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Influence of social factors on human development
Influence of social factors on human development
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Week 1: Study Questions
1. Briefly (in several sentences or bullet points) define, compare and contrast the outlaw hero and the official hero as Ray defines them.
• Outlaw Hero – “are the explorers, adventurers, loners, and gunfighters,”
• They represented the “imagination of Americans who valued freedom from entanglements, and self-determination”
• Official Hero – “are typically portrayed as lawyers, teachers, farmers, politicians...”
• They stood for the “American trust in collective action, and the fair legal process that transcended private feelings of what is considered right and wrong.”
2. What kinds of ideas or beliefs make up the dominant American mythology according to Ray? What are the function of the outlaw hero and the official hero in this dominant mythology?
• The function of the outlaw hero in this dominant mythology is to serve as the opposition of natural man versus civilized man, or in other words to have the outlaw hero pitted against the official hero somehow. Some the ideas or beliefs that constitute said American mythology were aging, society, women, politics and law.
3. Using these two articles (Ray and Cohen) as guides, discuss the character of Sgt Al Powell. Is he an outlaw hero? An official hero? Or some combination of both. To answer this question, use the character details the film provides through dialogue, clothing, mannerisms, gestures, and actions as evidence.
• According to Ray, Sgt. Powell is indeed at least an official hero. He is a police officer, a respected public official devoted to protect the people of Los Angeles. He wears his uniform and is armed with his gun, which demands respect. Yet, according to Cohen’s description of traditionally manly virtues (that seem to insect with R...
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...g from a chain, which the hostages see later to their dismay.
vi. John is forced to run barefoot over shards of glass to escape the terrorists after they shoot glass windows in one of the later fight scenes. At the end he is dragging his feet which a large blood trail is seen following him. And after that we see him removing shards of glass out of his feet, which were large to say the least.
vii. There were a couple of large explosions, which were quite powerful and intense.
• Language:
There were countless uses of the word fuck and motherfucker. Also, there were instances of moderate to mild language such as “dickhead”, “jerking me off”, and “pricks”. Finally, some of the language used is sexual/biological such as "go fuck yourself", "motherfucker", and “butt-fucked.” (I apologize for typing the language used here, but I felt it helped to answer the question.)
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
In “The Thematic Paradigm,” Robert Ray explains how there are two vastly different heroes: the outlaw hero and the official hero. The official hero has common values and traditional beliefs. The outlaw hero has a clear view of right and wrong but unlike the official hero, works above the law. Ray explains how the role of an outlaw hero has many traits. The morals of these heroes can be compared clearly. Films that contain official heroes and outlaw heroes are effective because they promise viewer’s strength, power, intelligence, and authority whether you are above the law or below it.
In The Red Badge of Courage, Henry Fleming was drawn to enlist by his boyhood dreams. His highly romanticized notion of war was eclectic, borrowing from various classical and medieval sources. Nevertheless, his exalted, almost deified, conception of the life of a soldier at rest and in combat began to deflate before the even the ink had dried on his enlistment signature. Soon the army ceased to possess any personal characteristics Henry had once envisioned, becoming an unthinking, dispas...
Tapper, J. (2012). The Outpost: An Untold Story of American Valor. New York: Little, Brown. Retrieved November 05, 2010, from books.google.co.ke/books?isbn=0316215856
When people think about heros it is a person in a cape flying into burning buildings to save people or fighting a villain to save the world. According to Oxford Dictionary a hero is a person who is admired for their courage, outstanding achievements, or noble qualities. This shows how just normal people can be qualified as heros. A book that exemplifies this is To Kill A Mockingbird because it is filled with people that went out of their way to help others or the society as a whole. A person who did this in particular was Atticus Finch. Atticus Finch was a hero because he fell under the definition and was admired for his courage, achievements, and noble qualities.
In "The Thematic Paradigm", Robert Ray explains how there are two distinctly different heroes, the outlaw hero and the official hero. The official hero embraces common values and traditional beliefs, while the outlaw has a clear sense of right and wrong but operates above the law (Ray). Ray explains how the role of an outlaw hero has many traits. "The attractiveness of the outlaw hero's childishness and propensity to whims, tantrums, and emotional decisions derived from America's cult of childhood", states Ray. (309) Ray also says, "To the outlaw hero's inconsistence on private standards of right and wrong, the official hero offered the admonition, you cannot take the law into your own hands." (312) The values of these two traditional heroes contrasts clearly. Society favors the outlaw hero because we identify with that character more. We see ourselves more so in the outlaw hero than in the official hero. The outlaw hero has the "childlike" qualities that most of us wish we had as adults. To civilians it may seem that the outlaw hero lives more of a fantasy life that we all wish to have.
Many people say that the metal of a man is found in his ability to keep his ideals in spite of anything that life can through at you. If a man is found to have done these things he can be called a hero. Through a lifelong need to accept responsibility for all living things, Robert Ross defines his heroism by keeping faith with his ideals despite the betrayal, despair and tragedy he suffers throughout the course of The Wars by Timothy Findley.
...is own. In an overall assessment of this book, Martin comes to the conclusion that “Campbell has succeeded in providing a thoughtful, very readable, and eminently useful survey of a fluid, exciting, and fascinating period of United States and Texas history through the lens of the life of the greatest Texas hero of them all” showing that Martin as well as Campbell seemed to be very fascinated by the heroism of Sam Houston (The Journal of Southern History, 60, November 1994, 796).
believed in and would not back down. Being the base of the Bill of Rights, which
Any discussion of the American culture and its development has to include mythology, because that is where most of the information about early America is found. Mythology is a unique source in that it gives a shared understanding that people have with regard to some aspect of their world. The most important experience for American frontiersmen is the challenge to the “myth of the frontier” that they believed in – “the conception of America as a wide-open land of unlimited opportunity for the strong, ambitious, self-reliant individual to thrust his way to the top.” (Slotkin, 5) In particular, the challenge came from Indians and from the wilderness that they inhabited.
Karen DeYoung, Soldier: The Life of Colin Powell (New York: Alfred A. Knopf, 2006), 146.
From the beginning of time, mythology has appeared to be one key method of understanding life’s confusions and battles. Within these myths lies a hero. From myth to myth and story to story, heroes experience what may be called a struggle or a journey, which lays down their plot line. Bearing tremendous strength, talent, and significant admiration, a hero holds what is precious to their audience, heroism. Over time however, no matter the hero, the hero’s role remains indistinguishable and identical to the position of every other hero.
The storyline is normally about a hero who comes to a town to bring peace and drive the villains out. A hero is usually seen as a vigilante as he is not told to come to help but does anyway. The hero often appears as a quiet, secretive, mysterious person who may make the audience admire him one minute and dislike him the next, he is also a very smart, cunning and adaptable which are all good values in a hero. The villain is usually fixed to one idea he thinks it is a smart cunning person but in the end is always defeated. Many scenes are set around the Saloon (bar) and there is quite often a romance involved with the hero and a local girl, the villain competing for her affections! There are two different types of villains in typical westerns Native Americans and white villains (cowboys).
As Ethan rides towards his brother’s homestead, he is greeted by awestruck stares. He rides with the brutal desert behind him, sun glaring at his eyes while his brother’s family is framed in shadow of their own home. A hopeful tune plays in the background as he approaches. In this opening scene of The Searchers John Ford establishes Ethan—played by none other than John Wayne—as the rugged individualist, the one who tames the wilderness. This cowboy is integral to the “Myth of the United States,” he is the one who tames the savage wilderness its residents (Durham). However as the film unfolds, Ford explores Ethan’s tortured psyche, his motivations, his neuroticism, even the Indians and their motivations in order to deconstruct deconstructing the myth in order to show that the cowboy is a relic of the Old West.
In these readings, the word is used to express frustration and anger as well as a sense of being abused and forced to endure. Sonia Sanchez uses the compound motherfucker/motherfucka to emphasize her disdain of whites in the poem TCB (Taking Care of Business). At the end of that poem however she says “now, that is sed. Let’s get to work” (Sanchez 723). This seems to have used the “fuck” as a cathartic mechanism to vent her frustrations. Once these frustrations are unleashed Sanchez conveys her willingness to “get to work” on the issues she has with the cursed whites. June Jordan uses fuck to describe both the physical and mental rape that occurs in her “Poem about My Rights”. Disgust with a French law that stated if a man penetrates a woman but does not ejaculate then he is not guilty of raping her, Jordan responds to this with asking if she smashed his head in with hammer and he and his buddies fuck her that she consented because they did not ejaculate. She then states how this “fucked me over” (Jordan 767) because she is in the wrong place at the wrong time and the wrong color skin so she must have wanted to get