... That's either a sign of aging or worrying too much about her son dying. The brother has been married for ten months. Akiko reminds her brother of the misery and pain he will put his wife and mother through if he dies, and how it will be hard for them to continue life without him. I think the reason the brother wants to go and fight in the war is because he wants to be remembered as a great fighter of a war. Like in line 22, it says, "In death is your glory," the brother knows the consequences of going off to war. I think the brother sees it as the thing to do for his country, and the sister sees it as just suicide. She even says in lines 18 - 20, t ...
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... and help them to identify their own beliefs, skills, potentials, and talents. But when an individual is forced or destined to grow up in an atmosphere in which there doesn't exist a stable and firm family or environment, it will generally be hard for the individual to self-discover himself and succeeded in life. These kinds of individuals that grow up under these circumstances mainly suffer from depressions, sadness, and most importantly from low self-esteem. They suffer from low self-esteem because they were raised in low standard environments. Their personalities are excessively sensitive to social rejection, humiliation, and shame. One of the ...
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... characters in the novel. By creating these personable characters, Fitzgerald is allowing the reader to associate himself with Gatsby, and letting him use his imagination, so that in the end, the reader can decide if the Great Gatsby is truly 'great'. Fitzgerald allows the reader to incorporate the story into their own past and past relationships, ultimately putting the reader in Gatsby's shoes and seeing what the reader would do in the same situation. It raises a great debate; should people live their lives yearning for something in the past? Is it acceptable to live one's whole life on a past experience or memory hoping to reach back in time and pull the pas ...
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... she goes to visit her father in California. Maya gets into an argument with her father’s girlfriend, Dolores, and apparently, Dolores ends up calling Maya’s mother a whore. The “new” Maya, filled with anger, responded by slapping Dolores across the face. The small, reticent child had turned into a courageous, young woman. In the early years of her life, Maya had always been pretty dependent on her grandmother or brother. However, when she got older, she realized that she needed to do something on her own. As a result, she went out and found herself a job. Being a black girl, finding a job was not simple, but she managed without giving up. Her sedulous work granted ...
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... all that in him, and rather quickly too. When Finny decides to skip dinner and wrestle instead, Gene becomes confused, but goes along with his every word, and action. Later on in the book, after the accident, when Gene looks at himself in the mirror while wearing Finny’s clothes, on page 54, it says “… it was no remote aristocrat I had become, no character out of daydreams. I was Phineas, Phineas to life. … standing there (it seemed) that I would never stumble through the confusions of my own character again.” That meant that following that day, he was going to try to live each day more like Finny. Through out the book Phine ...
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... class were not as fulfilling as her desire to have passion in her life, a desire which could only be met by Heathcliff. Throughout the book, Catherine tried to discover who she was and what exactly she wanted. In chapters 6 and 7, Catherine thought that she had finally discovered who she was and what she wanted. These chapters are the pinnacle of the story. It was the point in the book where the social classes were determined and Catherine¹s love for Heathcliff was forced to be supressed. Heathcliff and Catherine were still young and playing together innocently one day. This was before Catherine became a member of the upperclass society and realized that she could n ...
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... Macon, perhaps instigated by never having a mother and seeing his own father killed, has always appeared to be a cold and unforgiving parent even to his other children besides Milkman, but since Macon heard that his son¹s nickname was ³Milkman² he has seen him as a symbol of his disgust for his wife and lost a lot of respect for his son and became even colder towards him. The only time Macon did spend time with Milkman, he spent it boasting about his own great upbringing, warning him to stay away from Pilate and telling him about the embarrassing actions of Ruth. This is the manner in which Morrison establishes the relationship between Macon and Milkman in the fi ...
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... trusting nature in the beginning of the play lets Iago- cunning, untrustworthy, selfish, and plotting; use him as a scapegoat. Othello, the Moor, as many Venetians call him, is of strong character. He is very proud and in control of every move throughout the play. The control is not only of power but also of the sense of his being who he is, a great warrior. In Act I, Othello has a scuffle with Brabantio, who has come to kill him, but before anything could happen, Othello said: "Hold your hands, both of you of my inclining and the rest. Were it my cue to fight, I should have known it without a prompter" (I, ii, lines 97-100). The power shown here is quite ...
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... his character at the very beginning of the play. The ghost informs him about Claudius’ evil doings. Hamlet is prompt by replying: “Haste me to know’t; that I, with wings as swift As meditation or the thoughts of love, May sweep to my revenge.” (Shakespeare, p. 67) This passage shows how Hamlet decides to avenge his father’s death. In fact, he declares that he will be committed to nothing else but the revenge against Claudius: “I’ll wipe away all trivial fond records, All saws of books, all forms, all pressures past, That youth and observation copied there; And thy commandment all alone shall live Within the book and volum ...
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... by building associational links. The silent film A Man With a Movie Camera (Dziga Vertov) is such an example of an associational documentary. This self-reflexive film using life in the Soviet Union is all about the power of filmmaking. This film becomes a celebration of the documentary filmmaker's power to control our perception of reality by means of editing and special effects (Bordwell 416). Using various images that may not be normally grouped together Vertov hoped to show how everyday actions could be applied to filmmaking. For example: One brief segment shows the camera lens focusing and then a blurry shot of flowers coming into sharp focus. This i ...
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