Self Improvement free essay sample

Self-Improvement Many people work toward something in order to improve themselves. This act of aiming toward something in order to achieve it is called setting a goal. Achieving goals usually improves the person who is setting them. Not abandoning the goal teaches the person discipline, and achieving the goal will improve the person as well. During this school year, I would like to improve myself by ameliorating my grades and becoming closer to God. This year, I would like to bring my grades from Bs and Cs to As and Bs. In order to achieve this goal, I will pay attention in class instead of talking to my friends. This is important so that I do not miss anything that the teacher says in class. In addition to paying attention in class, I can also begin studying every night and make sure that my homework is completed before class. We will write a custom essay sample on Self Improvement or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page This will help me to improve my grades because I will not have to cram for a test or try to finish my homework right before it is due. Achieving this goal is important to me because last year, I did not put forth he effort to make the good grades that I am capable of making. I need better grades in order to be accepted into the college that I would like to attend, Boston University. Achieving this goal would make me feel that I can do anything if I work hard for it. Becoming closer to God is another goal that I would like to accomplish during this school year. Achieving this goal will require praying more often instead of Just when I need something. It will require doing more service work as well, which is the reason hat I have Joined service clubs at school such as CLC and Key Club. In addition to praying more often and doing service work, I will go to church every Sunday, which will help me to become closer to God. Achieving this goal is important to me because overall, I will be a better and happier person. I strive to improve my grades and my relationship with God during this school year. These two improvements will result in a general improvement of myself. Bringing up my grades to As and Bs by paying attention in class and completing my class work on time is crucial to my acceptance into my dream college, Boston University. Although ameliorating my grades is important to me, it is not the only thing that needs improving. Becoming closer to God is also something I strive to achieve throughout this school year. This can be accomplished by praying more, doing service work, and going to mass every Sunday. Setting goals is important because it results in self-improvement.

Langston Hughes Essays (1232 words) - Literature, Free Essays

Langston Hughes Essays (1232 words) - Literature, Free Essays Langston Hughes The Harlem Renaissance was a great and powerful era in black history. Blues and Jazz flourished throughout the streets of New York, and young black artist began to arise an important part of this era had to be the inspirational writings of Mr. Langston Hughes. Born in Joplin, Missouri, Hughes was raised by his grandmother after his parents had divorced. He graduated from high school in Cleveland, Ohio and went off to Mexico to live with his father for fifteen months. While in Mexico, Hughes lived a very rural life and wrote many of his first poems which although never published began to distinguish him as a writer. He soon returned to home for a short period in 1923 before he joined the crew of the SS Malone bound for Africa. From there he visited many places including Paris, Venice and Genoa before once again returning to America, to live in Harlem, New York. Although it was not until 1926 that Hughes was officially discovered as a poet, he wrote many poems while still in high school. While working in Washington D.C. as a busboy, Hughes left three of his poems beside the plate of Vachel Lindsey, an American poet, who liked Hughes poetry and helped him publicize his writings. Living in Harlem, he soon discovered the Culture and literary circle of the New Negro Writers. As best said by the Health Anthology of American Literature, Hughes made the spiritual, blues and jazz the basis of his poetic expressions. Which in fact he did in some works such as The Negro Speaks of Rivers, and The Weary Blues. Most of his influences came from fellow black writers. Names such as, Dubois, Locke, Jesse Redmonfaset, Jean Toomer, Arna Bontemps and Carl Van Vechten, inspired Hughes in his form and writing style. His poems often portrayed the trials, tribulations, struggles and thoughts of a young Negro growing up in the twenties through sixties. His main goal was to concern about the treatment of African Americans in this country, and to pursue civil and social justice. One of his most famous works would be his continuing sage of Jesse B. Semple also known as Simple. Hughes wrote columns about this fictional character, who dealt with very non-fictional problems. Jesse, was really Hughes voice who expressed the views and ideas of young black Americans. Creating Simple to be smart, strong witted and wise, allowed Hughes to publish and undermind the standard of our pretentious society, while ironically and humorously pointing out the hypocritical nature of American Racism. Hughes went on writing four series of writings about Simple including Simple speaks his mind (1950), Simple takes a wife (1953), Simple Strikes a claim (1957), and Simples Uncle Sam (1965). Hughes used a variety of themes in both his poetry and his prose. His voice was very moving when he read his poems publicly. His voice was both rich and poetic and gave strong inspiration and love to the black community. He was a great writer who completed a two volume autobiography, and edited many anthologies and pictorial volumes. Hughes dazzled writing for forty years and never gave up protesting for the rights of African Americans. He gave many motivational speeches across the nation supporting the black movement. Hughes continued his career publishing many books of poetry and prose. One of his particularly interesting poems was this one entitled, Cross. Cross My old mans a white old man, and my old mothers black. If I ever cursed my old white man, I take my curses back. If ever I cursed my black old mother, and wished she were in hell. Im sorry for that evil wish, and now I wish her well. My old man died in a fine big house, My ma died in a shack. I wonder where Im going to die, Being neither white nor black. This poem explores the deepest emotions and troubles of a young man born into a world of confusion. Confused by his heritage but arrogant in his pride. He is growing up in the whirl of a white society, and cannot decide whether he is white or black. Hughes, using a black mother and white father, completely makes it easy for the reader to understand and almost foreshadow where this poem is going. It

Organizational Structure Essay Example | Topics and Well Written Essays - 1000 words - 1

Organizational Structure - Essay Example As mentioned in the case, Nissan Company is facing certain problems and due to these problems the productivity and efficiency is affected to a great extent. The company owner aims to make the company improve its operational efficiency and produce better results. Organizational structure as mentioned earlier is of three kinds centralized, decentralized and departmentalized structure (Clark & Fujimoto, 1991). These structures can be adopted in order to make a company powerful and successful one. Centralized structure is a structure with the help of which decisions can be taken as a whole. People will work together by sharing their thoughts, feelings, ideas and will generate better results. Whereas decentralized structure is a structure with the help of which problems can be resolved easily if there are any. And departmentalized structure is a structure with the help of which one can extend the department line in order to gain more profits in a particular market, geographic area etc. One of the well known companies, Nissan, when enters in its fiscal year 2009 tries to change its organizational structure as directed by its Chairman Carlos Tavares as mentioned in the case. ... The company should introduce new and innovative ideas in order to have a joy of everyday driving (Wickens, 1987). The company should also strategically consolidate its operations across other countries too in order to have a diverse economic zone. In addition to this, different operation committees should be established who should be responsible of making different decisions, the decisions should be performance based so that they can easily judge that what they should do in order to make their company perform better. One new and a different organizational design should be there in order to enhance the future growth of the company. Marketing, sales and the support system should be managed more locally because they are the one who are suppose to respond to the needs of the local markets. Similarly the supply chain management should work more logically and with different set of strategies in order to keep a check that whether the company is functioning properly or not. Various holistic approaches should be taken in order to do something different so that it will be very much easy for the company to compete with other companies. RECOMMENDATION 1 The company should adopt centralized structure. Centralized structure is a structure with the help of which all the decisions are made only at the level of the firm as a whole (Dalton et al., 1970). This structure will tend to increase the decision making level of the company too and with the help of this structure the company can generate better results. This organizational structure also allows the firm to avoid all the low performing activities and also to coordinate across its all divisions. Therefore, if there

Dan And Mike Essay Example | Topics and Well Written Essays - 750 words

Dan And Mike - Essay Example However, the return on investment (ROI), was low as compared to other funds thereby meriting a change in approach a view also subscribed to by the younger generation of analysts in EPI. Mike's entry into EPI challenged the existing 'status-quo'. The founder members of EPI were unprepared and therefore unwilling to accept Mike's style of functioning as the traditional values of the firm were being challenged. That these new methods practiced by Mike produced amazing results as also earned the loyalty of junior analysts further caused jealousy amongst the senior partners. Riding on Mike's success, other fund mangers and researchers also began to back Mike in various forums, further widening the rift between the 'old' and the 'new'. This dissension within the organization had the effect of adversely affecting the operations of other members. The senior partners felt that Mike was deliberately going against EPI's laid down policy to "provide safe and moderate income[and that it was]the philosophy we used to solicit the investment[and therefore]approach we are obligated to maintain"(p373-4). In such an organizational climate, Mike began o criticize those who would not t oe his line. This would even include the senior partners who felt that Mike was willfully challenging their authority and position in the company by being insubordinate. Thus the conflict was both at a personal as well as organizational level. Q. What are the approaches to manage the conflict A. Essentially, the conflict was between the conservative senior partner of EPI and Mike the maverick. Obviously there was a need for a mediator who would be acceptable to both parties. Accordingly, one of the senior partners approached Dan, a founder member of EPI, as also is CEO. As the CEO it was Dan who had recruited Mike, overriding the reservations voiced by the other partners while at the same tie offering Mike, "the freedom and flexibility to operated a segment of the fund as he [Mike] desired"(p 373). By requesting Dan o resolve the conflict, EPI showed a degree of maturity. However, by insisting that, "Mike must either conform to the philosophyof the organization or else resign' (p 373), the senior partners showed a forcing approach to conflict management of impinging their views on others, an approach that can also have a negative fall-out. Dan on the other hand, had a reputation as a 'great equalizer' who liked to work through consensus. Dan's management philosophy was based on, "loyalty - loyalty to the organization...to membersto friends"(p372). Dan approached the situation keeping in mind this very fact that the resolution of the conflict must be a 'win-win' situation for all the players. Not only should the concerns of the partners be met and the EPI itself continue to prosper, but his promise of autonomy to Mike should also be upheld. Accordingly, Dan tried to reason with Mike in an attempt to find a compromise solution. While accepting the need for change, Dan pointed out that everyone in the company had to be taken on board and that, "The rate of change is as important as the direction "(p

Explore the idea of historical embeddedness in The Brief Wondrous Life Research Paper

Explore the idea of historical embeddedness in The Brief Wondrous Life of Oscar Wao - Research Paper Example The narrator therefore wonders if writing this novel is his own way of saying zafa. Every body seems to be cursed! The first chapter, which happens in 1974 to1987 in Paterson, details Oscar’s childhood and early adolescence. For one week when he is seven, Oscar dates two girls, Olga and Maritza, at the same period. However, the threesome momentarily falls apart and the life of Oscar goes downhill from then onwards. In adolescence, he was fat, dorky, and unattractive. His interest in Genre creates him even more unattractive, and his only true friends are Miggs and Al. Oscar’s sister Lola try to encourage him to lose weight to be more masculine for him to land a girlfriend, but Oscar does not regard their advice. When Miggs and Al find girlfriends and purposely dessert him out, Oscar realizes that they even contemplate that he is a failure. Oscar goes to Santo Domingo to visit Nena Inca, and starts writing science fiction as a channel. When Oscar returns he finds a girl c alled Ana Obregon at SAT prep class, instantly falling in love with her. Oscar and Ana become good friends, but never physically intimately attached. Eventually Ana’s boyfriend named Manny returns from an army mission and Ana stops having time with Oscar. Afterward, Oscar goes to Rutgers for college. He hopes life in college may be different, but in there, he realizes that still he is a loser. Oscar, the character who collects the novel together, justly perceives himself as a doubly marginalized figure. A Dominican-American boy growing up in Paterson during the 80s, he is hampered by counter-stereotypical nerdiness in addition to problems of racism and social class. Bashful, precocious, and overweight, Oscar is well versed in Marvel comics and "Japanimation" lore. His ambition is to write a space fictional. A Dominican accent manipulates "Wilde" into "Wao" wile in college. Yunior (Solis 49), his college roommate and best friend, does not quite apprehend Oscar, however loves h im and sees that there something is within Oscar that needs to be known. As the key narrator of the story, Yunior provides a loving portrayal of a tortured person within a tortured family. Redemption of Oscar â€Å"brief wondrous life† manifests at a momentous, but justified, price. Told from the viewpoint of Oscar’s sister Lola with his best friend Yunior, the story of the search for revitalization leads the reader through some of the darkest junctions of a country under severe dictatorial control. Lola pursues her own redemption, far away from her family, particularly her mother and her heritage. She only loves her younger brother Oscar and seeks protecting him from the curse which is tragically affecting their family. Saying that Hapatia Belicia was born to hard era would be an understatement. Beli’s mother died when she was only two months old, never met her father, held by her sisters a few times before they disappeared too, and spent no time in Casa Hatuey . Beli had multiple things sailing against her from the beginning of her pathetic life. She was born sick and underweight, at a time and environment where it would be difficult for any newborn to survive with her accompanied situation. She was also dark skinned, a reason that made her father’s family to absolutely dislike anything to do with her. At this juncture, her life is saved uniquely by a single woman’

Life for ofelia of pans labyrinth

Life for ofelia of pans labyrinth Introduction (2,500) In the year of 2006 we saw two girls fall down a rabbit hole of mystery, wonder and danger. Two female protagonists engaged with the fantasy worlds of Terry Gilliams Tideland (2006) and Guillermo Del Toros Pans Labyrinth (2006). For Jeliza Rose in Tideland, life was hard and lonely and so she began to slip into a shape-shifting and somewhat surreal version of her difficult reality. Life for Ofelia of Pans Labyrinth, is the violent and unforgiving environment of fascist Spain ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­, where she befriends a faun and learns of a fantastical realm where she is princess. These girls are faced with tough and unsympathetic realities and a fall down the rabbit hole somewhat rescues them. Next in 2007, The Bridge to Terabithia (2007) presents another child protagonist whose engagement with an alternate reality has shocking and shattering effects. It is becoming increasingly difficult to ignore the .. This is part of a recent and unmistakeable revival of interest in fantasy; ‘in the last few years, fantasy in general has roared back into a prominent place in popular culture'[1] with the emergence of screen adaptations of fantasy novels. The pivotal year for the resurgence in fantasy was 2001 where the first instalment of J.K. Rowlings Harry potter with Chris Colombuss Harry Potter and the Philosophers Stone (2001) and the first part of J.R.R. Tolkiens The Lord of the Rings with Peter Jacksons The Fellowship of the Ring(2001) gained box office success a subsequent ‘global hunger for fantasy'[2]has been revealed. David butler contemplates an apparant golden age of fantasy[3] due to the recent commodifcation of the fantastic. Howvere there have been despite a general lack of study and theorising of the fantastic there has been some abundance in analysis since this revival yet there seems to be a gap in the field in terms of the focus of the child portagonist in relation t o the contentoius and debeateable problem of escapism. This paper contenplates the how each of theses films engage with fantasy and wthat the implications of escapism are. A considertaion within films diegesis concerning the child protagonists relation to escapism and alternate realities is made What is interesting about each of the studied films is all concern pubescent child protagonists who journey to alternate worlds. The child hero figure is profound, timeless and powerful and this immense popularity has many implications for the audience. by constructing a cinematic viewpoint from a childs perspective, filmmakers make assumptions about the nature of childhood. The ‘childhood as a point of view is rendered by filmmakers where the child, or children, feature, often at the centre of the narrative, while at the same time, signifcanlty acting as the narrator. These are films that use a child to take us on a journey of discovery. ESCAPISM ARGUMENT?-that these dark fantasy films present inncoence against adult vice and that subsequently ADULTS FEEL UNCOMFOTABLE AND REACT NEGATIVELY. The childs superior wisdom, an assumed vantage point of innocence and ‘greater access to fantasy, leaves the adults in the audience to see their own absurdity and harshness through the eyes of the child,[4] this is a prevalent feeling in Tideland and Pans Labyrinth as the sexual promiscuity of Dell and the violence and corruptedness of Captain Vidal is set against the fragile youthfulness of the Ofelia and Jeliza-Rose. ESCAPISM ARGUMENT!!!!Through the eyes of the child, we engage with the wonderous and the strange, which becomes a ‘reservoir of strength for the child. The notion that the child as an innocent, pure and untouched figure is one that is enchanting to audiences and filmmakers alike. The young feisty female protagonists in these films have developed and are a far cry from the passive and submissive, one dimensional characters of Disney. This is significant in the development of the child protagonist and alternate world fairytale as Disney dominated that fairytale on film niche. The innovative animation of Disney was indeed extraordinary, yet in Jack Zipes view Disney actually promoted the ‘domestication of the imagination.[5] Walt Disneys fairytale films offered an ‘eternal return of the same, with stereotypical characters and a significant emphasis on thematic structure aswell as an encouragement of ‘non-reflective reviewing.[6] Zipes makes the argument that Disney produces emotionally comforting, unchallenging material. In contrast to Disneys reproduction of fairytale film, Guillermo Del Toros Pans Labyrinth, Terry Gilliams tideland and Gabor Csupos The Bridge to Terabithias combines; a rendering of the fairytale narrative (in the case of Pans Labyrinth), various styles and themes to create complex and challenging films that cross generic boundaries. Tough, resilient girls whose harsh realities are thrust upon the audience in an un comforting manner are the feature of these latest fantasy films. This paper considers young female protagonists who have to encounter and deal with dramatic and fundamental changes in their lives. These are related to the transformation of girls into women; emergence of puberty and adult sexuality. Central to this project is a focus on psycho sexual and social transformations. The child hero figure is a powerful and profound one that has a timeless essence. And this familiar hope of the child hero is visible at the centre of each of these films. The popularisation and common use of the child figure has its roots in Victorian society, an era in which fairytales were institutionalised in the West. At the end of the nineteenth century fairytales were being written and published in abundance after a period of being directed at the adult elite classes they began to be created for children and the family. Industrialization had radically transformed society and effects of alienation and repression were felt. Alices Adventures in Wonderland (1865)[7] written in Britain by Charles Lutwidge Dodgson under the pen name of Lewis Carroll. Alices Adventures in Wonderland was deliberately created with a total absence of didacticism[8] and is considered one of the wildest and imaginative of Fairy Tales in vcitorian society. The highly successful novel tells the story of Alice who takes down a trip down a rabbit hole to a Wonderland of pun, symbolism and nonsense. Carrolls Alice books (nine in total) were part of a movement which began to expeiement with Tzvetan Todorovs notion of ‘non-signification, which is now an established mode of the fantastic. Epistempological doubt was the feature of much nineteenth centuray literature, themes of madness, hallucinations, double personalities and general splitting and divisions of subjects made up the gothic, marvellous and fantastic literature. Carrolls Wonderland presents a the challenging of self. Identity is unstable, Alice shrinks and grows in size, and the Cheshire cat disappears to a grin creating ‘the plasticity of a dream'[9]. Books which have been adaptetd inot successful films and television series ushc as Alices Advanetures In Wonderland, The Wonderful Wizard Of Oz and The Chronicles Of Narnia series written over between mid nineteenth century and the mid-twentieth century all feature adventourous young protagonists with either have absent parents or are orphans, who all embark on their own journeys of discovery . the poratgonist are at a prebuscent age and are sexual and asexual at the same time, the journeys they take involve gaining maturity a consciousness that is closer to that of an adult toward the end. The Wonderful Wizard of Oz written in 1900 by American novelist Frank. L Baum features another one of the most recognised young female protagonists young orphaned Dorothy Gale. The novel was immensely popular on release and several film adaptations have been created since. MGMs 1939 technicolor screen adaptation, The Wizard ofOz directed by Victor Flemming is the most widely acknowledged version and remains a staple part of American (and Western) popular culture. After the success of the films the idea of Dorothy Glae and the land of Oz grew to become a ####commodity and gained a cultural following, (such as the charcters and icongraohy from the film appeared in the Christmas 2009 Harrods window display) . The sepia colours of the opening and ending of Flemmings film emohasuzes the bleakness and dreariness thta Dorothy percievs the farm where she lives to be, aswell as reflecting the feelings of disenchantment that people felt due to the hardship of the Deppression in America at the time, people cold relate to Dorothys dissatisfaction in her surroundings, they also longed for ‘somewhere over the rainbow. After realising that ‘there is no place like home Dorothy returns to Kansas, and a common feature of fairytakles and childrens literature, the return-to-reality closure is provided. Dorothy, disenchanted and with only her dog ToTo as company suddenly hurricane suddenly seizes the farm and Dorothy lands in Oz, filmed in vivid technicoulur emphasizing the spectacularness and wonder of her fantasy world. Dorothy lives with her inattentive aunt and uncle, unloving mothers or substitute mothers are a frequent character in fairytales, which leaves the protagonist feeling unloved. If we accept the common psychoanalytic reading that Oz represents Dorothys mind then it can be read that the characters are exaggerated parts of herself; the downhearted and self-critical scarecrow may reflect Dorothys low self esteem, the rigid tin man who cannot feel love be a sign of Dorothys emotional repression and the cowardly lion could indicate her lack of moral assurance.[10] however, in the film, it is made clear that her three companions were actually the farmhands all along. The characters journey to the wizard to try and obtain lacking virtues; a brain signifying intelligence, a heart meaning love and courage indicating self belief and confidence. The fact that we realise they each had the qualities they were searching for means, in the case of the book, Dorothy does also. Baum provides a clear message ‘that we have within us the qualities we seek.'[11] Jones asserts that this message is of ‘considerable reassurance to children in the process of maturation'[12] the alternate worlds provide opportunities to learn about the human condition and for self discovery, for the reader-audience aswell as for the protagonist. The return to Kansas which acts as closure, therefore rejects fantasy by sentamentalizing it[13] and ignoring its subve rsive implications. Dorothys wish to return to Kansas is fulfilled and Aunt Ems joy at having Dorothy return emphasizes Dprothys conscious contentment as shebecomes a maternal and affectionate mother figure. Has Kansas changed and has Dorothy transformed? Dorothy is transported to the splendorous and green world of Oz out of the dreariness of Kansaa, yet she wishes for return and so home is never far away. Dorothy cannot leave Oz until she completes tasks, which include killing witches, thus she a fantasy world provides immense powers, she must then find the wizard. The fact taht she can only return to Knasa after learning of the enchantments and dangers of Oz alludes to the fact that fantasy is about confronting as oppose ot evading reality. C. S. Lewis presented Gary Westfahl observes the long-established concern with the romantic child; ‘western tradition has long honoured children as being purer and naturally better than adults because they have not yet been corrupted by worldly ways; they lie in William Blakes blessed world of innocence, not his wicked world of experience'[14] The image of the child as being closer to God than the adult, is set against the adult who is morally unclean due to the corruption of wicked experience appeared in much religious ritual and ancient myth. Children traditionally said to represent innocence[15]. It is interesting to note that the word ‘innocence is cognate with noxious and derives from Latin nocere ‘to harm (Stein) innocence then is the condition of being unharmed,[16] which is where the fascination with the idea of the child arose. The opposite of innocence then is experience, which gives us the title of William Blakes Songs of Innocence and of Experience. Blake sets up powerful binaries of childhood innocence and adults as experienced thus spiritually harmed, this literature has had a powerful influence on and reflected Victorian societys attitudes. The passage assumes a world in which any experience is dangerous to the soul. Marina Warner, a writer and mythographer has contributed significantly to the theory of film which has a relatively short lived history. She brings an understanding of modes of narration and codes of representation which distinguish the medium as ones that are prefigured by an extensive history of cultural production, greatly influencing the medium. With a strong affinity to writer Angela Carter, Warner takes a feminist approach to the study of fairytale and fairytale on film. Her central concern is reclaiming the cinematic use of the fairytale narrative and making a consideration of its representation to female experience, particularly to rites of passage. By doing this, Warner also considers the child figure in films which are not necessarily made for children but have a child as a narrator. She observes the appeal of the child as a central figure comes from ‘the prelasparian notion of innocence and the implication that children, by virtue of not being bound by adult rationality, have greater access to the world of imagination and fantasy.'[17] Thus the child protagonist can engage wilfully with fantastical realms which adults regard as impossible. The fantasy genre has a close affinity with the ‘Wonder Tale defined by some critics, or the ‘Folk Fairy Tale by others. For all allegorists of a Neo-Platonist perspective, fairytales were scriptures of the spirit, displaying messages of universal love and death.[18] Paganism and psychoanalytic studies, such as Sigmund Freuds notion of the uncanny, have defended the fantasy as something that is fundamental to the human being. In contrast to the above universalising interpretations, the contemporary situation reveals the emergence of a socio-historical school which considers fairytales and fantasy as a direct impression of reality. They are embedded in popular culture, yet are subject to change and transformation reflecting new developments. The fairytale and fantasy are subsequently a ‘tool for thought, a multicoloured skein of images with which to think about the real, both reiterating and shaping the real in restructured narratives, reassemble images.[19] Therefor e a consideration needs to be madeevaut the contemporary situation of fantasy and fairytale in film. This paper explores whats different between these films. Although Gilliam introduced Tideland with the prediction that some people will love it and some people will hate it, he may not have been prepared for the profusion of heated, disgusted and outraged reactions which followed the films relase, including people walking out of the cinema. With 157 reviews posted on the internet movie database, tideland ‘was (rightly) savaged by critics and ignored by most audiences,'[20]â€Å" some kind of Alice in Wonderland with psychic tinge†[21] â€Å"the worst movie i have ever seen† â€Å"UNPLEASANT†, â€Å"perverse, ..†, â€Å"Unwatchable.† â€Å"Nauseating.† ‘Mr. Gilliam descends into curdled silliness. It might be said that his imagination knows no boundaries; it might be good if he found some. A. O. Scott from The New York Times â€Å"Tideland† is rated R. It has drug use, gruesome deaths and extremely icky sexual implications. [22]Owen Gleiberman from Entertainment Weekly writes that Tideland an F, calling it gruesomely awful. [23] Despite overall positive critical reception, there was much negative reactions tp pans Labyrinth, also revealed people recated badly to fairytales that werwe scary, ‘the senseless murder of an innocent child—make Pans Labyrinth irredeemable in my eyes.'[24] And another review argued ‘I dont believe for a second that this is any kind of fairy tale.'[25]more angry reviewers did nto agree with the fairytale genre labelling, ‘Only if we as adults have decomposed our standards so that torture and suffering constitute fairy tales.'[26] People This paper also makes a consideration of escapisms dishonoured status. It attempts to make a contribution to the overdue reconsideration of fantasy literature and film. The overall structure of the study takes the form of five chapters, including this introductory [1] Susan Napier makes this observation in 2005at the beginning of a discussion regarding Japanese anime, David Butler (2009) Fantasy Cinema: Impossible Worlds, Wallflower Press, p6 [2] Susan Napier in David Butler fantasy cinema: impossible Worlds (2009) [3] David Butler discusses and summarises ‘the problem of fantasy and escapism in his recently published and insightful overview of key themes and debates in fantasy cinema, Fantasy Cinema: Impossible Worlds(2009) London: Wallflower Press ,p5. [4] Marina Warner, Through A Childs Eyes, Internal Bfi Seminar, 12 February 1992, P44 [5]Jack Zipes (1997) Happily Ever After: fairy tales, children and the culture industry, New York; London: Routledge, p92. [6] Jack Zipes (1994) fairytale as myth, myth as fairytale, Lexington : University Press of Kentucky,pp94-95 [7] Patrick Brantlinger, William B Thesing (2002) A companion to the Victorian Novel. Wiley-Blackwell. p360. [8] Barbara Smith Chalou (2007) Struwwelpeter: humor or horror? : 160 years later. Lexington books. p75. [9] Manlove, C, N. (2003) From Alice to Harry Potter Childrens Fantasy in England. Christchurch, N.Z: Cybereditions. p20. [10] ibid. [11] Wolstenholme (2000) The Wonderful Wizard of Oz. pxxxiv. [12] Jones (2002) The Fairy Tale. p95. [13] Sarah Gilead, Magic abjured: closure in chidlresn fantasy fiction, PMLA, Vol. 106, No. 2 (Mar., 1991), Modern Language Association pp. 277-293, p279 [14] px [15] Eric S. Rabkin ‘Infant Joys: The Pleasures of Disempowerment in Fantasy and Science Fiction (J.C.Cooper An Illustrated Encyclopedia of Traditional Symbols, London: Thames and Hudson, 1978)p16 [16] ibid [17] Marina warner. Cinema and realms of enchantment, P6 [18] Marina warner, The Uses Of Enchantment, lecture at the NFT (7 February 1992) P16 [19] Marina Warner, The Uses Of Enchantment, lecture at the NFT (7 February 1992)p17 [20] Alex Billington, http://www.imdb.com/title/tt0410764/news?year=2008 [21] HurtGenerator(Wed Dec 20 2006 11:39:07 http://www.imdb.com/title/tt0410764/board/nest/56980592?d=61756820p=6#61756820 [22] ^ Tideland: A Girl Endures a No-Mans Land by Dwelling in the Make-Believe, A. O. Scott, The New York Times, October 13, 2006 [23] Owen Gleiberman [24] fmcchris, ‘Devoid of grace, wit, and soul, 6 June 2007, http://www.imdb.com/title/tt0457430/usercomments?filter=hate [25] Paulk-20, ‘Harmful at best, 1 June 2007, http://www.imdb.com/title/tt0457430/usercomments?filter=hate [26] Robert, ‘i waited so long to be rewarded with dissapointment, 15 may 2007, http://www.imdb.com/title/tt0457430/usercomments?filter=hate

The Kings Character in a Cinematic Production of Shakespeares Henry V

Although labeled as a history, the strength of Shakespeare's Henry V lies not in the events that occur in the play, but in the delicate portrayal of the characters involved. Shakespeare's audience would have already known the story of Henry V's campaign on France and thus would have had no reason to watch a play that simply re-enacted past events. Therefore, the appeal of such a play, as well as the themes and the content, would have been dependent largely on the characters themselves. It is obvious that the most prominent character is the man whose name the play carries - Henry V. The entire story centers on his deeds. He serves as the catalyst for the action, the driving force behind all that takes place. Without him there is no play. Therefore, in any film production of Henry V, the character of the king must be carefully considered and thoroughly developed. How should he be portrayed? What kind of man is he? What are his motivations? Certainly, no personality can be conveyed through the cinema as it would appear in reality in all its complex glory. There are simply too many details involved. So the character must be streamlined, given a purpose in relation to the production of the play. To do this, one must decide on the direction that such a production should take. The crux of the storyline lies in King Henry's decision to invade France and lay claim to the French throne. This then shall be the starting point from which to determine the direction to move in. Is this a patriotic endeavour? Is it a foolish decision by the king? Or is it a political move of Machiavellian proportions? Each represents a differing viewpoint on how the play should be treated; a task made more difficult by what William P. Shaw explains as the... ...wer. One can see Henry as a king and Henry as a man, along with his ability to at once inspire and manipulate his followers for his purposes. In combination with an acting performance that fluctuates and does not give clear definition as to the sort of man that the King is, a character can be constructed that would personify the moral ambiguities of Henry V. He would be passionately impressive at times and at others, chillingly capable. It would be a character that, hopefully, poses a challenge to any viewer that encounters him. Works Cited Deats, Sara Munson. "Rabbits and Ducks." Literature Film Quarterly 20.4 (1992): 284- 294 Rabkin, Norman. Shakespeare and the Problem of Meaning. Chicago: University of Chicago (Press), 1981 Shaw, William P. "Textual Ambiguities and Cinematic Certainties in Henry V" Literature Film Quarterly 22.2 (1994): 117-123 The King's Character in a Cinematic Production of Shakespeare's Henry V Although labeled as a history, the strength of Shakespeare's Henry V lies not in the events that occur in the play, but in the delicate portrayal of the characters involved. Shakespeare's audience would have already known the story of Henry V's campaign on France and thus would have had no reason to watch a play that simply re-enacted past events. Therefore, the appeal of such a play, as well as the themes and the content, would have been dependent largely on the characters themselves. It is obvious that the most prominent character is the man whose name the play carries - Henry V. The entire story centers on his deeds. He serves as the catalyst for the action, the driving force behind all that takes place. Without him there is no play. Therefore, in any film production of Henry V, the character of the king must be carefully considered and thoroughly developed. How should he be portrayed? What kind of man is he? What are his motivations? Certainly, no personality can be conveyed through the cinema as it would appear in reality in all its complex glory. There are simply too many details involved. So the character must be streamlined, given a purpose in relation to the production of the play. To do this, one must decide on the direction that such a production should take. The crux of the storyline lies in King Henry's decision to invade France and lay claim to the French throne. This then shall be the starting point from which to determine the direction to move in. Is this a patriotic endeavour? Is it a foolish decision by the king? Or is it a political move of Machiavellian proportions? Each represents a differing viewpoint on how the play should be treated; a task made more difficult by what William P. Shaw explains as the... ...wer. One can see Henry as a king and Henry as a man, along with his ability to at once inspire and manipulate his followers for his purposes. In combination with an acting performance that fluctuates and does not give clear definition as to the sort of man that the King is, a character can be constructed that would personify the moral ambiguities of Henry V. He would be passionately impressive at times and at others, chillingly capable. It would be a character that, hopefully, poses a challenge to any viewer that encounters him. Works Cited Deats, Sara Munson. "Rabbits and Ducks." Literature Film Quarterly 20.4 (1992): 284- 294 Rabkin, Norman. Shakespeare and the Problem of Meaning. Chicago: University of Chicago (Press), 1981 Shaw, William P. "Textual Ambiguities and Cinematic Certainties in Henry V" Literature Film Quarterly 22.2 (1994): 117-123