How Nadine Gordimer Ends Her Stories Essay -- Nadine Gordimer An Intru

How Nadine Gordimer Ends Her StoriesNadine Gordimers stories make enormous demands upon the reader. Mostlyon the first reading its even hard to know whats in reality going on.But gradually a densely concentrated image or an idea will developafter reading over the bosh again and concentrating on roundparticular parts, like for example the endings. Indeed you should paymuch attention to them. Even through nearly every of them argon slightlydifferent, they indicate what you should think about and leave youwith a curious eagerness to find out more, to get to know what happensnext. In fact I am sure that Nadine Gordimer just wants us to make ourmind work and mull over the main meaning of the drool, to uncover whatshe wants to express with it.In umteen cases, the conclusion of the story is what impresses you most.Some writers dont realise this fact and they destroy the whole pieceof work by an unsuitable ending. But Nadine Gordimers conclusions aremarvelous. If you would miss it you w ont be able to get the point ofthe story because it encompasses much very important information. Forexample in the story An Intruder one of the main characters goesthrough a drastic change in last four lines. She stood there wan,almost ugly, really like some wretched pet monkey shivering in a coldclimate (p. 374) This is a big contrary because throughout the wholestory she was the exposit like a frail little marmoset (p. 367)and as beautiful (p.369). However she changes in the end ... shewas grown-up, now, suddenly, as some multitude are said to pass onwhite-haired overnight. If the reader would miss this significantchange in her life, he probably would not find out what the story isactually about... ... try to deal that the story ends in a fortunate wayfor Ella because she goes to Europe, and thats what she was dreamingabout for so long. But we have to become aware of what preceded thetrip a cruel murder, and we even dont know if Ella is truly happyor if she enjoys the trip a t all.A good way of making people think and wake their interests is toirritate them, exactly in that way how Gordimer irritates her readerswith the endings. How could be Marie so blind and immature for agesand than grow up in a guerilla? How is it possible that a system is SOunfair and unjustly like in case of Ella and Lena? And how does thenarrator of Africa Emergent even dare to make him inculpable forElias death? Simply said, Nadine Gordimer is that kind of writer thatcan give a true picture of whats going on, and can make it very provoke to the reader.

Natural Descriptions in Coleridges and Lord Byrons Texts Essay

Natural Descriptions in Coleridges and Lord Byrons TextsWorks Cited Missing Two closely related texts, one that weve studied in this differentiate and one that we havent, that handle native description differently are Coleridges The Rime of the Ancient Mariner and Lord Byrons Manfred. Both of these texts central characters have experienced trauma, and their portrayal of their environments reveal the effects that the events have left on them. While Coleridges mariner is unable to consolidate his past and is relegated to constantly relive it, Byrons Manfred has protected himself from his unnamed wrong-doing by distancing himself from his feelings and environment. Obvious parallels exist between the poems, but what I found most striking was the way the narrator illustrates the events and how they result from their mode of handling the traumatic events. The Mariner comes to terms with killing the albatross, and consequently killing his crewmates, by repeatedly voicing his guilt. His description of the souls passing him like the whiz of his crossbow, (l 224) assumption that telling his statement to the hermit will wash away/ The albatross blood, (ll 512-13) and expression that The pang, the curse, with which they died/ Had never passed away (ll 438-39) shows how the mariner can never accept his actions and alleviate his guilt. I think that its natural for people to want to come to terms with their past actions in order to better accept ones present state of self, which is why the mariner continually attempts to invent his past. The mariner is unable to accomplish this by telling others his story. His descriptions of the storys retelling are affected by his lack of reconciliation. He projects himself into the land... ...o the heavens, and the earth to Mont Blanc which is described as the monarch of mountains (1.1 60). The spirits are influential in the stories prominently for the two characters, which reflect the preoccupations and processes of dealings with their traumas. Lastly, the realization that the environment is subjective, due to the power that the mind holds. As Manfred acknowledges, The mind which is perennial makes itself / Requital for its good or evil thoughts (3.4 129-130). This originally appears in Miltons Paradise Lost, implying that its the mind that creates the heaven or the hell. And although Manfreds view on the mind is dark, and very sceptical, he does realize the creative power available to the subject. This same power is expressed in in their descriptions of nature and is influenced by the methods that they go through in dealing with their trauma.

Philosophy of Education :: Philosophy of Education Teaching Essays

Philosophy of Education Educating kidren profoundly affects their lives and influences the life of anyone who comes into contact with those children. Education provides a foundation for a child to base the rest of his or her life on. Without a solid education, it becomes impossible for an individual to provide for themselves and their family. Also, well-educated people can make decisions that benefit two their own interests and the interests of society as a whole. In this paper, I will address my personal opinions and philosophy about education. First, I will address the temper of the student. Next, I will examine the nature of knowledge, followed by the purpose of public education, and method. Finally, my paper will conclude with a discussion of the curriculum areas that are well-nigh important in elementary school. Additionally, I will relate my views to pragmatism and progressivism, and to Plato?s teaching, three valuable theories regarding education. No two students are exactly alike. Nevertheless, they do share one fundamental characteristic -- every student has the ability to learn. The ancient Greek philosopher Plato believed that a student?s learning ability is heady entirely by genetics. According to Plato, people are either golds, silvers, or bronzes. The golds are the smartest and the bronzes are the slower learners. I don?t really harmonise with this philosophy. Yes, some children are naturally intelligent and others are not. But natural ability is not the only factor to consider. Students differ on their level of indigence regarding learning. Some students will settle for a ?C? while others push themselves to get an ?A.? Others are perfectly happy with failing grades. Motivation, or lack of it, can be blamed on one of two causes environment and genetics. Some feel that a child?s desire to learn is most influenced by their home environment. Genes have also been blamed for a child?s longing to lea rn. I feel that both factors play a role in how a child approaches education. In a home where education is strongly emphasized, a child is probably going to want to learn. However, this is not always true.

Free Slaughterhouse-Five Essays: Manipulation of Time and Place :: Slaughterhouse-Five Essays

Slaughterhouse Five - Manipulation of Time and Place  Kurt Vonneguts manipulation of time and place adds a science- fiction element to Slaughterhouse-Five. Structarally, the wise is far from traditional. Billy Pilgrim, the protagonist, jumps from place to place and is in a constant time heave up while on the planet Tralfamadore. Since Vonnegut uses the planet Tralfamadore and the Tralfamadorian masses to take Billy from place to place and time frame to time frame, in the novel he constantly respects the phrase "So it goes," which describes the Tralfamadorians view of death. Vonneguts manipulation of time and place is definitely unusual. Billy, an optometrist in Ilium, New York, finds himself "time light-colored" with the people on Tralfamadore. To the Tralfamadorians time does not exist. Billy can be on Tralfamadore for years, while only being absent from earth for a microsecond (26). Billys "time tripping" also allows Vonnegut to join the t hree main settings and experiences of the book the horrors of the war and Dresden, Billys normal life in Illim, and his time on Tralfamadore. Billy has no control over his being in a time warp. In the midst of his life in New York he will suddenly find himself Tralfamadore he has get under ones skin "unstuck in time" ( 22). The Tralfamadorians eventually show Billy the important moments of his life, but they do not always show them in sequence. They do this so Billy can fully understand the true reasons for and the importance of the events. Vonnegut also uses this tactic of time manipulation. He tells and shows the occurrences of Billys life in a juxtaposed dash which parallels the "time tripping." The "time tripping" and being "unstuck in time" allow Vonnegut to present the events of the war in a sequence through which they would put one across the greatest impact on the reader. Vonneguts manipulation of time and place in Slaughterhouse-Fiv e allows him to use the phrase "So it goes" for special impact . The phrase appears after all death scene. It allows the bridge from death to life, and it also allows Vonnegut to change the time frame or place of the action. According to one source, the phrase "So it goes" appears in the novel over 100 times (Boomhower).

Generating Real-Time Visual Meaning for Live Indian Drumming :: Music Rhythm Drums Musical Essays

Generating Real-Time Visual Meaning for Live Indian Drumming Abstract In this essay, a clay break danceed to generate visual meaning for live performed music is described. Specifically, this system is calibrated to respond to North Indian classical and folk boneming tradition, employ impost designed digital musical interfaces, such as the Electronic Tabla and Electronic Dholak.A drum, when struck, does not generate its sound as a demean of the force applied, but as an artifact of a physical response to that strike within the artistically controlled conditions of its material state. With the design of the North Indian drum controllers, we developed a physical model for digital audio synthesis to recreate the aural qualities of the drums response under the control of the player. From there, we abstracted that concept to develop a dynamically responsive model for real-time rhythmic visual synthesis.In creating a visual experience for North Indian classical music, we seek to crea te a dynamic visual accompaniment with an appropriate ambience for the patterns and complexities of North Indian drumming. The design process was sourd by the need to fight down to a series of signals that would be received from the musician through the digitized musical interfaces, while giving a visual performer the ability to modify and shape those reactions over the course of the performance. In contrast to using a prerendered or abstract visualization, we aim to create an audiovisual composition which is both aesthetically make and responsive to the conditions of live performance, in addition to providing a meaningful visual context for what the performer is playing.In this essay, we will describe- Veldt a custom built application for visual expression of musical performance.- Digital Indian Drums the Electronic Tabla and Electronic Dholak which digitize gestural information of a live performer.- swingy visualization of our system used in live performances.VeldtVeldt is an application which was designed from the ground up for the purpose of visual expression and performance. It receives musical instrument digital interface (Music Instrument Digital Interface) and OSC (Open SoundControl)1 messages from digital musical interfaces and maps them to a system of reactive events in order to generate live visuals, which are rendered real-time using the OpenGL2 artistic production language. Mappings are flexible sets of mappings whitethorn be arranged and modified during the design and rehearsal process, and triggered by control events during different movements of a performance, and arbitrary text, images, video, and geometric models may be used as source material.

Philosophy Educating Humanity? :: Philosophy Philosophical Papers

Philosophy Educating Humanity?ABSTRACT Over two millennia of Western philosophy has not yet contributed much to the education of sympathy. Philosophy has almost constantly been the grievous bodily harm domain of a small group of men. This elite character makes the assumption that philosophy could contribute to the education of human beings towards public a humanity of human rights improbable. If we want to educate human beings towards humanity, we will first have to teach them a sense of indebtedness. The power of persuasion needed in lodge to teach such a sense of responsibility requires that we demonstrate our involvement in and co-responsibility for their concrete problems by presenting clear analyses of these problems and by setting a level-headed example wherever possible. One of the most universal and concrete problems of life is the issue of reproductive memory. As regards this issue, however, philosophers have failed miserably they themselves have often exhibited ir responsible procreation and have, in fact, only recently begun to consider the issue a subject for philosophy. I will try to analyze when a decision to procreate or abort may be called responsible and whether and to what extent the applications of modern techniques such as in vitro fertilization are in line with our views of human rights. devil and a half thousand years of Western philosophy have not yet contributed much to the education of humanity. Philosophy has always been the almost exclusive domain of a small group of men, conversing in esoteric language on the most abstract of subjects, without being much concerned about the ask of the ordinary people around them. This elitism undermines the assumption that philosophy could contribute to the education of humanity as a whole, and it makes the assumption that it could contribute to the education of human beings towards humanity a humanity of human rights entirely improbable.If we want to educate human beings towards humanit y we will first have to teach them a sense of responsibility the awareness that each is responsible for his or her own actions and the consequences which can be expected to ensue, together with the awareness that a persons rights and freedoms may not encroach upon the corresponding rights and freedoms of another. The power of persuasion needed in order to teach such a sense of responsibility requires that we demonstrate our involvement in and co-responsibility for their concrete problems, by presenting clear analyses of these problems and by setting a good example wherever possible.