The Cask of Amantillado

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The most intriguing part of this story is the amount irony Poe had instilled in Montresor's dialogues and actions. Irony, both dramatic and verbal, plays an important role in this passages. Dramatic irony occurs in the beginning of the story when the reader becomes aware of what will become of Fortunato when the character continues his descent into the catacombs in pursuit of the Amontillado. Poe further adds to this effect by calling the character Fortunato ,who is anything but fortunate, and dressing him in a clown costume since Montresor intends to make a fool of him as part of his plan. My favorite passage in the story is as follows

Come, I said, with decision, we will go back; your health is precious. You are rich, respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter. We will go back; you will be ill, and I cannot be responsible. Besides, there is Luchresi -- Enough, he said; the coughs a mere nothing; it will not kill me. I shall not die of a cough. True --true, I replied; and, indeed, I had no intention of alarming you unnecessarily --but you should use all proper caution. A draught of this Medoc will defend us from the damps. Here I knocked off the neck of a bottle which I drew from a long row of its fellows that lay upon the mould. Drink, I said, presenting him the wine. He raised it to his lips with a leer. He paused and nodded to me familiarly, while his bells jingled. I drink, he said, to the buried that repose around us. And I to your long life.

In this passage Montresor expresses concern about Fortunatos health, and how he doesn't want to be responsible for Fortunato if is health worsens. From what Montresor has told us we know that he is going to seek revenge and be responsible for Fortunato's death; he was acting concerned only because he didn't want to arouse suspicion in Frotunato about his dark plans. One of the best lines of the story is given by Montresor in response to Fortunato saying, I will not die of a cough. Montresor says, True--true.... The irony is that Montresor knows that Fortunato won't die of a cough because he plans to seek revenge on the insult and kill Fortunato. Other examples can be seen when Montresor toasts Fortunatos long life as well as when he says that he is a mason, but not in the sense that Fortunato means. In pace requiescat! is the last line of irony of the story . In pace requiescat! means "May he rest in peace" but the ironic part is that it also refers to a very secure prison, which Montresor has trapped Fortunato in.

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Contrasting Notions of the Outsider in The Merchant of Venice and Othello

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The captivating effect of the mysterious and the strange upon the human imagination is a quality that has been exploited by storytellers since the advent of storytelling itself. As such, master dramatist William Shakespeare, in the stories he brought to life upon the stage, has crafted entire worlds, and many famous characters therein, around this enticing notion of "otherness". Thus, theatre patrons who had never been to Venice, and in all likelihood would never get the chance, could be transported there for the mere cost of admission, and characters of strange appearance and custom could be seen and wondered at without risk of actual confrontation. Of course Shakespeare did not employ this "foreign" aesthetic only as a mere gimmick to sell tickets, but rather, Shakespeare's genius utilized the public's fascination with the "other" as a means of communicating something much more three-dimensional.

This becomes evident when looking at Shakespeare's Othello, and The Merchant of Venice, both of which elaborate on the theme of the outsider through the characterization and actions of Othello and Shylock respectively. These figures of "otherness" are similar in that both find themselves trapped within the perceptions of the dominant society they are in (in both cases this is Venice), and are motivated through the actions of the plays, and ultimately led to their individual downfalls, by the roles of "the outsider" placed upon them. However, through their contrasting portrayals of "otherness", Shakespeare demonstrates a kind of basic duality in how outsiders are perceived, and both Othello and Shylock serve to represent the two distinct sides of this coin. On the one half, Othello the Moor is seen as romantic and exotic, and his strangeness is therefore attractive to most of the Venetians in the play; Shylock the Jew, on the other hand, is imbued with a sense of malignant evil, and is held with utter contempt by almost everyone. Also, Othello's downfall is seen as tragic, and the result of outside malice and manipulation; whereas The Merchant of Venice is a romantic comedy, and as such, Shylock's demise is treated as a victory, and appears to be as much the result of Shylock's inherent wickedness, as it is the unjust perceptions heaped upon him by the Venetian lovers. Thus Shakespeare's duality of otherness seems to rely on a kind of purity of soul, as Othello's strangeness remains appealing because he is a Christian and his heart still may be understood by the members of Shakespeare's audience, while Shylock remains an absolute outsider, to the play, and to the audience, and although Shakespeare does much to convey a sense of three-dimensional humanity within Shylock's spirit, he is ultimately portrayed as a villain because he is Jewish.

The background of both plays is the oft-used Venetian setting, within which Shakespeare seems to find an agreeable combination of exoticness, and familiarity. Thus, romantic Venice, "notable for its wealth, its power, and its justice," (Riverside, p.148), was a kind of idealized London for Shakespeare's contemporary audience to relate to. Certainly the moral and religious sentiments felt within the London audience at the time, could find strong parallels in the actions and virtues upheld by the citizens of this fictional Venetian society. The chivalric, noble undertones with which most of the characters of Othello mark their speech, can be seen at least as notions an Elizabethan audience would like to think reflected in themselves, and the attitudes towards usury in The Merchant of Venice, though it was a relatively common practice in Shakespeare's England, still, "the medieval conviction that it was wrong to take interest remained emotionally powerful," (Riverside, p.85). And though both plays do stray form their Venetian settings to locations of even more exoticness, the dominant society, of which Shakespeare's London may be seen as a convenient parallel, is the society of Venice, and it is this which places judgement upon Othello and Shylock.

As such, the English attitude towards people of Jewish faith at the end of the sixteenth century, was also an important factor in the shaping of Shakespeare's dramatic sentiments within The Merchant of Venice. At the time the play was first published, "Jews had officially been banished from England for three centuries," and thus Jewish people were perceived by the popular imagination of Shakespeare's audience "almost as mythical beasts strange, evil beings who had once crucified Christ and might be expected to persevere in anti-Christian activities," (Riverside, p.84). Moreover, the Jewish people of the time had recently "achieved an unwelcome notoriety when Roderigo Lopez, a Portugeuse Jew who had been Queen Elizabeth's physician, was tried and executed for his part in a supposed poisoning plot aimed against her," (Riverside, p.84). Thus the perception of the Jewish outsider prevalent in Shakespeare's England, and indeed throughout most of Europe, was one that imagined him as having an innate tendency towards hatred and malice.

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This perception can certainly be seen to translate into Shakespeare's portrayal of Shylock the Jew. Indeed, Shylock seems to epitomize the miserly, cold-hearted figure of the Jewish stereotype. Thus, whereas the Christians in the play speak in merry tones, adorned with the metaphor, and double-meaning characteristic of Shakespearean discourse, Shylock's speech seems restrained towards a more narrow, economical interpretation of words. For instance, when Shylock first considers the bond between himself and Antonio he agrees to accept it because "Antonio is a good man," though Shylock does not mean 'good' in the moral sense that Bassanio does when he retorts "Have you ever heard any imputation to the contrary?" (Merchant, Act 1, Sc. ; 1-14); he means it merely in the narrow sense that Antonio is economically sufficient for the bond to be considered. Shylock also only seems to understand personal relations in a purely business-like manner, and as such human losses are equated only in terms of their economical consequences. Thus when Launcelot the Clown leaves Shylock's service, Shylock merely interprets it as chance to rid himself of the "huge feeder" on his ducats, and also as a chance to "help to waste [the] borrowed purse," of the hated Bassanio, (Merchant, Act , Sc. 5; 46-51). Even more callous is Shylock's reaction upon discovering his daughter Jessica has taken off with a Christian and a large portion of his riches. Though understandably upset at the betrayal, Shylock shocks the audience with his cold declaration that "I would rather my daughter were dead at my foot, and the jewels in her ear!" (Merchant, Act , Sc. 1; 87-0).

The Christians of the play seem to value friendship and love above all, and though they do place much importance on money, as Bassanio requires it in order to seek an audience with Portia, this importance is related to the potential of money to bring happiness. Shylock seems to accumulate "barren metal" for its own sake, whereas the Christians transform their wealth into "silks and spices, ships that venture across the world," and shows of generosity and friendship, (Riverside, p.85). Bassanio is a terrible spendthrift, but this is not at all seen as a flaw in his characterindeed the very idea of risking your money is linked to virtue in the play, a notion which is exemplified in the fact that the correct casket Bassanio chooses to win Portia, bears the inscription "Who chooseth me must give and hazard all he hath," (Merchant, Act , Sc. 7; 16). Thus, Shylock is represented as an alien within a society "whose religion, pleasures, aims, and attitudes are radically different from his own," (Riverside, p.85).

The characterization of Othello also seems to manifest such inherent qualities of race, but whereas Shylock's strangeness isolates him, Othello's essentialist characteristics actually appear to commend him within Venetian society. Othello is noted for his courage and honour and seems to have an innate inclination to the art of battle "Were it my cue to fight, I should have known it/ Without a prompter," (Othello, Act 1, Sc. ; 84-5). Also, Othello is seen to be quite boastful and "rude" in speech, "little bless'd with the soft phrase of peace," (Othello, Act 1, Sc. ; 8), and these attributes would seem to evoke the romantic stereotype of the 'noble savage'. However, Othello is mainly perceived as quite exotic and therefore attractive to the people of Venice, and the stories he relates of "men whose heads/ Do grow beneath their shoulders," (Othello, Act 1, Sc. ; 144-5), wins him the heart of the beautiful and virtuous Desdemona who, "lov'd me for the dangers I had pass'd, / And I lov'd her that she did pity them," (Othello, Act 1, Sc. ; 167-8). Othello's valiant and noble nature also grants him the coveted position of General within the Venetian army. Thus it is obvious that Shakespeare's intent was not to portray Othello as simply being one step removed from the jungle, but rather as a magnanimous and exotic outsider, who ingratiates himself within the folds of Venetian society because of his romantic, noble nature and his "perfect soul," (Othello, Act 1, Sc. ; 1).

There is no doubt however, that Othello is a relative stranger within this Venetian society which still seems to hold him at a distance because of his difference in appearance. The baseness of Iago's and Roderigo's profane shouting at the beginning of the play is indicative of this, as is Brabantio's outrage at his daughter's marriage to Othello, and his conviction "That with some mixtures pow'rful o'er the blood, / Or with some dram (conjur'd to this effect)/ He wrought upon her," (Othello, Act 1, Sc. ; 104-6). But what gives the drama its sharpest element of tragedy is the fact that Othello, for all his worldliness, is ignorant of the hearts of men, and the capable evil therein. This naivety is what enables Iago to "work his poison" on Othello's senses, turning him against the virtuous and most honest Desdemona "I know our country disposition well/ In Venice they do let God see the pranks/ They dare not show their husbands; their best conscience/ Is not to leave't undone, but keep't unknown," (Othello, Act , Sc. ; 01-4). He also makes Othello painfully self-conscious about his appearance and to fear that Desdemona "May fall to match you with her country forms, / And happily repent," (Othello, Act , Sc. ; 6-8). Othello is not in a position to dispute with Iago's "learned spirit of human dealings", because he is new to Venice, "Till now some nine moons wasted," (Othello, Act. 1, Sc. ; 84). Therefore, Iago is able to use Othello's position as an outsider against him, and as such Othello is truly "led by th' nose/ As asses are," (Othello, Act 1, Sc. ; 401-) to the play's tragic conclusion.

It is interesting to note however, that Shakespeare actually subverts the original moral intended in the Giraldi Cinthio novella from which Shakespeare takes his source. Cinthio's sentiment was basically that "Desdemona made an unhappy choice in marrying a man so different from her in every wayunsuitable by reason of race, creed, and education," (Riverside, p. 146). In Shakespeare however, though differences in race and manners are emphasized, Othello is firmly established as a Christian throughout the play, and as such Othello and Desdemona's love is sanctified, so that "The heavens forbid/ But that our loves and comforts should increase/ Even as our days do grow!" (Othello, Act , Sc. 1; 1-5). Moreover, the morals that were intended in the original version of the story are degenerated by Shakespeare into an aspect of ignorance, or malice by those that harbour them in the playthus Iago and Brabantio are the only characters seen to echo Cinthio's sentiments. What seems most important to Shakespeare is that Othello is Christian and thus his soul is just. Even when he commits evil there is still honour in his deeds as he urges Desdemona to pray before he kills her as "I would not kill thy soul," (Othello, Act 5, Sc. 1; ). Furthermore, at the end of the play, when Othello commits suicide, he actually transforms his status as an outsider, from that of noble romantic to malicious heathen, by equating himself to "a malignant and a turban'd Turk," who "Beat a Venetian and traduc'd the state," (Othello, Act 5, Sc. ; 5-4). The Turks, of course, were Muslim, and as such, viewed by the Christians as enemies to civility and order. Thus Othello carries out the justice of Venice, by stabbing himself as a Turkish outsider.

This perception of the "malignant Turk" in Othello, is comparable to the perception the Christians have of Shylock in The Merchant of Venice. However it is important to note that Shakespeare does not present his audience with a mere one-dimensional stereotype, such as is found in Christopher Marlowe's contemporary Jewish representation of Barabas, the hero-villain in The Jew of Malta. Indeed, quite unlike Barabas, "Shylock is a closely observed human being, not a bogeyman to frighten children in the nursery," (Riverside, p.85). This sense of humanity is conveyed perfectly by Shylock in his famous speech to Salerio and Solanio in which he asks "Hath not a Jew hands, organs, dimensions, senses, affections, passions? […] If you prick us, do we not bleed? If you tickle us, do we not laugh? […] And if you wrong us, shall we not revenge?" (Merchant, Act , Sc. 1; 5-67). Shylock is persecuted by the Christians in Veniceeven Antonio who is upheld throughout the play as a figure of sublime virtue, ridicules Shylock in the street, calling him "misbeliever", and "cut-throat dog", (Merchant, Act 1, Sc. ; 111). Thus Shakespeare makes Shylock capable of evoking sympathy from his audience, and this adds a significant degree of complexity to the play, as it appears that Shakespeare might have been trying to communicate a greater sense of universal humanity to the largely anti-Semitic crowd which filled the theatre.

Ultimately however, it is impossible not to see Shylock as a villain in the play, as his maniacal and monstrous desire for a pound of Antonio's flesh is incomprehensible to any sensible member of an audience. This perverseness of Shylock's values and beliefs is further exemplified in the contrasting conceptions of justice harboured by Shylock and the Christians. For Shylock, justice equals revenge "I crave the law, / The penalty and forfeit of my bond," (Merchant, Act 4, Sc. 1; 06-7). For the Christians, justice is only virtuous when seasoned with mercy. Mercy thus becomes "an attribute to God himself," and as Portia describes it in the court scene, mercy is closely related to the concepts of the Christian religion and indeed even of salvation "We do pray for mercy, / And that same prayer doth teach us all to render/ The deeds of mercy," (Merchant, Act 4, Sc. 1; 00-). Mercy for Shylock is not a sign of virtue but a sign of weakness; "I'll not be made a soft and dull-ey'd fool/ To shake the head, relent, and sigh, and yield/ To Christian intercessors," (Merchant, Act , Sc. ; 14-6); and when asked to show mercy to Antonio in the courtroom Shylock retorts by demanding that the law be evoked to the very letter crying "An oath, an oath, I have an oath in heaven! / Shall I lay perjury upon my soul?" (Merchant, Act 4, Sc. 1; 58-). In this sense, Shylock relates his impoverished sense of mercy, and his lust for vengeance with his own faith. Correspondingly, when Shylock is undone in the courtroom, the Christians strip him of his religion and force him into Christianity, as a show of their mercy, further linking the concept of mercy with a kind of spiritual salvation. Like Othello, Shylock is ultimately led to his downfall because of his role as an outsider, but for Shylock this is entirely his own doing. He seeks the very letter of the law, the kind of narrow, impersonal, interpretation of the words, which is his stereotypical characteristic, and Portia serves him just that. And as a final triumph, Portia evokes the law against "aliens" who seek the life of Venetian citizens. Thus is Shylock condemned, to the happiness of the Christians, because he is a Jew and therefore a permanent alien within the society of Venice.

Over time however, the role of Shylock has been interpreted by a number of actors in a variety of different ways. Some have turned Shylock's plight into an entirely sympathetic one, where it is the Christians who are ultimately in the wrong; while in Nazi Germany, the play was used as a device to rally anti-Semitic sentiments, and Shylock was thus portrayed as overtly evil and malignant. Shakespeare's own interpretation seems to lie somewhere in between these two extremes, but the overall anti-Semitic sentiments prevalent in the text would seem to suggest that Shakespeare, being only human after all, leaned closer towards the latter. However it is to his credit that the text of the play is open enough to these various interpretations, and in that respect alone, Shakespeare does indeed continue to communicate a kind of supreme shared humanity between all things mysterious and strange.

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Beowulf

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Beowulf

The epic poem Beowulf, written in Old English by Christian

monks around 750 AD, is a wonderful adventure story about a warrior who

kills ferocious monsters. The use of description and imagery enlivens

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the story, making it possible for a reader to really see in his or her

mind the characters and events. Metaphors, exaggeration, and

alliteration are three devices that together allow the reader to

experience this poem which is quite different than most other poetry.

A metaphor is a figure of speech in which a word or phrase that

ordinarily means one thing is applied to another thing to suggest a

likeness between the two. Metaphors are used extensively throughout the

poem to paint a more colorful picture in the listeners mind. These

metaphors are used in phrases called kennings. A kenning is a

descriptive, poetical expression used instead of a simple name for a

person or thing. Beowulf is hardly ever called by his actual name.

Instead there are many kennings referring to him, such as Prince of

the Weders, The Son of Ecgtheow, The Geatish hero, and The Lord of

the Seamen. These kennings describe Beowulf to us in a more interesting

way than just stating the hard facts. Without these kennings Beowulf

would be less interesting and we would learn less about him. Anybody

would say that describing or referring to a person by his or her name

over and over again is boring. So the use of kennings and metaphors is

very important in this long epic poem.

Exaggeration is another device to make Beowulf a more

interesting, entertaining, and dramatic poem. For example, even though

this story is a fantasy, it is hard to believe that the character of

Beowulf would be able to kill a monster like Grendel with his bare

hands. Exaggerating Beowulfs bravery makes the story more exciting.

Another exaggeration used to convince us how great our hero is, is the

passage, Over all the world, or between the seas, / Or under the

heaven, no hero was greater. (671-67). This dazzles the listener with

Beowulfs bravery. His bravery is again exaggerated when he jumps in the

swamp wearing heavy armor to fight and kill Grendels mother. Its

unlikely even a strong warrior could win a battle with a she-monster in

an underwater cave with a broken sword. But it adds to the excitement.

In the line The head of Grendel, with heavy toil; / Four of the

stoutest, with all their strength, / Could hardly carry on swaying spear

/ Grendels head to the gold-decked hall. (110-111) exaggerations are

made concerning the size and weight of the monsters head. Again, it

portrays a more gruesome and dramatic scene to the listeners

imagination.

Alliteration, which is repeating the same sound, usually a

consonant, at the beginning of words or in accented syllables, gives

this story a more poetic sound. Alliteration also helped the scops or

storytellers in memorizing the tales. Examples of alliteration can be

found throughout the poem such as, The Hall of the Heart, His pledge

and promise, Dragging the dead men home to his den, Fitted and

furnished, and Showed sea-cliffs shining. This device adds creativity

and rhythm to the poem. It makes it more entertaining to read, speak, or

listen to such a long story.

Metaphors in the kennings, exaggerations, and alliteration all

help in developing vivid descriptions and imagery to entertain and

beautifully tell the story of Beowulf. Imagery, figures of speech that

help the mind to form pictures, are throughout the poem. One of the

strongest examples was found where it reads, The demon delayed not,

but quickly clutched / A sleeping thane in his swift assault, / Tore him

in pieces, bit through the bones, / Gulped the blood, and gobbled the

flesh, / Greedily gorged on the lifeless corpse, (558-56). This is the

image of Grendel killing one of the soldiers before his fatal fight with

Beowulf. Great descriptive passages are found about Grendels swamp-home

describing it as, ^a dismal covert / Of trees that hung over hoary

stone, / Over churning water and bloodstained wave. (6-8), ^The

water boiled in a bloody swirling () ^The swimming forms of

sea-dragons, / Dim serpent shapes in the watery depths. These are the

pictures that nightmares are made of.

In comparison to our modern fiction, Beowulf might seem wordy

and lengthy but when a reader takes time to savor the graphic

descriptions, vivid imagery, clever alliteration, and fantastic

exaggerations one can understand how this thirteen hundred-year-old epic

poem has lasted through the years. It is beautifully and creatively

written and has therefore stood the test of time for the reader or the

listener.

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My Father's Love

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I still vividly remember the time I felt weak and helpless before an enemy so strong, all I could do was cry silently and pray for inner strength. It was August of 10. Accompanying my father, a retired military man, to his doctor's office to see about a fever resulting from a throat infection. There was no preparing for the news. The words shot through my heart. Cancer of the lymph node, in the 4th stage, to 4 months.

I did not know how to react. I didn't want my father to see how afraid and helpless I felt. I was not going to bog down, no, not in front of him. I had to be strong for him at that moment. He remained silent upon hearing the news, still the very stoic military man he was trained to be. He turned to me and said the words I can never forget "Don't worry, Tes. I am not at all worried, I know that sooner or later I would have to go, and my time just came earlier. But this you must remember, GOD will take good care of us, as He has always done! And I am sure that even after I am gone, He will be with you and your brother and mother."

What faith! For a man who was already told of imminent death! Though I can see the truth in his words now, I refused to take comfort in them back then. Questions filled my mind, and they needed immediate answers. Why my dad? Why us? What was to happen to us if we had lost him? How was I going to deal with this tragedy? Who will provide for our needs when he is gone? For several days, I was beyond myself. I couldn't focus on my work nor my relationships.

I wasn't the one dying, but I knew my faith, too, was being tested. Instead of giving up to depression, I did one simple thing. I knelt down and prayed. I prayed for strength and guidance, I prayed for provision, and I prayed for my father. It was amazing how God takes care of His children. He made things go easy for us, despite the situation. Even now, I still can't believe how we were provided with so much. My father stayed with us for another months after the announcement. I am very grateful that I was given that long a time to still be with my dad, to take care of him for his remaining days. Help with essay on My Father's Love

Now, my questions have answers. I just lift everything to my Father in heaven. As my earthly father took good care of us, I now know that my Heavenly Father does several times as much. I always feel embraced and loved by God. I know that even when darkness clouds my days, the light of His love and faithfulness will always shine on me.

I still miss my father… always! But I am very blessed to have two daddies taking care of me now. Someday I hope to be with them. Only then can I finally say that yes, I am home.

Please note that this sample paper on My Father's Love is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on My Father's Love, we are here to assist you. Your persuasive essay on My Father's Love will be written from scratch, so you do not have to worry about its originality.

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Why?

If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on Why?. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality Why? paper right on time.

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After seeing the film The Virgin Suicides, I found myself asking the question why. While talking to other students about the film again came the question, why? Why would these girls, with so much to look forward to, commit suicide? This question, "why" is the central theme of the whole film. Hearing many opinions on the film, I asked myself, what was the most disturbing aspect of this film? Focusing on the subtly disturbing manner in which the film is told and again asking why. I came to the conclusion that the most disturbing part of this film isn't so much the girls committing suicide, but the fact that we don't know why they do it.

Like the boy's across the street, we are not content with what happens, we feel cheated, like it's all a horrible inside joke and we just don't get the punch line. The first time the boys go into the house, they look around as if they were in the house of a dead idol, like the smaller pieces of the girl's lives are going to tell them something they haven't yet considered. The way they steal Cecilia's diary and try to imagine what the girls were thinking. The way they sit with the telescope pointed at the roof across the street, watching like confused children, which essentially is what they were. These are some of the more obvious voyeuristic scenes, but there are so many more. The film could almost be a beginners guide to stalking.

All the boys were obsessed with the Lisbon girls. They wanted to know what they were doing, where they were, who they were, and most of all, why. The one time Lux let one of the boys get close enough to answer some of these questions, he momentarily looses interest and leaves her at the football field. Which poses the question, were the boys fascinated with these girls because they were unique and interesting, or did they only want what they couldn't have, the forbidden fruit.

The bars of isolation put firmly into place by the Lisbon mother is what creates this aura of mystery around these girls. Her strict enforcement of the conservative lifestyle only adds fuel to the girl's new found sexual fire. Like the boys, the girls only want to discover the unknown. And for the Lisbon's, the unknown is the opposite sex. Unfortunately, the girls are still children. But the ideas and feelings they posses are adult. So, how does a child live like a child, even though this child has the same desires and emotions as an adult? The children of, both boys and girls in this film are being asked to grow up in many ways before they are ready to. The only time they are expected to act like they are still children is when the topic is sex.

The daughters refuse to go down that path, however, and instead find a way to remain forever young and free from their mothers influence. Whats worse, having children who dont always behave, or not having children at all?

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The adventures of Ibn Battuta

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The Adventures of Ibn Battuta, by Ross E. Dunn.

The travels of Ibn Battuta have often been compared to those of Marco Polo. Even though Ibn Battuta in the course of his -year journey visited territories equivalent to about 44 modern countries, and traveled approximately 7,000 miles, he remains barely known beyond the Islamic realm. He is often referred to as "the Marco Polo of the Muslim world." Dunn's stated intent was "to bring Ibn Battuta's adventure to general readers, in hopes that the Moroccan journeyer will become as well known in the Western world as Marco Polo is" (ix).

Dunn's account of Ibn Battuta's travels through the central regions of Islam, India, China, Indonesia, Central Asia, and East, West, and North Africa is very intricate and full of historical detail. He helps the Western reader begin to learn of Islamic customs and culture among many different people, places, and empires. Dunn rather miraculously takes the reader on a journey as he brings together in readable format Ibn Battuta's fantastic historical travels. Dunn's main concern is not precisely when Ibn Battuta was where, but rather to give his reader the big picture of Islamic life in the fourteenth century.

The book is written to an American audience specifically for the non-specialist interested in medieval Islam. This rather wordy book is part biography and part cultural history describing cultural, dynastic, and political detail derived from Ibn Battuta's own record, his Rihla. Although Ibn Battuta's travels take him far and wide he remained mostly within the cultural boundaries of what Muslims refer to as the Dar al-Islam, or the general realm of Islam. Because of this the events depicted in this book have an underlying Islamic background interwoven. In fact Ibn Battuta had very low tolerance toward pegan beliefs of other countries he visited and only felt comfortable within the Islamic circle. Ibn Battuta's Rihla is very comprehensive in nature and therefore in Dunn's book the reader receives detailed information of the personalities, places, governments, customs and traditions of the Muslim world. The result is a very extensive detailed commentary on fourteenth century life in the Islamic civilization. Custom Essays on the adventures of Ibn Battuta

Ibn Battuta's Rihla was not a daily logged travel journal; rather it is a part autobiography part descriptive recap that was written at the end of his long career. Therefore the author in retracing his steps is faced with rather large gaps in time making an accurate chronological reconstruction of Ibn Battuta's journeys nearly impossible. Dunn has chosen to organize his book in regional increments, which actually vaguely follows the general course of Ibn Battuta's journeys through the Muslim world. Dunn states "this is my interpretation of Ibn Battuta's life and times not a picture of the fourteenth century through his eyes" (xi).

Despite the vast cultural detail found in Ibn Battuta's Rihla he records very little of his personal insights or feelings. So in Dunn's book the reader will learn very little about the true character of Ibn Battuta. I found this to be a weak point in the book; I wanted to learn more about the man behind the great traveler image.

Almsgiving is one of the five sacred pillars of Islam, and Ibn Battuta in the course of his journeys was supported by alms-givers providing him with money, clothing, slaves, horses and concubines among other things. He seldom traveled alone, and during his long journey he married and divorced several times. Ibn Battuta was a very determined traveler "If God decrees my death, then my death shall be on the road," he states after becoming very ill during his journey to the land of Hijaz ().

As stated earlier I would have liked to become better aquatinted with Ibn Battuta in this book. I realize this would be a hard task for any author because Ibn Battuta reveals very little about himself or his feelings and almost everything know about him is found in his Rihla. This does however detract from the emotional side of the story leaving you with somewhat of a sterile historical journey.

Overall Dunn skillfully accomplishes his task bringing Ibn Battuta's fourteenth century journey to the modern reader. He gives you a very detailed look at what it would be like to live in the Islamic realm during the early middle ages. I walked away from this reading with a broader understanding and deeper appreciation for Islamic beliefs.

Please note that this sample paper on the adventures of Ibn Battuta is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on the adventures of Ibn Battuta, we are here to assist you. Your persuasive essay on the adventures of Ibn Battuta will be written from scratch, so you do not have to worry about its originality.

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Consumer culture in America

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Americans have an obsession with consumerism. Whether the consumption is in buying, advertising, manufacturing or distribution, the majority of the American public is fascinated with the art. The technically crafted trade of consumerism has been forced upon us throughout time. Like a runaway train, consumption is inescapable. Through measures of simplicity, consumerism has been pushed away from attacking the very core of existence. However, many Americans cannot rid themselves of simple necessities to avoid the massive upheaval consumerism places amongst a public. As a consumer society, has consumption been forced upon us? Since the late 1th Century, consumerism has broadened its horizons immensely with tactics of advertising, labeling, branding, and public relations manipulation. I believe these bold maneuvers by manufacturers and advertisers have been thrusted upon the American public, but the society has welcomed the tactics with open arms. Specific instances in history have offered simplistic solutions to the crisis of consumerism, but as a population, Americans are not ready to give up their cell phones, compact disc players, DVD players and computers with high-speed Internet access. The following paper will discuss through factual information and opinions how an American public has willingly trenched their way to an ever-expanding market of consumption.

With beginnings in the late 1th Century and early 0th Century, branding and labeling formed a manufacturers dream of profit and a consumers need for specifics. Americans could choose what product or service fit a particular need with the invention of branding and labeling. With the introduction of advertising, people were propelled more into a consumer frenzy of buying. Advertisements were a direct avenue to the consumer from the manufacturer to make a profit. Consumerism, during the later half of the 0th Century, hit all time highs. The creative destruction of consumerism was even deemed affluenza to give the actions of many some type of sickness to explain a habit or a lifestyle. Throughout this time period, ideas of simplicity have been introduced and reintroduced to a mildly willing public to heal wounds of consumerism, which include credit card debt, bankruptcy court and failing family values. The cradle of consumerism has rocked an American public, but as a society, should we not blame only ourselves?

During the late 1th Century and early 0th Century, consumers main outlet for consumption was the local general store. Whether a farmer came to the nearest rural town once a month or whether a mother went around the corner, the general store was sufficient in a persons basic needs. According to Susan Strasser, author of Satisfaction Guaranteed The Making of the American Mass Market, mainly a wholesaler supplied general stores. The idea of the wholesaler dominated retailers and customers alike. Retailers depended on the wholesaler to deliver goods so in turn, the retailers could profit from customers patronage. Wholesalers, in other words, controlled marketing in both of its senses they did the physical work of distribution, and they took responsibility for product promotion (Strasser, 1). The goods wholesalers marketed were unbranded and generic. Manufacturers decided to market their own products for customers. One example Strasser gives with this concept was Proctor and Gambles marketing of Crisco. With advertising, such as store displays, Crisco became a household name (). The invention of Crisco was significant in several ways. First, Proctor and Gamble made it possible for a brand to take hold over a wholesaler. The tide turned from wholesaler to manufacturer. On the one hand, the power that brands gave manufacturers was constrained by consumers close relationships with local merchants and retailers connections with wholesalers. On the other, to promote strong brand identification, manufacturing corporations established reputations and relationships with consumers as surely as the corner grocer did through personal contact and personality (8). Secondly, customers, along with storeowners, transformed into consumers (0). A new social class was created, which was not based on income, gender or race. People, through brands, were part of the same class of consumers. Branding promoted indifference meaning different brands of one product competed for a consumers dollar. Nevertheless, branding issued togetherness amongst people through retailers and customers. Consumers imaginations were stretched with the new introduction of products that could suit convenience into their daily lives (8). Routines and lifestyle habits changed forever with manufacturers introducing new products lines that would revolutionize a consumer culture. For instance, the selling of convenience, such as Campbells instant soup, hit consumers with new buying habits because it was easier for a busier lifestyle (5). The national brand was usually sold with a unique label or trademark, to avoid substitutions, so the customer would be able to identify a company name such as Proctor and Gamble or Kodak (87). The main influence of national brands was to avoid and bypass the wholesaler and to win trust in the consumer to buy more (88). According to James B. Twitchell, author of Adcult USA The Triumph of Advertising in American Culture, the process of differentiation, called branding, is the key in all advertising (Twitchell, 54). A customer had to determine which product was the best, and brands were the way consumers made this decision. The consumer developed a dependency on certain national brands. This dependence carried on to other products during the 0th Century.

Advertising is one medium to get the message of the manufacturer to the consumer. Ads for goods and services reach a wide variety of audiences, which are segmented into different categories. Adcult author Twitchell believes advertising is not part of the dominant culture, it is the dominant culture (0). This statement is very bold and very correct. Advertising has overwhelmed the United States like no other outlet, except for television. At any point, television is the entertainment medium advertising uses most frequently. However, in the late 1th Century, advertisements found its avenue for exposure in newspapers and magazines. Newspapers, at first, tried to control aspects of advertising, but newspapers began to rely on advertising for profit. Today, eighty percent of all newspaper revenues come from advertising fifty-two percent from retailers, thirty-five percent from classified, and thirteen percent from national clients like airlines (71). Magazines would soon follow the same pattern of profiting from advertisements. Although the newspaper advertisement was very effective, consumers were drawn in more to advertising by the radio. The development of the radio came from technology developed during the World War I (81). Radio stations began to emerge from the postwar shadows, and advertisements slowly crept up on radio programs. However, radio would eventually dominate as an entertainment medium well into the 140s. According to Gary Cross, author of An All-Consuming Century Why Commercialism Won In Modern America, consumerism became a democracy, and in a sense, everyone was encouraged to be a participant. With the book divided into time periods, Cross organizes consumerism as a ladder in which people climb the steps each time goods are accumulated. With the heydays of the 10s, Americans were finding carefree ways to consume products. For instance, with technological advances in the automobile, people were obtaining new senses of freedom especially in consumerism. People were also trying to attain an idea of individuality while marketers and advertisers in the time period were trying to exhibit family togetherness. During the 10s, the Great Depression loomed in the minds of everyone. Despite the shock of the Depression and its tenacity, few Americans saw the economic slump as anything but temporary (Cross, 75). Advertisements took on a new form with the propaganda ads during World War II. With the war movement came advertisements of propaganda promoting the effort at home and on the front. Although the propaganda ads focused on sustaining economic extravagance to help the boys at war, advertising during World War II foreshadowed a future of unlimited consumption after the Allied victory (84). The 150s saw an economic explosion with the wide introduction of television. But according to Twitchell, the greatest advertising medium ever concocted, bar none…Television is the primary force in Adcult (Twitchell, ). Advertising on television is like a great sucking sound a person hears when watching any program. Television advertising reaches into to grab the viewers from the couch or the Lazy-Boy and sucks them into a primal existence of buying frenzies. Television provides a viewer with entertainment and information programming, but these shows have to be sponsored by advertisers with dollars to spend. With audience shares from major television networks, advertisers buy the audience with their marketing techniques (). According to Cross, the television has become a family member and a way for youth to escape the confines of parental guidance. During the 160s, a counterculture of youth rejecting authority quickly developed out of protest to the Vietnam War. Twitchell believes percent of all advertising has no effect on the consumer (). I highly disagree with this statement because consumers are barraged with advertisements daily whether the medium is in billboards, television or radio. In my opinion, an advertisement will reach someone in a specific audience at some point in a lifetime. An advertisement can produce a desire to obtain a good a person wants.

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Manufacturers differentiate specific groups between each other to promote advertisements. Children have been a long target group for advertisers and manufacturers. In William Leachs Land of Desire Merchants, Power and the New Rise of the American Culture, families were targeted as consumption communities. Youth specialization led to the creation of specific departments in stores for toys and childrens clothing. Santa Claus became an icon, when in the past, Santa was a mythical character to be looked upon as a jolly old man. Today, Santa Claus is at every shopping mall, every strip mall and at the local Shoneys restaurant ready to take pictures with crying children lugging their angst-ridden mothers in tow. Advertisers and marketers use children to train them in underground trenches of places such as Toys R Us and Chucky Cheese so future consumers can start the cycle all over again with their own children. In the book Affluenza The All Consuming Epidemic authored by John DeGraaf, Thomas Naylor and David Wann, this consumerism programmed towards children is seen as infecting these kids with a disease. Children have become spectacles for marketing with parents seen by the majority as total idiots. Women are a highly marketable group for advertisers. The promotion of such womens products, such as Slim-Fast, has produced problems like anorexia and bulimia. Magazines, such as Cosmopolitan and Elle, portray women as wanton sex goddesses. Adcults Twitchell believes these ads geared towards females are not to blame for the cultural problems young women face (15). In my opinion, these images mortify a womans confidence. Advertisers, probably in the back of their minds, think they are portraying an image of self-quality. However, in reality, advertisers are slowly profiting for the manufacturer an image of falsity and tragedy.

Advertising sees no boundaries when holidays and sporting events arise. Christmas is suppose to be a time to rejoice in the birth of Jesus Christ, however with After-Thanksgiving sales, Kmart Bluelight specials and no parking spaces at the local shopping mall, Christmas has turned into a consumer freefall of chaos. In the past, After-Thanksgiving sales start at the break of dawn with lines of customers waiting at stores, such as Wal-Mart, to get that special deal no other store will ever offer. Customers, as they reach the special deal, sigh in relief that they have just enough on their Visa credit card to charge the present of their dreams. Why do the holidays bring a sense of desire for shopping? Holidays are created to extend the pleasure of advertising. Valentines Day and Mothers Day are created to profit upon by card companies such as Hallmark. Advertisers are fanatics when sporting events happen. Every college football bowl game has a sponsor. I think it is nice to sit on my Lazy-Boy recliner drinking a Budweiser beer while watching the Tostidos Fiesta Bowl. However, advertisers and critics alike go through a freefall of advertisements during the Super Bowl (1). New ads and sensationalism run rampant in the cold January month when football is suppose to be the main event, but advertising draws viewers in like a pregame sideshow. Advertising can catch a consumer off guard at any moment whether at the sidelines of a football game or at a viewing of a Christmas cantata.

As Americans, the majority feel caught up in the consumption of it all. Whether a person is trying to accumulate what the next-door neighbor has accomplished or whether television is portraying an outrageously skewed standard of living, consumers, according to Affluenzas authors, are congested with stuff and clutter. Most people fear we will not succeed in the eyes of our peers whether it is financially or culturally (De Graaf, ). Many people suffer through the trials of credit card debt and bankruptcy to gain the consumer needs and wants of life. Instant gratification can drive a person to obtain the goods needed to sustain a culturally developed lifestyle, but the debt could follow the individual to the grave (1).

Ideas of simplicity have been introduced to a seemingly willing public to solve the hardships of consumption. However, most of these problem solving efforts have gone unnoticed or been placed on the backburner. According to An All-Consuming Century author Gary Cross, the late 160s and 170s found a growing resentment toward the authority of consumption. Counterculturalists, such as Jerry Rubin, denounced consumerism and its evils, but according to Cross, these passive hippies adapted their new lifestyle habits into a different kind of consumerism (167). By the 180s, the former hippies turned into consumer hungry people trapped in the consumption maze. During the 170s, President Jimmy Carter, to no avail, attempted to cure a consumption-stricken nation with conservation efforts. His sounds of simplicity fell on the deaf ears of almost everyone. Support groups for the debt-ridden have popped up over the past twenty years. Voluntary simplicity has emerged in counseling sessions, but through all of these efforts at solving this problem of angst consumption, one detail to salvation still remains the same. Simplicity can change the individual only if the individual lets simplicity into their lifestyle.

I agree people have been berated with advertisements and manufacturer promises. A population has suffered through economic hardships, whether it was nationally or personally. Advertising mediums have inundated our entire beings with commercials, billboards and print ads. Credit cards fill our wallets until the bulge of credit lines pop to the limit. Can we blame the advertisements or the mediums in which they use? In my opinion, I saw no. Consumption is an individual choice. People choose to fill out the MasterCard application. People choose to pay with credit instead of paying with cash. People choose to go to Wal-Mart at 00 am in the morning to pick up a television. Do advertisements have an effect on individuals and their consumption? In a sense, advertisements can affect a person to buy a particular item, but it is the persons choice in whether to spend the money to purchase it. I do believe some advertisements may have a negative effect on females, as discussed previously, because beauty is in the eye of the beholder. However, when beauty is spread among the pages of Vanity Fair, many young women are targeted to an image of unreality. I know it is a womans individual choice whether to use Fen-Fen, but being in the female class, I guess I am a little biased in this particular issue. Simplicity is a decision a person has to make on his or her own. Consumption can overrun people until lives are torn apart, but to blame a manufacturer or an advertisement, is not the answer. The blame game is among us, but we, in the end, can only make the choice that fits our lives.

Bibliography

Cross, Gary. An All Consuming Century Why Commercialism Won in Modern

America. Columbia University Press. New York, 000.

De Graaf, John, Naylor, Thomas, Wann, David. Affluenza The All Consuming

Epidemic. Berrett-Koehler Publishers, Inc. San Francisco, 00.

Leach, William. Land of Desire Merchants, Power, and the Rise of a New American

Culture. Vintage Books, Random House. New York, 14.

Strasser, Susan. Satisfaction Guaranteed The Making of An American Mass Market.

Smithsonian Institution Press Washington and London, 15.

Twitchell, James. Adcult USA The Triumph of Advertising in American Culture.

New York Columbia University Press, 16.

Please note that this sample paper on Consumer culture in America is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Consumer culture in America, we are here to assist you. Your cheap custom college paper on Consumer culture in America will be written from scratch, so you do not have to worry about its originality.

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