Wuthering Heights - Socio-His essays

Wuthering Heights - Socio-His essays Wuthering Heights - Socio-Historical Background Wuthering Heights During the nineteenth century England experienced a flood of migrants into the capital city of London-330,000 to be exact. Of these 330,000, 46,000 came from Ireland to escape famine and, ultimately, death. Migrants continued to take over the city and by the year 1881, London"s population had increased from one million to about 4.5 million. Unemployed workers swarmed the city in hopes to find jobs in the new industrialized economy. Development flourished in London; the invention of trams, underground and overground railways meant shorter journeys to the workplace. This new industry drew people from all parts of the world and soon caused severe overcrowding. Areas of London that were once the "wealthy" areas of society became the "slums" and made up what is now referred to as public housing. Along with the emergence of this "industrial revolution" came a class- conscious society. The hierarchy of London broke down into four major classes- the aristocrats, the middl e class, the working class, and the poor class. The new London would benefit the wealthy and the middle class but exploit and oppress the working and poor classes. Although the Industrial Revolution benefited the overall economy of England and other parts of the world, it also caused an eruption of pollution, poverty, and crime. In the factories, workers were kept for long hours, worked under hazardous conditions, and received low wages. They often times had no money to support their families, so many were reduced to shoplifting, robbery, and sometimes drugs and alcohol to escape the daily trials of lower class life. There was an increase in crime patterns amongst the poor people of England, and a new law enforcement emerged. In 1829 the Metropolitan Police was created to enforce the law and punish those who decided to break it. Eventually the crime rate declined, and life in England became safer. The Pa ...

Helen of Troy in the Iliad of Homer

Helen of Troy in the Iliad of Homer The Iliad describes the conflicts between Achilles and his leader, Agamemnon, and between Greeks and Trojans, following the abduction of Agamemnons sister-in-law, Helen of Sparta (aka Helen of Troy), by the Trojan prince Paris. Helens precise role in the abduction is unknown  since  the event is a matter of legend rather than historical fact and has been variously interpreted in literature. In Helen in the Iliad: Causa Belli and Victim of War: From Silent Weaver to Public Speaker, Hanna M. Roisman looks at the limited details that show Helens perception of events, people, and her own guilt. The following is my understanding of the details Roisman provides. Helen of Troy appears only 6 times in the Iliad, four of which are in the third book, one appearance in Book VI, and a final appearance in the last (24th) book. The first and last appearances are specified in the title of Roismans article. Helen has mixed feelings because she feels some complicity in her own abduction and realizes how much death and suffering has been the result. That her Trojan husband is not terribly manly compared with his brother or her first husband only increases her feelings of regret. However, it is not clear that Helen had any choice. She is, after all, a possession, one of many ​Paris stole from Argos, although the only one he is unwilling to return (7.362-64). Helens fault lies in her beauty rather than in her acts, according to the old men at the Scaean Gate (3.158). Helen's First Appearance Helens first appearance is when the goddess Iris [See Hermes for information on the status of Iris in the Iliad], disguised as a sister-in-law, comes to summon Helen from her weaving. Weaving is a typically wifely occupation, but the subject Helen is weaving is unusual  since she is depicting the suffering of the Trojan War heroes. Roisman argues this shows Helens willingness to take responsibility for precipitating the deadly course of events. Iris, who summons Helen to witness a duel between her two husbands to decide with whom she will live, inspires Helen with a longing for her original husband, Menelaus. Helen does not appear to see behind the disguise to the goddess and goes compliantly, without uttering a word. Then Iris came as messenger to white-armed Helen,taking on the image of her sister-in-law,wife of Antenors son, fine Helicaon.Her name was Laodice, of all Priams daughtersthe most beautiful. She found Helen in her room,weaving a large cloth, a double purple cloak,creating pictures of the many battle scenesbetween horse-taming Trojans and bronze-clad Achaeans,wars they suffered for her sake at the hands of Ares.Standing near by, swift-footed Iris said:Come here, dear girl.Look at the amazing things going on.Horse-taming Trojans and bronze-clad Achaeans,men who earlier were fighting one anotherin wretched war out there on the plain,both keen for wars destruction, are sitting still.Alexander and war-loving Menelausare going to fight for you with their long spears.The man who triumphs will call you his dear wife.With these words the goddess set in Helens heartsweet longing for her former husband, city, parents. Covering herself with a white shawl, she left the house, shedding tears. Helen's Second Appearance Helens second appearance in the Iliad is with the old men at the Scaean Gate. Here Helen actually speaks, but only in response to Trojan King Priams addressing her. Although the war has been waged for 9 years and the leaders are presumably well known, Priam asks Helen to identify men who turn out to be Agamemnon, Odysseus, and Ajax. Roisman believes this was a conversational gambit rather than a reflection of Priams ignorance. Helen responds politely and with flattery, addressing Priam as Dear father-in-law, you arouse in me both respect and awe, 3.172. She then adds that she regrets ever having left her homeland and daughter, and, continuing the theme of her responsibility, she is sorry that she has caused the death of those slain in war. She says she wishes she had not followed Priams son, thereby deflecting some of the blame from herself, and possibly laying it at Priams feet as guilty by virtue of having helped create such a son. They soon reached the Scaean Gates.Oucalegaon and Antenor, both prudent men,elder statesmen, sat at the Scaean Gates, 160with Priam and his entourage- Panthous, Thymoetes,Lampus, Clytius, and warlike Hicataeon. Old men now,their fighting days were finished, but they all spoke well.They sat there, on the tower, these Trojan elders,like cicadas perched up on a forest branch, chirpingtheir soft, delicate sounds. Seeing Helen approach the tower,they commented softly to each other- their words had wings:Theres nothing shameful about the factthat Trojans and well-armed Achaeanshave endured great suffering a long time 170over such a woman- just like a goddess,immortal, awe-inspiring. Shes beautiful.But nonetheless let her go back with the ships.Let her not stay here, a blight on us, our children.So they talked. Priam then called out to Helen.Come here, dear child. Sit down in front of me,so you can see your first husband, your friends,your relatives. As far as Im concerned,you bear no blame . For I blame the gods.They drove me to wage this wretched war 180against Achaeans. Tell me, whos that large man,over there, that impressive, strong Achaean?Others may be taller by a head than him,but Ive never seen with my own eyessuch a striking man, so noble, so like a king.Then Helen, goddess among women, said to Priam:My dear father-in-law, whom I respect and honour,how I wish Id chosen evil deathwhen I came here with your son, leaving behindmy married home, companions, darling child, 190and friends my age. But things didnt work that way.So I weep all the time. But to answer you,that man is wide-ruling Agamemnon,son of Atreus, a good king, fine fighter,and once he was my brother-in-law,if that life was ever real. Im such a whore.Priam gazed in wonder at Agamemnon, saying:Son of Atreus, blessed by the gods, fortunes child,divinely favoured, many long-haired Achaeansserve under you. Once I went to Phrygia, 200that vine-rich land, where I saw Phrygian troopswith all their horses, th ousands of them,soldiers of Otreus, godlike Mygdon,camped by the banks of the Sangarius river. I was their ally, part of their army,the day the Amazons, mens peers in war,came on against them. But those forces thenwere fewer than these bright-eyed Achaeans.The old man then spied Odysseus and asked:Dear child, come tell me who this man is, 210shorter by a head than Agamemnon,son of Atreus. But he looks broaderin his shoulders and his chest. His armours stackedthere on the fertile earth, but he strides on,marching through mens ranks just like a rammoving through large white multitudes of sheep.Yes, a woolly ram, thats what he seems to me.Helen, child of Zeus, then answered Priam:That man is Laertes son, crafty Odysseus,raised in rocky Ithaca. Hes well versed 220in all sorts of tricks, deceptive strategies.At that point, wise Antenor said to Helen:Lady, what you say is true. Once lord Odysseuscame here with war-loving Menelaus,as an ambassador in your affairs.I received them both in my residenceand entertained them. I got to know them- from their appearance and their wise advice. Speech continues... Helen's Third Appearance Helens third appearance in the Iliad is with Aphrodite, whom Helen takes to task. Aphrodite is in disguise, as Iris had been, but Helen sees straight through it. Aphrodite, representing blind lust, appears before Helen to summon her to Paris bed at the conclusion of the duel between Menelaus and Paris, which had ended with the survival of both men. Helen is aggravated with Aphrodite and her approach to life. Helen insinuates that Aphrodite would really like Paris for herself. Helen then makes a peculiar comment, that going to Paris bedchamber will arouse snide comments among the women of the city. This is odd because Helen has been living as Paris wife for nine years. Roisman says this shows that Helen is now longing for social acceptance among the Trojans. Goddess, why do you wish to deceive me so?Are you going to take me still further off, [400]to some well populated city somewherein Phrygia or beautiful Maeonia,because youre in love with some mortal manand Menelaus has just beaten Parisand wants to take me, a despised woman, 450back home with him? Is that why youre here,you and your devious trickery?Why dont you go with Paris by yourself,stop walking around here like a goddess,stop directing your feet toward Olympus,and lead a miserable life with him,caring for him, until he makes you his wife [410]or slave. I wont go to him in there - that would be shameful, serving him in bed.Every Trojan woman would revile me afterwards. 460Besides, my heart is hurt enough already. (Book III) Helen has no real choice in whether or not to go to Paris room. She will go, but since she is concerned with what the others think, she covers herself up so as not to be recognized as she goes to Paris bedchamber. Helen's Fourth Appearance The fourth appearance of Helen is with Paris, to whom she is hostile and insulting. If ever she wanted to be with Paris, maturity and the effects of the war have tempered her passion. Paris does not appear to care very much that Helen insults him. Helen is his possession. Youve come back from the fight. How I wish 480youd died there, killed by that strong warriorwho was my husband once. You used to boastyou were stronger than warlike Menelaus, [430]more strength in your hands, more power in your spear.So go now, challenge war-loving Menelausto fight again in single combat.Id suggest you stay away. Dont fight it outman to man with red-haired Menelaus,without further thought. You might well die,come to a quick end on his spear. 490Replying to Helen, Paris said:Wife,dont mock my courage with your insults.Yes, Menelaus has just defeated me,but with Athenas help. Next time Ill beat him. [440]For we have gods on our side, too. But come,lets enjoy our love together on the bed.Never has desire so filled my mind as now,not even when I first took you awayfrom lovely Lacedaemon, sailing offin our sea-worthy ships, or when I lay with you 500in our lovers bed on the isle of Cranae.Thats how sweet passion has seized hold of me,how much I want you now. (Book III) Helen's Fifth Appearance The fifth appearance of Helen is in Book IV. Helen and Hector talk in Paris house, where Helen manages the household just like the other Trojan women. In her encounter with Hector, Helen is self-deprecating, calling herself a dog, evil-contriving and abhorred. She says she wishes she had a better husband, implying she wishes she had a husband more like Hector. It sounds as though Helen may be flirting, but in the previous two encounters Helen has shown that lust no longer motivates her, and the praise makes sense without such an insinuation of coquettishness. Hector, you are my brother,and Im a horrible, conniving bitch.I wish that on that day my mother bore mesome evil wind had come, carried me away,and swept me off, up into the mountains,or into waves of the tumbling, crashing sea, 430then I would have died before this happened.But since gods have ordained these evil things,I wish Id been wife to a better man, [350]someone sensitive to others insults,with feeling for his many shameful acts.This husband of mine has no sense now,and he wont acquire any in the future.I expect hell get from that what he deserves.But come in, sit on this chair, my brother,since this trouble really weighs upon your mind- 440all because I was a bitch- because of thatand Paris folly, Zeus gives us an evil fate,so we may be subjects for mens songsin generations yet to come. (Book VI) Helen's Sixth Appearance Helens final appearance in the Iliad is in Book 24, at Hectors funeral, where she is distinct from the other mourning women, Andromache, Hectors wife, and Hecuba, his mother, in two ways. (1) Helen praises Hector as a family man where they concentrate on his military prowess. (2) Unlike the other Trojan women, Helen will not be taken as a slave. She will be reunited with Menelaus as his wife. This scene is the first and last time she is included with other Trojan women in a public event. She has achieved a measure of acceptance just as the society to which she aspired is about to be destroyed. As she spoke, Hecuba wept. She stirred them on [760]to endless lamentation. Helen was the thirdto lead those women in their wailing:Hector- of all my husbands brothers,youre by far the dearest to my heart.My husbands godlike Alexander, 940who brought me here to Troy. I wish Id diedbefore that happened! This is the twentieth yearsince I went away and left my native land,but Ive never heard a nasty word from youor an abusive speech. In fact, if anyoneever spoke rudely to me in the house- one of your brothers or sisters, some brotherswell-dressed wife, or your mother- for your father [770]always was so kind, as if he were my own- youd speak out, persuading them to stop, 950using your gentleness, your soothing words.Now I weep for you and for my wretched self,so sick at heart, for theres no one elsein spacious Troy whos kind to me and friendly.They all look at me and shudder with disgust.Helen spoke in tears. The huge crowd joined in their lament. (Book XXIV) Roisman says the changes in the behavior of Helen do not reflect personal growth, but the graduated unveiling of her personality in all its richness. Source: Helen in the Iliad; Causa Belli and Victim of War: From Silent Weaver to Public Speaker, AJPh 127 (2006) 1-36, Hanna M. Roisman.

Henri Matisse's The Dessert Essay Example | Topics and Well Written Essays - 1500 words

Henri Matisse's The Dessert - Essay Example The essay "Henri Matisse's The Dessert" discovers the artwork of Henri Matisse. His style also called for the use of flatter shapes to emphasize the use of the canvas, rather than creating three dimensions and offering a window into the scene. To further develop this flat and expressionist theme, he used organic and floral symbols, such as those seen on the table cloth. The chair, at bottom left, has a flatness to it as well—all of this showing that Matisse hoped to achieve independence from realism and his own expression in this painting. Matisse also had some indecision about the color—the painting was first green, then later he changed it and repainted things blue. Finally, before the piece was sent off to a Russian art collector, Matisse painted over the blue to make the painting red. Thus, it is apparent that colors were very important to the artist, and the emotions that colors inspired influenced him in deciding which color was appropriate. Overall, Matisse's ins piration for the painting was a desire to show what was within his own head, rather than to depict reality—he therefore used his own preference in color, light, and shape, and also avoided creating a focal point in the painting. Instead, he made a sort of scene with multiple subjects in it, and left nowhere for the eye to be drawn to as a center—a sort of protest against older styles that tried to be as precise in color, detail, shape, and scale as photographs may be while trying to draw the eye to a center point using proportions. and invisible lines. What I like most about this piece is that it makes a point of using non-traditional methods of expression and illustration. The Impressionist approach to painting creates a painting that offers a look into the artist's mind, and hence we see a far more unique scene or subject than would be possible if the artist was trying to depict the scene realistically. I also like how the scene uses a dominant color. The use of red as a sort of template color allows the addition of other colors to be more magnified, and thus the contrast against red becomes sharper and more impressive. The way the paint is mixed, the colors also appear very soft and simple, without any sort of gradient or overwhelming vividness. The painting also uses shape in a way that pleases my eye. The organic shapes on the table cloth are the obvious ones. If red is the defining color in the painting, then the curves of the vegetation are the defining shape. I also like how the patterns in blue are echoed in the shapes of the fruit, flowers, and also in the plants on the painting on the wall—the shapes all seem to be juxtaposed with little forcing, yet fit together harmoniously. This makes the painting very easy to look at, rather than a harsh clashing of hard, competing lines. The painting on the wall is another element that I like, as it creates a sort of surreal feeling in the paint—the irony of a painting within a paint ing. The painting is enclosed within a gold frame, and it thus has an obvious separation from the main scene, yet it still relates to the main scene both directly and indirectly. The indirect relation to the main scene is that the painting on the wall offers a pleasing contrast in color, in a way that really complements the entire color scheme. On the other hand, it also seems to be part of a larger set of colors across the whole painting that includes some of the fruits as a residual part of the concentration of green in the wall painting, while the red house and blue sky in the wall painting have the same relation to the larger scene. The final part about the painting that I

HUMAN RESOURCES(MANAGEMENT) Essay Example | Topics and Well Written Essays - 2500 words

HUMAN RESOURCES(MANAGEMENT) - Essay Example After World War II, it indicates that many governments adopt a more active role in regard to employment relations (Bamber et al. 2004 p 12). Bain and Clegg (1974) as well as Clegg (1976) state that dissimilarity in the dimensions of collective bargaining in various countries is the most important element in the shaping of union behaviour. This might represent a theory of trade union behaviour regarding collective bargaining however Clegg does not consider it a complete theory of trade unionism, because theory does not clarify the political actions of trade union. Even if the theory was comprehensive enough, it would not still not be considered as of theory of industrial relations. The dimensions of collective bargaining for Clegg are mostly affected by the structure as well as attitudes of employers' relations and management. State involvement through legislation might also be a dominant influence if it takes place at an amply early stage during the development of collective bargaining. If it was a comprehensive theory of industrial relations it would take these factors into consideration as well. Hyman (1994) supports Clegg's analysis of union behaviour, mainly due to the fact that the theory fails to describe the changes that take place in the trade union density and strike behaviour in the following years. He emphasizes on impact of factors of political-economic like global competition that is intensified, the capital and employment restructuring, as well as the fall of Keynesianism in a country. He states that, as national institutional arrangements surely assist in shaping the effect of these forces on industrial relations, he supports Shalev (1980) notion that 'the organization of industrial relations ought to still occupy no more than the position of variables that are dominant in theories which are comparative in nature. A strong theory must emphasize on political economy. However we are left with no comprehensive account of national differences. Institutions can be known as symptoms , and not as causes, with differentiation in institutions among countries being mainly manifestation of the power distribution as well as the results of conflicts among different parties when these institutions start functioning (Shalev 1998 p.248).Institutions also replicate party's collective strategic choices, as well as the choice of unions along with labour movements to follow a path which is political in nature. According to Poole (1984; 1986; 1993) the differences that are found in industrial relations institutions as well as practice in diverse countries have a strong foundation in the strategic choices of different parties to that of the employment relationship (Kochan, Katz and McKersie, 1984 p16). These parties are basically social 'actors' who form the arrangements of the institutions in which they function. The

An Analysis of Class and Gender Conflict in Pygmalion Essay -- World L

"Pygmalion is a serious analysis of class and gender conflict." Bernard Shaw's play, entitled Pygmalion, transcends the nature of drama as a medium to be utilized for sheer entertainment value. Shaw's play powerfully comments on the capacity for the individual to overcome the boundaries established by systems of class and gender. Dominant assumptions and expectations may essentially prevent an individual from becoming socially mobile within a seemingly rigid hierarchical social structure. However, Liza, the protagonist utilizes language as the tool which enables the her to escape the confines of the lower class and to be regarded as a human of a certain degree of worth within society. As Liza transforms from flower girl to duchess, the audience is witness to the many ways that an individual can be dehumanised through the socialisation process. Issues of both class and gender arise from the tensions within the play that surround the interactions between Higgins and Liza and the viewer is able to openly question the values that exist within a soci ety that judges the character of a person on the basis of wealth and education. Henry Higgins represents the upper class of society, those that are expected to be both educated and wealthy. He is profoundly aware of his status and is not particularly sympathetic towards those of the lower class. This is revealed as he is first introduced to Liza and refers to her as a 'squashed cabbage leaf.' (Shaw, 2003:18) This first scene is important as it establishes the class differences that are evident within the language contrasts of each of the characters. Higgins plays an important role in establishing this theme as he places great emphasis on phonetics. He has the ability to place an i... ...e society of Shaw's time and of contemporary society. Liza is an independent woman at the closing of the play, when one takes into consideration that she possesses an assertive sense of free will and a determination to maintain her strength of character. Ultimately, Liza's insistence on remaining true to herself is a positive ramification of a transformation process, that in itself presented many moral questions to the perceptive audience. The protagonist has confronted the obstacles imposed on her by social conventions, with regards to both gender and class stereotypes, and has essentially deconstructed the boundaries that had previously prevented her from fulfilling her own capabilities and sense of self worth. Bibliography Bentley, E. Bernard Shaw, 2nd edn. London: Methuen, 1967. Shaw, B. Pygmalion, London: Penguin Books, 2003.

Preschool Age

During preschool age, physical growth begins to slow down. It is much slower than it was during infancy. Children at the early childhood stage, children start to become taller and leaner as they mature. They will look more like adults than like infants by the end of early childhood. â€Å"During the ages two to six, children make great strides in the development of gross motor skills, which involves the large muscles used in movement â€Å"(Rathus, 2017). At four years old, she has a more complex physical development using both gross and fine motor skills. She has greater control over large muscles, such as her arms and legs. She is also able to coordinate multiple tasks at the same time, such as singing and building blocks as opposed to when she was a toddler. She is much more coordinated in her play than the younger children around her. In early childhood, children appear to acquire motor skills by teaching them selves in observing the behavior of other children and adults† (Rathus, 2017, p. 255). Thus, fine motor skills develop more gradually. Fine motor skills are all the small muscles used in manipulation and coordination. Control over the wrist and fingers enable children to, write, dress themselves and in her case the ability to stack blocks. While observing the child's use of language, her comprehension and use of words is more sophisticated, she can make sentences and can understand what others are saying. She can talk in clear speech. She is quite self-assured and can understand the concept of conversation. Her language is more mature, her memory and imagination has developed and she is able to think more symbolically. Children's language skills develop radically during the preschool years. Between the ages of three and five, egocentric speech starts to disappear. The child's conversational language starts to show sensitivity to the listener, for example, the subject was taking turns talking and listening to her fellow classmates. By that age of four years old, some milestones children develop are the ability to ask adults and each other questions, taking turns talking, and partaking in longer conversations. â€Å"They have vocabulary of 1500-1600 words. They're speech is fluent and their articulation is also good. Children can use five or six words in sentences and can now coordinate two sentences together† (Rathus, 2017 p. 301).

Unhealthy Food Choices, Lack Of Parental Guidance, And A...

In 2012, one third of adolescents were either overweight or obese and 18% of 6-11 year olds were obese; that is a staggering statistic (CDC). This can cause life long problems for these children. In this essay, I will show you that unhealthy food choices, lack of parental guidance, and a sedentary lifestyle are some of the leading causes of obesity in our children. For instance, these days with most parents having to work outside the home, there is not much time spent cooking healthy meals. Most children come home to an empty house and many do not know how to cook, so unless there is something prepared for them ahead of time, they head straight for the junk food. Plus, with all the inexpensive convenience foods that are on the shelves these days it makes it too easy for one to whip up a â€Å"family meal† or snack in just minutes in the microwave. The problem with these convenience foods is that they are usually high in fat, sugar, and calories (Sorte, Daeschel, Amador 5). 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