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Essays on orginal fairy tales
Modern fairy tale essay
Analysis on fairy tales
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Chapter 5 contains Tambu’s reincarnation and Nyasha’s thoughts on it, which EXO’s, “What If…”, written by Seo Ji-eum, represents with the theme of looking at something that is lost or dead. Nyasha believes Tambu’s expectations of her changing/reincarnation is unreal, like when Tambu tries to tell her, “…I expected my sojourn to fulfill all my fourteen-year-old fantasies…freed from the constraints of the necessary…When I tried to describe to Nyasha a little of what was happening in my world, she laughed and said I was reading too many fairy-tales.” (Dangarembga, page 93). Nyasha quickly said she did not believe Tambu and her assumptions for growing would not uphold. Nyasha’a view is relatable with, “Eyes look at each other; One pair of remaining eyes” (Seo), where one of the eyes is Tambu, and the other Tambu’s expectations. The …show more content…
Babamukuru is shown to be very rough with Nyasha, like in, “They went down on to the floor, Babamukuru alternately punching Nyasha’s head and banging against the floor, screaming or trying to scream but only squeaking… he would kill her with his bare hands; Nyasha, screaming and wriggling and doing what damage she could.” (Dangarembga, page 114-115), as he beats her to the ground, showing her no mercy. Nyasha tries to retaliate by throwing any punches she can. Babamukuru’s actions can be explained by f(x)’s song lyrics of, “There’s no use fighting; Whatever I do, you’ll fall; It’s game over for you” (Seo). In other terms, means the narrator will beat the other person, no matter what they do. Babamukuru is described as doing exactly what if describes: throwing Nyasha to the ground and continuing to overpower her, even when she tries to fight back. Both the song lyrics and Babamukuru’s actions are about being better than the other and they will beat them and go on
Most kids do not have to deal with the thought of what they will become until the end of high school, but for Antonio, he has been pressured to determine his fate since they day he was brought into the world. In the classic Chicano novel, Bless Me, Ultima, by Rudolfo Anaya, young Antonio “Tony” Márez is struggling to discover his fate. Tony must decide between becoming a farmer-priest, which his mother wants, or becoming a vaquero, which his father prefers. Rudolfo Anaya believes that a person will not know their fate until they are ready for it, and that numerous things can influence a person’s fate. Anaya expresses this through series of vivid dreams that Tony experiences as he searches for answers. Anaya does this by showing how only Ultima
Tita emulates the standard archetypal hero’s unusual circumstances of birth with her own atypical birth immediately in the beginning of the novel. Almost instantaneously after being introduced to Tita, she “made her entrance into this world, prematurely” (Esquivel 5). A premature birth is certainly abnormal, but it is not the only thing that makes Tita’s birth unique. The cause of her premature birth, in fact, was that “her wailing got so violent that it brought on early labor” (Esquivel 5). Her ability to bring about her own birth coincides with the idea of an unusual birth. It is however, extended even more so when the narrator tells the reader that Tita was “literally washed into this world on a great tide of tears” (Esquivel 6). While not being the most dazzling introduction of a character, it exemplifies the importance and individuality of Tita. Of the elements of an archetypal hero, an unusual birth is crucial because it will often deliver to the reader what a ...
She begins talking about her childhood and who raised her until she was three years old. The woman who raised her was Thrupkaew’s “auntie”, a distant relative of the family. The speaker remembers “the thick, straight hair, and how it would come around [her] like a curtain when she bent to pick [her] up” (Thrupkaew). She remembers her soft Thai accent, the way she would cling to her auntie even if she just needed to go to the bathroom. But she also remembers that her auntie would be “beaten and slapped by another member of my family. [She] remembers screaming hysterically and wanting it to stop, as [she] did every single time it happened, for things as minor as…being a little late” (Thrupkaew). She couldn’t bear to see her beloved family member in so much pain, so she fought with the only tool she had: her voice. Instead of ceasing, her auntie was just beaten behind closed doors. It’s so heart-breaking for experiencing this as a little girl, her innocence stolen at such a young age. For those who have close family, how would it make you feel if someone you loved was beaten right in front of you? By sharing her story, Thrupkaew uses emotion to convey her feelings about human
An important aspect of Dana Sach’s “if you lived here” is the trauma and recovery that characters like Xuan Mai go through. Trauma results from an event that is overwhelming to the person and causes symptoms that are a response to the trauma. Recovery is when the life narrative is pieced back together so that the trauma is, “part of the learning curve of the life narrative.” (Herman) The trauma and recovery of characters like Xuan Mai is important because the stage that the character is undergoing impacts their actions and attitudes toward key events in the novel. This is evident in how Xuan Mai’s attitude toward Shelley’s adoption of Hai Au changes based on what stage of trauma and recovery that she is in.
It has not only been a trend, but almost a necessity, for novelists who depict wars to depict humanity. Wars are largely, if not totally, alienating; it alienates humans from who they are—or at least whom they think they are—to fighting machines programmed exclusively for mass destruction and ruthless killing. Romantic love and strong sentiment seem to be incompatible with the nature of wars and are rarely found in wars as well. However, in Cold Mountain, Charles Frazier shows us the reshaping of humanity and personality of the male protagonist Inman during the war; he conveys an idea of rebirth in the war—a process of gradually discovering and finally adopting a new, more introspective self-identity; and this journey to rebirth is led by love, courage, and the desire for freedom.
For my final project I chose to compare two works of art from ancient Mesopotamia. A visual work of art and a literary one. The visual work of art I chose was the Statuettes of Worshipers which were created around 2900 to 2350 BCE at the Square Temple at Eshnunna, a city in ancient Mesopotamia. The literary artwork I have chosen is the Epic of Gilgamesh written roughly around 2800 BCE by author or authors unknown. It was set in Uruk, another city in ancient Mesopotamia. Both of these works of art share a common theme; the theme of immortality. It is my hopes that within this paper I can accurately show how each of these works of art express this theme, and how it relates to modern society.
hilosophers have contemplated over the subject of immortality. They question if the soul, particularly, is immortal. Although Plato writes the Meno, it is supposed to be a copy of what Socrates personally encountered and “taught” in his lifetime. Even though the Meno is originally about the search for the meaning of virtue, one perspective on the immortality of the soul is introduced to us by Socrates in that play. Therefore, what Socrates thought about the immortality of the soul in the Meno is the following: “If the truth about reality is always in our soul, the soul would be immortal so that you should always confidently try to seek out and recollect what you do not know at present” (Plato, 86b) In the beginning, Meno challenges Socrates
ghost come back to life, a random woman who came to fulfill the needs. of the protagonists, and the view of, does it really matter? These possibilities will be discussed throughout the duration of this essay. and it will be left to you to decide what you think. In the support of Beloved actually being the baby ghost re-born, you could use the fact.
The followers of the Buddha believe life goes on and on in many reincarnations or rebirths. The eternal hope for all followers of Buddha is that through reincarnation one comes back into successively better lives - until one achieves the goal of being free from pain and suffering and not having to come back again. This wheel of rebirth, known as samsara, goes on forever or until one achieves Nirvana. The Buddhist definition of Nirvana is "the highest state of spiritual bliss, as absolute immortality through absorption of the soul into itself, but preserving individuality" (Head1 57). Birth is not the beginning and death is not the end. This cycle of life has no beginning and can go on forever without an end. The ultimate goal for every Buddhist, Nirvana, represents total enlightenment and liberation. Only through achieving this goal is one liberated from the never ending round of birth, death, and rebirth (Head3 73). Transmigration, the Buddhist cycle of birth, death, and rebirth, involves not the reincarnation of a spirit but the rebirth of a consciousness containing the seeds of good and evil deeds. Buddhism's world of transmigration encompasses three stages. The first stage in concerned with desire, which goes against the teachings of Buddha, is the lowest form and involves a rebirth into any number of hells. The second stage is one in which animals dominate. But after many reincarnations in this stage the spirit becomes more and mo...
Ideas presented within this cycle include the need for commitment. As Goldmund was before a spring lover, he is now a hunted murderer, but he does not at this point in the novel, realize that death, equated with the season of winter, are elements of the mother world. The second cycle beings after Goldmund witnesses the woman giving birth. In this cycle, Goldmund sees death and decay, and the beauty present in each. From Niklaus’ statue, Goldmund begins to see the blending of beauty and pain, and he decides to pursue the world of art, under Niklaus. Goldmund sees in art a blending of the mother and father world. The characters Goldmund comes in contact in this cycle give a definite image of pain and death. This is exemplified in the plague scene, wherein Goldmund comes to terms with death, and understands how it transcends, as art does, the mother and father worlds.
The ancient Chinese and Japanese myths also focus on exploring gender roles, and the pattern between creation and destruction. Even though both mythologies condone incest for the purpose of creation, each myth explains something different. The ancient Chinese myth explains the creation of humanity, while the ancient Japanese myth explains the creation of spirits and the islands of Japan. Looking at the myths’ depictions of gender roles, Izanagi and Izanami had clear demonstrations of gender roles for both genders. Nu Kua Marries Her Brother only focused on Nu Kua’s role. Lastly, when looking at both myths representations of creation and destruction, they are incredibly similar. The mild difference being that Nu Kua Marries Her Brother follows the pattern of having destruction follow creation. In conclusion, both Nu Kua Marries Her Brother and Izanagi and Izanami share similarities in providing explanations of creations, demonstrating clear gender roles, and exploring the pattern between creation and
In the western world, a dominant belief is that after life, a person’s soul is sent to a place of eternal bliss, heaven, or a place of eternal damnation, hell. To Buddhists, this concept is not the norm. Buddhists believe that a person is reincarnated into another life form, either human or animal. What life form a person is reincarnated as is determined by the person’s karma. The concept of karma not only affects reincarnation, but also what path a person’s life takes. While much of the concept of karma is believable and comprehensible by a person of any denomination, some aspects are dependant upon a belief in reincarnation and that a person will eventually be punished for his sins or rewarded for his good deeds, whether in this life or the next. At the same time, in order to believe in how reincarnation works, a person must understand the idea of karma.
Some people believe that karma means action and reaction, this is not strictly true, karma actually means " `act', `action' or `activity' "(Fowler. 1997. p11). It can be said, however, that for every action there must be a reaction. Karma is not confined to physical actions, mental actions also count. So Hindus believe that everything a person does or thinks is an action and depending on whether the action is good or bad that person receives good or bad karma as a reaction. "So, if some are happy then they must have done good in the past; if others are suffering they must have done something bad." "This is not fatalism; the law of karma says that we alone - not God or the Devil - are responsible for our fate" (Prinja. 1998. p36). Karma returns to us through everything we do. If a person does something good, with the sole intention of bettering him or herself, they will receive bad karma. Good karma is only received when a person commits a good action without thinking of himself or herself. Most Hindus will spend their entire lives attempting to accrue more good than bad karma. In the case of someone who has accrued sufficiently high levels of bad karma, the said person's spirit may not return after reincarnation as a human. It is possible for a spirit to return as an animal " in order to reap the results of bad karma until it is used up sufficiently to allow reincarnation as a human being once more." (Fowler. 1999. p208). This karma builds up inside a person in the form of the jivatman or personality.
The dramatic personae move within the framework of a plot that is like a slow train to India: there is the noise and confusion of the departure, and the fatigue of a midnight arrival, all of which provide the illusion of a think is what Jhabvala is trying to tell us: we are all travelers on a train going nowhere. We come, we go and only India remains.(Aruna P 199)
Stevenson, Ian. Children Who Remember Previous Lives. North Carolina: McFarland & Company, Inc., 2001. Print.