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Effects of the vietnam war modern day
Effects of the vietnam war modern day
Effects of the vietnam war modern day
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In a political cartoon, “You Peaceniks Burn Me Up!” which was published in the Issues of our Times in Cartoon (1995), Marlette asserts that the Vietnam War has caused unnecessary destruction and death for the Vietnamese and Americans, destroying buildings, families, and individual wills. The artist supports the claim through satire in the cartoon’s title – the text is spoken by the man on the couch who is burning with harmless anger towards the young man protesting against the Vietnam War while the Vietnamese civilians are in danger of literally burning up due to napalm attacks – and the contrast between the plush, well-cushioned couch the scolding, plump man sits on and the skeleton-thin person behind him demonstrates how the war is causing
Sandy Kempners rendition of his time in Vietnam makes evident that his placement in war is more forceful than voluntary. His use of numerous rhetorical techniques establishes the negative attitude that he has towards war. Sarcasm, parallelism, and satire effectively make this letter home a successful example of an anti-war sentiment.
Presented as fact, the book was wholly a lie, painting a picture of Vietnam as a struggling Catholic nation under attack by Communists, with only America as a possible Saviour. Despite Dooley’s garbage selling millions of copies in its day, few have ever heard of it since. It did however establish a forward-leaning pattern of lies to engage and enrage the American public in support of pointless wars.
The Vietnam War has become a focal point of the Sixties. Known as the first televised war, American citizens quickly became consumed with every aspect of the war. In a sense, they could not simply “turn off” the war. A Rumor of War by Philip Caputo is a firsthand account of this horrific war that tore our nation apart. Throughout this autobiography, there were several sections that grabbed my attention. I found Caputo’s use of stark comparisons and vivid imagery, particularly captivating in that, those scenes forced me to reflect on my own feelings about the war. These scenes also caused me to look at the Vietnam War from the perspective of a soldier, which is not a perspective I had previously considered. In particular, Caputo’s account of
Deriving from the Dutch word “karton” and the Italian word “cartone,” a cartoon is “ a form of two dimensional illustrated visual art” (toonsmag). A cartoon can typically range from being a child’s pastime to going as far as confronting the socioeconomic and political issues in a country. People known as editorial cartoonists draw these cartoons, often called political or editorial cartoons, using tools such as hyperbole, artistic proficiency, and satire in order to poke fun at and inform the public about a certain issue. One famous editorial cartoonist who is known for his cartoonist is Gary Markstein. “The Iraq Surge”, one of Markstein’s lesser-known works, and the “Five years in Iraq” both deal with the Iraq War. The Iraq war was an invasion
The setting of Vietnam differs to the landscape of the United States. In this new environment, the soldiers must dress and act differently from how they were in their hometown. The war changes Mary Anne in the same way it did to the soldiers. As a result of wars, people becomes dirty and loses their naivety. O’Brien compares the war to a drug. Ironically, drugs help the soldiers escape from the reality of war. Ted Lavender’s unstable state of mind due to dope leads to his death. The war- which changes people's mentality also leads to the death of many like the drug.
Julianna Claire, an award winning poet once said, “War makes men act like fools, and makes fools pretend to be brave.” War is a very difficult and dangerous game. There must be a just cause to fight for, supporters on either side of the war, and clear plan on what the war ought to look like. Though, as much as countries plan their strategies and perfect their tactics, war never seems to go how people think it should. War creates heartache, makes countries question their governments, and changes the lives of the soldiers who fight in them. One such story that address the damages of war, is Ambush, by Tim O’Brien (1946). In this short story, Tim O’Brien tells a story of a young man fighting in Vietnam who kills a member of the Vietnam army. Robin Silbergleid, a neurosurgeon in Seattle, Washington, who minored in
This photograph, taken in 1967 in the heart of the Vietnam War Protests, depicts different ideologies about how problems can be solved. In the picture, which narrowly missed winning the Pulitzer Prize, a teen is seen poking carnations into the barrels of guns held by members of the US National Guard. This moment, captured by photographer Bernie Boston symbolizes the flower power movement. Flower power is a phrase that referred to the hippie notion of “make love not war”, and the idea that love and nonviolence, such as the growing of flowers, was a better way to heal the world than continued focus on capitalism and wars. The photograph can be analyzed through the elements of image as defined by ‘The Little Brown Handbook’ on page 86. There are a total of nine elements that contribute to the communicative quality of an image. The message that this particular image tries to convey is the strong sense of way that conflict should be handled; by way of guns or by way of flowers. The ‘way of guns’ is violence and excessive force which heavily contradicts the ‘way of flowers’ which is a more peaceful and diplomatic way of handling conflict or disagreement. This photograph depicts these ideologies through its use of emphasis, narration,point of view, arrangement, color, characterization, context and tension.
To this day the Vietnam War is still considered to be one of the most devastating wars in history and has been a topic of resentment to the American culture thirty-three years after its end. For the American public it’s marked as being the point in history where distrust in our government was at an all-time high, mainly because most of the war’s carnage was witnessed on television for the first time. For all the bloodshed American and Vietnamese soldiers suffered through, the war has left a perpetual mark not only on the United States but ultimately has left a permanent scar on the soldiers who fought and managed to survive the war. Renowned war poet, Bruce Weigl, like most young American men during the time was only nineteen when he participated in the war and fought for three years. The traumatic experiences he faced in the war and post-service back home in the United States helped him develop a distinctively emotional and explicit poetry which dealt bluntly with the atrocious images of Vietnam. When being interviewed by fellow poet and student of his, David Keplinger, Bruce openly states that, ““…it did not occur to me to write poems about the war for a long time. It was not exactly that it had not occurred to me, but I questioned why anyone would want to read about the war because it was already terrible enough” (Keplinger 141). With his time after the war, Weigl obtained his PhD. at the University of Utah and also made stops at Oberlin College and the University of New Hampshire prior to that. Weigl’s encounter with the war has enabled him to depict graphic illustrations of it and that effect seems to plod into the present. His work is highly saturated in the brutalities of Vietnam War and echoes that very sentiment.
She describes the aftermath of “the ugly truth,” Trump's victory, where “[t]he emboldened silent majority speckled the streets.” Benzizoune creates a sense of militaristic fear by describing how she “was struck by a feeling that their caps were a military uniform, that our country was at civil war, and that [she] was a target.” By writing her fearful sentiments using a precise choice of words, she is encouraging and invoking an emotional response in the target audience. Benzizoune relates the newly-empowered Trump supporters to a military unit that are threatening her ability to safely exist. The author wants to stir up emotional responses and reactions to her story—and Benzizoune's powerful military comparison does just
Like "The Lives of the Dead," it begins with a statement that the rest of the chapter throws into question. "The War wasn 't all terror and violence," the narrator tells us, "Sometimes things could almost get sweet" (31). What follows, however, is a series of vignettes that are anything but "sweet." When a Vietnamese boy with a plastic leg approaches an American soldier with a chocolate bar, the soldier reflects, "One leg, for Chrissake. Some poor fucker ran out of ammo" (31). When the same soldier steals his friend 's puppy, "strapped it to a Claymore antipersonnel mine and squeezed the firing device," he responds with an ironic affirmation of the initiation right of the conventional war story: "What 's everyone so upset about? ... I mean, Christ, I 'm just a boy" (37). Here, the novel renders ironic both the loss of innocence and the "reconsideration" that structure the traditional war story. The positive spin that underlies the war story as a genre emerges here only as a bankrupt fantasy. Thus in "How to Tell a True War Story," the narrator warns, "If a story seems moral, do not believe it. If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie" (68). Aimed
There are no morals in war. Killing is not something to be ashamed of nor is it consequential when it comes down to the battlefield. The Vietnam War was fought by men who today remain emotionally traumatized and/or physically disabled. Tim O’Brien, an ex-Vietnam soldier, expresses both gruesome and peaceful vignettes throughout his novel, The Things They Carried, to depict the obscenities and the lack of morals endured by the soldiers in the Vietnam War. In the chapter “How to Tell a True War Story” this is especially shown through the use of vivid imagery, important symbolism, and paradoxes. However, despite the falsity of most of the stories, the fictional aspect is used to emotionally submerge the reader in the improprieties of the war
In If Die in a Combat Zone, Tim O’Brien argued that the Vietnam War was unrighteous and dangerous through his depictions of the day to day activities of the soldiers in Vietnam, how the war affected the soldiers, and soldier’s experiences of the villages and battles directed by the Alpha Company.
Legendary musician Bob Dylan also questioned the physical destruction of the Vietnam War during the early 1960s. Dylan’s poetic folk style allured audiences, due to his ability to relate and contradict America. Out of the many hits Bob Dylan has made, two songs in particular raise attention of the idea that war is physically destructive. Songs like “Blowin in the Wind” and “Masters of War” discuss the particular faults and deaths the Vietnam War. The song “Masters of War” opens up with a powerful invasive
Vietnam War. He believes the media has to do with the negative view of the war. Graphic
The three sources being analyzed are Stephen Crane's poem “War is Kind”, Stanley Kubrick's film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, and Joseph Heller's novel Catch- 22. Each source covers a chapter in American War history: The Civil War, The Cold War, and World War II, respectively. Though the wars on which the works are based occurred over a period of over one-hundred years, all three sources share a similar theme. That is, war is anything but heroic and noble, but rather, it is a convoluted, tragic, and crooked state of affairs that results in the death of many. Though this theme unifies all three works, the authors and director convey their messages uniquely. In his heartfelt and tragic poem, “War is Kind”, Stephen Crane writes about the sadness that comes with the death of individual soldiers during battle, and uses sarcasm to convey his message. On the other hand, Heller and Kubrick deliver an equally powerful message about the absurdities of war through use of dark humour and satire, though Kubrick's film focuses much more on comedic value as opposed to Heller's more bitter and realistic novel.