush clover. The Kobuntei Villa nestled among the cedars and bamboos on the west side of the park were used for the clan lord's relaxation and for poetry meetings to which writers and artists were invited. It has a plain but distinctive atmosphere.
In The Witcher, the first romance scene occurs between the game’s protagonist, Geralt of Rivia and a sorceress names Triss Merigold. Triss is injured during a battle and Geralt has to collect herbs in order to make a concoction in order to heal. After finding all the ingridients and making a potion and giving it to the sorceress, she takes a rest. After that, if Geralt pursues the correct choices while having a dialogue with her, the two share the intimate moment, but the camera moves off. Then, the player receives a card picturing Triss, who is half naked. The sorceress is not a typical example of Damsel in distress trope. She seems to be a strong and powerful woman. In the game, many of the NPC’s comment on her revealing appearance and call her a “slut”, or
Throughout Tablet I of the epic, Enkidu primarily lived in the forest and lived with wild animals. The forest may represent anarchy and a lawless land. However, the author believes this takes a deeper purpose: just as it represents anarchy and lawlessness, the forest also represents innocence and a sense of childhood because it allows for more freedom than the city.
In Shakespeare's play, Taming of the Shrew, Petruchio does indeed tame Katherina. There are many steps to this process, yet in the end they fall in love. It must also be noted that Katherina tamed Petruchio as well. Petruchio was quite the shrew himself and likely worse of a shrew than Katherina. Petruchio's methods of taming is eccentric- lying, harassing, forcing Katherina to deal with him, chasing, and so much more. He originally wanted to marry Katherina for the money that was likely to acquire from Baptista, Katherina’s father.
Throughout Shakespeare's play, The Taming of the Shrew, Shakespeare depicts a significant amount of transformation in characters, which some involves a physical disguises while others leave the reader wondering about what is real and what isn’t. The reader can see many transformations like when Lucentio disguises himself into Cambio, so that he can become Bianca’s tutor. However, some disguises aren’t as obvious without the readers interpretation like how Katherine’s character changes after her wedding. Therefore, the reader can interpret that Katherine puts on an act towards marriage so that she can get what she wants, also Petruchio’s character puts on an act so that he can “tame” Katherine. So that means that both Katherine and Petruchio put on an act
In Shakespeare’s The Taming of the Shrew, Petruccio employs several methods to attempt to tame the shrewish Katherine. Petruccio and Katherine’s various encounters throughout the play illuminate their struggle to maintain power and control. At a certain point, the audience is convinced that Katherine has truly been tamed by Petruccio. However, the audience’s perception of Katherine changes during her final monologue in the comedy which evinces that, despite Petruccio’s attempt to tame her, Katherine still maintains aspects of her shrewishness. Shakespeare utilizes complex dialogue in order to outwardly portray Katherine as tamed, but upon closer inspection, still highlights her individuality. By analyzing Katherine’s final monologue in Act 5 scene 2, it is evident that she is still not tamed despite Petruccio’s sustained
Africa provides one of the most highly destructive environmental issues throughout the whole world. In fact, Sub-Saharan Africa has been known to have major impacts with the largest amounts of deforestation, the loss of forests from cutting down too many trees and not re-planting them back. According to the World Resource Institute, Washington DC stated, “More than 80 percent of the earth's natural forests have already been destroyed at a rate of about 40 million hectares per year. Up to 90 percent of West Africa's coastal rain forests have disappeared since 1900. Loss of habitats is among the obvious consequences of deforestation` (seventy percent of the Earth's biodiversity is present in forests). If deforestation continues without any solution, there will be no rain forest left in Africa by the year 2099” (Uneke). Again, the United Nation’s says, "Africa is losing more than 4 million hectares (9.9 million acres) of forest every year -- twice the world's average deforestation rate"(Doyle). Therefore, deforestation can be understood as a completely ecological process in which the human factor is taken into account only as a basic addition, not as a powerful one constantly affecting the environment. In fact, the socially and culturally behavioral practices, such as those involved in traditional resource utilization and human reproduction, and their ecological connections present another approach to the environmental problem in Africa. In the history of deforestation, the studies of pollen sedimentation in bog lake bottom layers shows that regional deforestation replacement of forest vegetation by grasslands and bush lands occurred long ago in various parts of Africa, such as Ethiopia, Ug...
Belief in witchcraft exists around the world and varies from culture to culture. Historically, people have associated witchcraft with evil and usually have regarded a witch as someone who uses magic to harm others, by causing accidents, illness, bad luck, and even death. Some societies believe that witches also use magic for good, performing such actions as casting spells for love, health, and wealth. People around the world continue to practice witchcraft for good or harm.
Ghana on its own is a culturally diverse nation. For most of us, Accra is all we know about Ghana. We are clueless about what lies beyond the borders of Greater Accra Region and we are oddly incurious about it. This country is built with the beauty of nature. It possesses abundant natural resources that unfortunately people don’t take the initiative to appreciate. The Central part of Ghana has one of the most beautiful landscapes and tourist attractions ranging from castles to forts, beaches to parks, and so forth. Last year, I visited to Kakum National Park, located in the coastal environs of the Central Region. The park is 350 metres long and connects seven tree tops which provide access to the forest. GoTravelGhana stated, “The canopy walkway is about 360 meter in length and 40 meter high above the ground. It has six wooden platforms where you can stop and observe the authentic moist evergreen rainforest.”
Witchcraft has been a part of history for thousands of years, being known as the practice of magic or sorcery. It began with a group of women in ancient times who were close with nature and could cure the sick with their knowledge of herbs and plants. After some time, people started to believe witches made packs with the Devil so they were seen as evil and feared by Christians. Through stereotypes, prejudices, and rumors, witches have become known as wicked creatures.