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The importance of arts in education 2019
Influence of art in education simple speech
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The phrase which goes, “Every cloud has a silver lining” rings true to Dai Sijie message on loss in his book Balzac and the Little Seamstress. Because, while loss is most definitely an unexpected occurrence in one’s life, it also brings an equally unexpected gift - the silver lining. Luo and the narrator are part of the fraction of educated youths forced to the countryside, and they experience the immediate effects of the Cultural Revolution. Not only do they suffer from loss of fine quality in their lives, but also the choice of how to live, where they get to live, and who they get to live with; essentially losing all of their freedom. Because the presence of loss in the Cultural Revolution itself is too vast to be communicated at a grand …show more content…
The villagers had the pleasure of experiencing the art of storytelling through movie re-enactments; this newfound appreciation is one of many silver linings that turned up as a result of the revolution, and it makes a particularly large impact on the main character. Through the occurrence of resettlement, and Luo’s own gift for storytelling, the narrator himself is exposed to the liberation and creativity storytelling brings. By the end of his re-education, his passion for storytelling (and the Little Seamstress) is evident as he reads Balzac to her, “When I felt good old Balzac was running out of steam I would contribute little inventions of my own, or even insert whole scenes from another novel” (150). These personal embellishments the narrator adds, such as inserting “whole scenes from another novel,” shows the higher level of creativity and his experimentation with literature. If not for the Cultural Revolution, the narrator may not have discovered his passion for literature and would have missed an opportunity. Yet, by throwing two very distinct types of people together, the art of storytelling is used as …show more content…
However, when a person experiences loss with someone else, it can strengthen their bond, and this is the unexpected gift of a tragic situation. These recurring themes are ones which Dai Sijie utilizes to demonstrate how the nature loss affects relationships. Values depend on person’s perceptions and opinion. The relationship between Four Eyes and the boys was crafted by Dai Sijie as a calculated bargain rather than a wholesome friendship. When Four Eyes and the boys make a bargain, the old miller’s “romantic, realistic” poem for the stash of Four Eye’s books, a fight erupts out of a misunderstanding, to which Four Eyes exclaims, “‘You think I’m exaggerating? You want me to show this to the commune authorities? Your old miller would be accused of spreading erotic material. He might even go to prison”’ (77). It is crucial to understand that Four Eye’s failed friendship with the boys is the outcome of differing expectations. While Luo and the narrator may view the Old Miller’s song as authentic and playful, Four Eyes sees it as “erotic”. Because he classifies this folk song to be suggestive and inappropriate rather than profound, Four Eye panics because he feels he can no longer use this poem as a ticket to leave the country, and therefore his opportunity is lost. One’s perceived values can in turn affect what they value and what they don’t care to lose. Four Eyes is blind to the beauty of literature,
In the non-fictional book, The Samurai’s Garden by Gail Tsukiyama and the fictional poem, “ The Suicide Note” by Janice Mirikitani has character(s) that lose something valuable. From both book and poem I can related to the loss that I have endured during my life. However, the loss of both are different for The Samurai’s Garden, Matsu loss her sister from leprosy and Sachi loss her best friend. In “The Suicide Note” the Asian-American student’s family loss their daughter because they think she was never good enough.
... of language and education is the most important in this story and society. The make use of two different languages in a narrative, provides a reader a perplexing yet fascinating image of characterization and customs. Multilingual story telling pushes the reader to decelerate and acquire supplemental focus on the expressions which are in the small fragments, however as soon as the reader has figured out the foreign words, he or she acquires a priceless picture of the theme of this story. The panorama of native words and phrases, cultural perceptions, and class dispute taken from the incorporation of two different languages are helpful for the reader to obtain significance that he or she couldn't gain if exclusively one language was employed in the story. Just as the power of language is applied to unveil a society, a better comprehension is provided to the reader.
These two stories hold components that are clearly differentiating, yet similar in the meantime. Having every story been composed in a third-individual account structure, the onlooker
The idea that resulted in the Little Seamstress leaving the mountain maybe viewed as ironic by the reader. The ideas of being different and individual, that Lou held and put to practice were what communist Leader Chair man Mao Zedong originally feared. This was why the texts were originally banned in the first place, and viewed as revolutionary trash. As it was thought that they may result in an u...
In his poem, “Notes from the City of the Sun”, Bei Dao utilizes obscure imagery consistent with the Misty Poets and veiled political references to illustrate the struggles in Chinese society during the Cultural Revolution. The poem is sectioned into fourteen short stanzas containing imagery that are symbolic of the cultural hegemony in China under the rule of Mao Zedong. Bei Dao, born Zhao Zhen-kai, is an anti-revolutionary poet and one of the founders of a group known as the Misty Poets. The Misty Poets wrote poems that protested the Cultural Revolution led by Mao Zedong. Therefore, a lot of Bei Dao’s poems speak out against the Cultural Revolution and the restrictions that it placed on any form of art. Bei Dao’s poetry is categorized as “misty” because of the ambiguity in its references to Mao Zedong and the Cultural Revolution. An obscure imagery that occurs twice in “Notes” is the sun imagery. Another imagery that depicts the injustice of the Cultural Revolution is the description of freedom as scraps of paper. In the poem, Bei Dao also equates faith to sheep falling into a ditch; this is a depiction blind faith during the Cultural Revolution. The purpose of this essay is to analyze how Bei Dao’s use of the Misty Poet’s ambiguous imagery and implicit political context in the poem “Notes from the City of the Sun” to illustrate the cultural hegemony in China under Mao.
The narrator's precise observations allow the reader to find insight in small moments of village life. Jewett presents a world seemingly unchanged with a mixture of remoteness and a “childish certainty of being the center of civilization” (1). The narrator's nostalgic recount of village life has about it the mood of a dream, a life remembered and not put down until long afterwards. Jewett's pictorial conventions create a feeling of impermanence akin to nostalgia assembled into long, gracefully rambled sentences authenticating her own regional style.
...of humankind, reflecting on ubiquitous thoughts and feelings felt by all of humanity. The author depicts the inevitability of decay. suffering and death, and describes the everlasting traditions of war. and prejudices. The thoughts and actions of Ishmael, Hatsue and Kabuo. combine to illustrate that ‘accident ruled every corner of the universe except the chambers of the human heart.
As humans, the journey through life means forming emotional attachments to each other. The first type of attachment we form is with our family. Eventually, people grow older and form emotional attachments to individuals outside the family, as friends. Then later in life, the possibility of developing romantic relationships can arise. However, each person at some point must face the reality that the people they have bonded with will depart this world. Similarly, one must also deal with the new assortment of emotions that follow after a passing or separation. In Lydia Davis’s poem “Head, Heart”, she depicts a conversation between a head and a grief-stricken heart, which represents the internal conflict between logic and emotion following a separation
There are many things that most people take for granted. Things people do regularly, daily and even expect to do in the future. These things include eating meals regularly, having a choice in schooling, reading, choice of job and a future, and many more things. But what if these were taken away and someone told you want to eat, where and when to work, what you can read, and dictated your future. Many of these things happened in some degree or another during the Chinese Culture Revolution under Mao Zedong that began near the end of the 1960’s. This paper examines the novel Balzac and the Little Chinese Seamstress by Dai Sijie and a book by Michael Schoenhals titled China’s Culture Revolution, 1966-1969. It compares the way the Chinese Cultural Revolution is presented in both books by looking at the way that people were re-educated and moved to away, what people were able to learn, and the environment that people lived in during this period of time in China.
Short stories are temporary portals to another world; there is a plethora of knowledge to learn from the scenario, and lies on top of that knowledge are simple morals. Langston Hughes writes in “Thank You Ma’m” the timeline of a single night in a slum neighborhood of an anonymous city. This “timeline” tells of the unfolding generosities that begin when a teenage boy fails an attempted robbery of Mrs. Jones. An annoyed bachelor on a British train listens to three children their aunt converse rather obnoxiously in Saki’s tale, “The Storyteller”. After a failed story attempt, the bachelor tries his hand at storytelling and gives a wonderfully satisfying, inappropriate story. These stories are laden with humor, but have, like all other stories, an underlying theme. Both themes of these stories are “implied,” and provide an excellent stage to compare and contrast a story on.
Some of the characteristics of Modernism are: a desire to break conventions and established traditions, reject history, experiment, remove relativity, remove any literal meaning, and create an identity that is fluid. The rejection of history sought to provide a narrative that could be completely up for interpretation. Any literal meaning no longer existed nor was it easily given; essence became synonymous. Narrative was transformed. Epic stories, like “Hills Like White Elephants”, could occur in the sequence of a day. Stories became pushed by a flow of thoughts. The narrative became skeptical of linear plots, preferring to function in fragments. These fragments often led to open unresolved inconclusive endings. This echoes in the short story’s format. The short story functions in fragmented dialogue. Focusing on subjectivity rather than objectivity. Creating characters with unfixed, mixed views to challenge readers.
Written stories differ in numerous ways, but most of them have one thing in common; they all have a narrator that, on either rare occasions or more regularly, help to tell the story. Sometimes, the narrator is a vital part of the story since without him or her, it would not be possible to tell the story in the same way, and sometimes, the narrator has a very small role in the story. However, he or she is always there, and to compare how different authors use, and do not use, this outside perspective writing tool, a comparison between Herman Melville’s Benito Cereno, Henry James’ Daisy Miller, and David Henry Hwang’s M. Butterfly will be done.
The story is the most powerful and most compelling form of human expression in Leslie Marmon Silko's novel Ceremony. Stories reside within every part of every thing; they are essentially organic. Stories are embedded with the potential to express the sublime strength of humanity as well as the dark heart and hunger for self destruction. The process of creating and interpreting stories is an ancient, ongoing, arduous, entangled, but ultimately rewarding experience. As Tayo begins to unravel his own troubled story and is led and is led toward this discovery, the reader is also encouraged on a more expansive level to undertake a similar interpretive journey. Each story is inextricably bound to a virtually endless narrative chain. While reaching an epiphanal moment, a moment of complete clarity, l is by no means guaranteed, by presenting Tayo as an example, Silko at least suggests there is fundamental worth in pursuing and creating stories.
Throughout this paper I will explore the power of storytelling using the course lexicon and I will examine it in the context of two course texts. One of the texts that I will be referring to is by Doxtator, excerpts from Fluffs and Feathers and the second text I will be referring to is by Griffin, excerpts from Woman and Nature. The power of storytelling is a part of the mimetic world and because stories have so much power they can be used to help bring about dominant fantasies. Stories are told over and over again until they are reinforced and in this essay I will argue that the power of storytelling is a form of social control.
It is this moment of recollection that he wonders about the contrast between the world of shadows and the world of the Ideal. It is in this moment of wonder that man struggles to reach the world of Forms through the use of reason. Anything that does not serve reason is the enemy of man. Given this, it is only logical that poetry should be eradicated from society. Poetry shifts man’s focus away from reason by presenting man with imitations of objects from the concrete world.