Getting a sense of what Bronies derive from the program requires a review of the cartoon show and some of its themes. Lauren Faust, who is associated with other animation projects such as The Powerpuff Girls, Foster’s Home for Imaginary Friends, and The Iron Giant was the creative mind behind the rebooted ponies. Faust’s creative control over the ponies separates it from previous generations of the cartoon by removing contemporary surroundings like the second and third generations and set the current generation of ponies in a fantasy land called Equestria where the citizenry live under the rule of Princess Celestia. Celestia not only rules over the land as the monarch but also has the responsibility of raising and setting the sun every day.
She is not the only member of royalty in the show as her younger sister, Princess Luna, is in charge of raising the moon and Princess Cadence rules over the Crystal Empire. Episodes primarily focus on the six protagonist ponies who reside in the town of Ponyville. The group consists of Applejack, Pinkie Pie, Twilight Sparkle, Rarity, Fluttershy, and Rainbow Dash which the fandom dubs “the Mane Six” due to their prominence in the show’s storyline. Each of these ponies possesses a specific friendship trait which is collectively a part of the Elements of Harmony. The Elements of Harmony consist of honesty, laughter, generosity, loyalty, kindness, and magic. Combining these elements creates a source of power with the ability to defeat any foe, as long as the ponies are unified in their goal. Examples requiring the Elements of Harmony over the course of episodes include, taking on Nightmare Moon who wants to rule Equestria and permanently block out the sun, defeating the spirit of chaos named Discord who randomly creates anarchy throughout the domain, and battle creatures that escape from their prisons in Tartarus.
Fahrenheit 451 degrees Fahrenheit is the temperature at which paper, more specifically books, burn. As a fireman living in a futuristic city, it is Guy Montag’s job to see that that is exactly what happens. Ray Bradbury predicts in his novel Fahrenheit 451 that the future is without literature -- everything from newspapers to novels to the Bible. Anyone caught with books hidden in their home is forced out of it while the firemen force their way in. Then, the firemen turned the house into an inferno.
As a future educator, I have reflected on how my own personal experiences have formed me into the person that I am today, and how I can use my experiences to help my future students. I have also reflected on how I can information about family systems as well as risk and resiliency to better understand families that I will work with in the future, as well as how children with special needs impact a family’s structure. I believe all of these components are essential for teacher, student, and family collaboration and success.
Fahrenheit 451, The Martian Chronicles, and The Illustrated Man are three of Ray Bradbury's most famous books. Ray Bradbury has written thousands of published items from poetry to short stories to three hundred page books; he has done it all. Bradbury's best writing combines a great imagination with a poetic style of its own.
Readers tend to idolize protagonists of stories. Atticus Finch, Huckleberry Finn, Harry Potter – they are all characters that possess a positive tone from the author. In pieces of writing associated with fantasy, however, it would only be more suitable to call these characters, heroes. Particularly in high fantasy, the hero ventures on an aptly named “hero’s journey.” However, the hero will always discover the “call to adventure” at the beginning of the story. At that point, the protagonist realizes that he or she possesses a unique ability. In high fantasy, that ability generally involves magic. Ursula K. Le Guin’s A Wizard of Earthsea serves as a prime example of this notion. The protagonist, Ged, goes on a journey to quench his thirst for better understanding of wizardry. Another example of fantasy would be L. Frank Baum’s “The Dummy that Lived,” in which a fairy’s mischievous acts lead to a chain of trouble for the victim. Both Le Guin and Baum use magic in high fantasy literature to symbolize the need for maturity in a protagonist, or the creature casting the spell, and therefore promote the importance of responsibility to those who hold great power.
Book Title: Fahrenheit 451 Author: Ray Bradbury Original date of publication: 1953 Part A.) The Author. Visit the reference section of a library. Drawing from at least two sources, share the life story of the author. Discuss how the author’s life and circumstances may have influenced the novel.
raw to and a yellow fog, a filthy fog, evil smelling fog, a fog that
“We feel as if something inside us, in our blood, has been switched on. That's not just a phrase--it is a fact. It is the front, that has made electrical contact ... We are dead men with no feelings, who are able by some trick, some dangerous magic, to keep on running and keep on killing.”
In Frankenstein, Victor’s monster suffers much loneliness and pain at the hands of every human he meets, as he tries to be human like them. First, he is abandoned by his creator, the one person that should have accepted, helped, and guided him through the confusing world he found himself in. Next, he is shunned wherever he goes, often attacked and injured. Still, throughout these trials, the creature remains hopeful that he can eventually be accepted, and entertains virtuous and moral thoughts. However, when the creature takes another crushing blow, as a family he had thought to be very noble and honorable abandons him as well, his hopes are dashed. The monster then takes revenge on Victor, killing many of his loved ones, and on the humans who have hurt him. While exacting his revenge, the monster often feels guilty for his actions and tries to be better, but is then angered and provoked into committing more wrongdoings, feeling self-pity all the while. Finally, after Victor’s death, the monster returns to mourn the death of his creator, a death he directly caused, and speaks about his misery and shame. During his soliloquy, the monster shows that he has become a human being because he suffers from an inner conflict, in his case, between guilt and a need for sympathy and pity, as all humans do.
What would it be like to live in the south during the 1960’s? How about to live with bees? Sue Mont Kidd got to encounter both of these things while pursuing her innate talent to write. Her childhood memories and ambitions, experiences with bees, and the social climate of the south left an imprint on Sue Monk Kidd, as evident in the coming-of-age novel The Secret Life of Bee.
Fahrenheit 451 is a literary work of art. It is a novel about censorship and one mans fight against it. The story was written in the fifties, but is set in the future. Ray Bradbury’s prediction of what the future will be like is precise in some aspects, but completely outrageous in others. He pictures the future as a somewhat a dictatorship government. The government controlled everything in their lives. People don’t think either. Technology is made it so that people are given all their information through a television sort of a device that imitates a family. Books are obsolete, so they are burned. Our hero of this story is a “fireman';. Only, these futuristic firemen don’t fight fires, they burn books. They burn them so people don’t think, and so everyone is of equal intelligence. They don’t want anyone to rise up and be higher than the next person. This fireman’s name is Guy Montag. He lives in a condominium with his wife Mildred. The story sets off as Guy is walking home from work.
In the book Fahrenheit 451 the theme is a society/world that revolves around being basically brain washed or programmed because of the lack of people not thinking for themselves concerning the loss of knowledge, and imagination from books that don't exist to them. In such stories as the Kurt Vonnegut's "You have insulted me letter" also involving censorship to better society from vulgarity and from certain aspects of life that could be seen as disruptive to day to day society which leads to censorship of language and books. Both stories deal with censorship and by that society is destructed in a certain way by the loss of knowledge from books.
In Mary Shelley’s Frankenstein, Victor Frankenstein, the protagonist, produces a monster and instead of teaching his monster the mannerisms and norms of society, he abandons him. Victor expects his monster to make it in the harsh, critical society without being taught correct demeanors because he believes that having correct mannerisms is intuitive. A common viewpoint of the book is that Frankenstein’s monster should receive the blame, because he should have had proper nature, but in reality, society nurtured him to act out. Victor isolated the monster, and other members of society followed in Victor’s example and also treated him as so; which made the creature’s actions monstrous. Frankenstein played God, causing society to view his creature as a monster and as a risk to the public, but Frankenstein did not intend to create the monster as dangerous in nature; society nurtured him to act as a beast.
“Abhorred monster!” screams out Victor, In Frankenstein by Mary Wollstonecraft Shelley, passionately as he is confronted by the most detestable thing in his entire existence (Chapter 10). Thurston analytically states “A monster of vaguely anthropoid outline, but with an octopus-like head” while looking at a sculpture of Cthulhu. The word monster is used in both the above quotes, yet one is used as an insult about evilness, and the other is used as a descriptive word about the physical appearance. The same word is used two different times with different definitions bringing up the question of what makes something monstrous. Both Shelley’s Frankenstein and the Lovecraft stories feature monsters and help the reader better understand what a monster truly is. In some aspects, these authors’ definition of monster is the same, and in other ways the definition diverges.
1818 at the tender age of 18, it was often wondered how such a young
Thomas Hardy's The Son's Veto, Graham Greene's The Basement Room and alan Sillitoe's Uncle Ernest