Save The Children The World s Leading Non Profit...

Save The Children International is one of the world s leading non-profit organization devoted in children from every corner of the world. Save The Children Alliance is a global network consists of 30 member organizations providing programs and helps children from more than 120 countries. Since its foundation in 1919, Save The Children has led global actions on children s rights with its mission and vision : To answer the question of whether or not Save The Children has accomplished its mission, we must dissect into the source of funding, how it is spent and how work is accomplished. As provided on its homepage, the organization, as of 2013, has the combined revenues of estimated over US$1.9 billion; including most revenue sources coming from the government and private donors. Save The Children seemed to have an increasing amount of donors, as in 2013, its combined revenues were 21% higher than the previous year; the total of $676, 348,000 was raised, including $ 318,703,000 only from the individuals. (Save The Children, 2014). Save The Children divided its revenue into sections, following are the programs dedicated for specific child in need in different continents with the total of 603,707,000 spent in 2013. With the big percentage spending into programming, the website Charity Navigator has given the organization the grade 93.62 out of 100 on financial. Its financial separation on programme is based on the level of need and emergency in specific regions andShow MoreRelatedMental Health For All By Involving All1051 Words   |  5 Pagesdiseases, from autism to depression and dementia. One in four people suffer from mental illness, and more often than not, those affected with mental illness are not treated. 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Reducing Gang Violence Free Essays

In order to reduce gang violence I would implement community crime prevention programs or strategies targeting changes in community infrastructure, culture, and the physical environment. Furthermore, gang violence will be reduced by executing a diversity of  approaches including  neighborhood watch, community policing, urban or physical design, and comprehensive or multi-disciplinary efforts. These strategies may seek to engage residents, community and faith-based organizations, and local government agencies in addressing the factors that contribute to the community’s crime, delinquency, and disorder. We will write a custom essay sample on Reducing Gang Violence or any similar topic only for you Order Now As a means of reaching out to offenders of gang violence I would administer social interventions that would involve a variety of services provided to gang members, such as remedial education, recreational activities (e. g. , softball games involving both gangs), counseling in homes and on the streets, crisis counseling, and referral to drug treatment and mental health services. Employing more community youth workers that would be responsible for reaching out, contacting, and providing a range of limited but intensive services to youth gang members. A form of public education by providing economic and social opportunities through the access of jobs and to job training, as well as educational resources and educating the community by informing them that gang problems result from the interaction of sociological, demographic, economic, and cultural factors along with social instability and lack of economic opportunity. Having more people understand where this stems from can lead to concentrating on assessing the needs of youths and providing them with individualized support services and suppression/control by involving their families, local organizations, and their communities. This program will be based as an extension of the Juvenile Court facilities in Salinas, CA. It will be administered through our city’s Sherriff’s office and the office of the Attorney General. It will be paid for by trying to get a cooperative agreement award from the State of California and from donations and fund raisers. The program should include local police officers, probation officers, community youth workers, church groups, boys and girls clubs, and several local residents who work as a team to understand gang structures and provide social intervention and social opportunities whenever possible. The program should reach out to youths unable to connect with legitimate social institutions. Youths at different points in their lives need different things. Older gang members may be ready to secure a legitimate job and need training and education to do so. Younger youths at risk of becoming gang members may need alternative schools or family counseling. The program should provide individualized services for each youth based on his or her needs. This not only consists of surveillance, arrest, probation, and imprisonment to stop violent behavior, but also involves greater communication between agency service providers and control providers. All providers jointly decide what happens to a youth when trouble arises or when it is about to. All workers need to work closely with one another and collaborate. Former gang members working as community youth workers need to be given as much respect as police officers in the program. Each group can provide important information for the program that the other may not be able to obtain. Works Cited Crime Solutions (2010). Program Profile Comprehensive Gang Model. Retrieved from http://www. crimesolutions. ov/ProgramDetails. aspx? ID=278 (OJJDP) Office of Juvenile Justice and Delinquency Prevention. 2010. Best Practices to Address Community Gang Problems: OJJDP’s Comprehensive Gang Model. Second Edition. Washington, D. C. : U. S. Department of Justice, Office of Justice Programs, Office of Juvenile Justice and Delinquency Prevention. 15 Mar. 2013. Web. Spergel, Irving A. , and Susan F. Grossman. 1997. â€Å"The Little Village Project: A Community Approach to the Gang Problem. † Social Work 42:456–70. How to cite Reducing Gang Violence, Essay examples

Tennessee Williams And The Southern Belle Essay Example For Students

Tennessee Williams And The Southern Belle Essay Mary Ellen P. EvansDana SmithTHEA 39311/23/99Tennessee Williams and the Southern BelleAnd such girls! . . . more grace, more elegance, more refinement, more guileless purity, were never found in the whole world over, in any age, not even that of the halcyon . . . so happy was our peculiar social system- there was about these country girls . . . mischief . . . spirit . . . fire . . . archness, coquetry, and bright winsomeness- tendrils these of a stock that was strong and true as heart could wish or nature frame; for in strong and true as heart could wish or nature frame; for in the essentials their character was based upon confiding, trusting, loving, unselfish devotion- a complete, immaculate world of womanly virtue and home piety was their, the like of what . . . was . . . never excelled, since the Almighty made man in his own image . . . young gentleman, hold of, . . . lay not so much as a finger-tip lightly upon her, for she is sacred. (qtd. Bernhard, Southern Women 4) She did no t move. Her eyes began to grow darker and darker, lifting into her skull above a half moon of white, without focus, with the blank rigidity of a statues eyes. She began to say Ah-ah-ah-ah in an expiring voice, her body arching slowly backward as though faced by an exquisite torture. When he touched her she sprang like a bow, hurling herself upon him, her mouth gaped and ugly like that of a dying fish as she writhed her loins against him. (Faulkner 126) The quotation from George W. Bagbys The Old Virginia Gentleman (1885) presents the southern belle on her pedestal in a typical nineteenth-century description. The second quotation from Williams Faulkners Sanctuary (1931) describes the lurid nymphomania of Temple Drake, a more extreme example of the fate of the modern southern belle. The metamorphosis began abruptly around 1914, and since then, Tennessee Williams has presented three southern belles: Amanda Wingfield, Blanche DuBois and Alma Winemiller in the plays respectively The Glas s Menagerie, Streetcar Named Desire and Summer and Smoke (Abbott 20). Early on, writers saw the belle as their ideal South, pure and noble. However, more self-conscious and critical modern writers like Mr. Williams use the darker side of the belle- to symbolize the indictment the Old South or to describe the new. Characteristics that will be examined to exemplify the new belle and consequently the South are narcissism, illusion/memory and rape. We will write a custom essay on Tennessee Williams And The Southern Belle specifically for you for only $16.38 $13.9/page Order now First, what exactly is a southern belle, and why did she change to the present southern belles of Williams? The belle is a young, unmarried daughter of a landed (and thus aristocratic) family, who lives on a great plantation. She is an ideal woman who would be sanctioned by Victorian morality and by the southerners image of the home as a constant standard of order and decency (Dillman 17). The notions of their aristocratic origins assured that the belle would be protected from reality, championed, and wooed. In addition, the realities of plantation life were well suited to the idealization of women, since women were kept isolated from the world by the nature of their life. The lucky, young girl had few tasks except to be pretty and charming. After marriage, she was expected to become a hard-working matron who supervised, nursed and mothered (Avia, WebRing). The reasons for the changes from this proper Victorian belle to the southern belle of Tennessee Williams are both cultural and psychological. When the traditional southern myths clashed with the forces set loose by World War I, the Souths fantasies about itself no longer provided the sanctuary of values that had been sufficient for sixty years after the Civil War. World War I unleashed a chasm of industry, anxiety, death and doubt (Roudane 49). Artists, always the creators of order, had to begin to reorder the world and break up the idles of the old world. Thus the myth disintegration began in poetry, in fiction, in histories, in scholarship, and in the drama (Bynum 5). The beauty ethic of the South prefers its lovely women to be charming and flirtatious, coquettes who never yield their purity, can create impossible tension for the belle: she is asked to exhibit herself as sexually desirable to the appropriate men, yet she must not herself respond sexually. According to Mr. Roudane,s he must be as alluring as the Dark Lady, yet as pure as the White Maiden (18). The drama in which the belle appears reveals that carrying two such extremes is too much for some of the modern belles to bear. Nineteenth-century belles, whose Victorian surroundings and upbringing reinforced the dictated southern behavior, are more successful. After World War I, the basic conflicts within the personality of the belle become the central emphasis in the drama that depicts the belle and ultimately that depicts the South (Bloom 45). The belles of Tennessee Williams could be accurately described as narcissists needing attention, people without a sense of worth, those who settle on an impossible goal to provide their life with meaning. Accordingly, Amanda, Blanche and Alma, are trained to seek the attention of men, and develop the means in how to do so (Kolin 121). And as a result, skills and traits such as assertiveness, intelligence, logic, confidence are ignored and suppressed. Their sense of worth is achieved only through the attention of others (Bernhard, Southern Women 55). This grim recognition of the belles narcissism is a consequence of the beauty ethic of the South. Amanda portrays the narcissistic mother in The Glass Menagerie and has a constant preoccupation with her physical attributes and appearances (including those surrounding her) for All pretty girls are a trap, a pretty trap, and men expect them to be (Jacobus 129). Amandas hair is set in girlish ringlets in an attempt to retain the past, her youth, which has long since diminished. The prospect of losing her physical attributes of youth and beauty terrifies her. Every movement is done carefully and methodically as if she were being put on display. Williams stage directions coach the actor that She lets the hat and gloves fall on the floor- a bit of acting. . . Amanda slowly opens her purse and removes a dainty white handkerchief which she shakes out delicately and delicately touches her lips and nostrils (133). Therefore, Amanda still believes she is on that nineteenth century pedestal in the twentieth century modern world. Amanda also obsesses on how her tenement may look on the outset of the gentleman caller. For some simple workman to drop down for dinner, she dictates a long list orders that need to be done: I want things nice, not sloppy! All my wedding silver has to be polished, the monogrammed table linen ought to be laundered! The windows have to be washed . . . And how about clothes? We have to wear something, dont we? (145). At the onset of an actual man coming to the house, Amanda goes overboard in pleasing him, because that is what the South has trained her to do. The stage directions again point out that Amanda has worked like a Turk in preparation for the gentleman caller. The results are astonishing. The new floor lamp with its rose-silk shade is in place, a colored paper lantern . . .(146). The new materialism continues to hover over their lives as well as the new South. Less concerned with materials and more concerned with herself, Alma resents the need to care for her senile and selfish mother, and self-pitying father. She feels she has had certain difficulties and disadvantages to cope with which may be partly the cause of these peculiarities of mine . . .(Williams, The Theatre 152). She believes her youth is passing and knows that people . . .think of me as an old maid (169). Alma also uses over-elaborate vocabulary, for example using the term pyrotechnical display for fireworks, to display her proper upbringing and impress men. Sadly, Alma is trapped by a code that has created her narcissism and prevented her from accepting her own sexual passion. As a result, she cannot have John Buchanan Jr. Torn between her passion and repression, she is fated to follow a pattern of relationships and a lost love. Alma is attracted to John Buchanan Jr.s rebelliousness and sexual appeal, but their relationship is always thwarted by the part of her that wishes t o be a lady; and so Alma fears Johns intensity and passion, which ironically are like her own (Jackson 14). The treatment of the theme of the narcissist southern belle suggests that as long as men cling to their myth of women, women remain essentially abstractions, objects, and a thing to be used. Similarly, John uses women in Summer and Smoke. Until the myth is abandoned, neither men nor women will achieve self-identity (Stokes 99). The South had lost its identity after the Civil War and in the same respect; it looked to itself as an object of attraction. Likewise, Blanche often asks, How do I look? (Williams, Streetcar 37). The self-identity of the South had been destroyed by the Civil War and began to look towards the home to give itself meaning. .u0ad742deb848126105911cb6904e060c , .u0ad742deb848126105911cb6904e060c .postImageUrl , .u0ad742deb848126105911cb6904e060c .centered-text-area { min-height: 80px; position: relative; } .u0ad742deb848126105911cb6904e060c , .u0ad742deb848126105911cb6904e060c:hover , .u0ad742deb848126105911cb6904e060c:visited , .u0ad742deb848126105911cb6904e060c:active { border:0!important; } .u0ad742deb848126105911cb6904e060c .clearfix:after { content: ""; display: table; clear: both; } .u0ad742deb848126105911cb6904e060c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u0ad742deb848126105911cb6904e060c:active , .u0ad742deb848126105911cb6904e060c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u0ad742deb848126105911cb6904e060c .centered-text-area { width: 100%; position: relative ; } .u0ad742deb848126105911cb6904e060c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u0ad742deb848126105911cb6904e060c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u0ad742deb848126105911cb6904e060c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u0ad742deb848126105911cb6904e060c:hover .ctaButton { background-color: #34495E!important; } .u0ad742deb848126105911cb6904e060c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u0ad742deb848126105911cb6904e060c .u0ad742deb848126105911cb6904e060c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u0ad742deb848126105911cb6904e060c:after { content: ""; display: block; clear: both; } READ: Paul's Case EssayAmanda, Alma and Blanche are products of a society that has programmed them to conform to the feminine stereotype of the coquette, and her resulting narcissism impels her inevitable behavior. The child who is treated as a beautiful object begins to define herself as a beautiful object. When a womans self-image is that of an object, not a person, she can expect others to treat her accordingly (Bernhard, Hidden Histories 66). They have been reared in accordance with her societys emphasis on feminine beauty. In one situation, Blanches sister Stella orders Stanley to be sure to say something nice about her appearance . . .Tell her shes looking wonderful (Willi ams, Streetcar 28). A narcissist needing attention, a person without a sense of worth, she settles on an impossible goal to provide her life with meaning. Blanche begins to lose self-worth unless someone says a word about my appearance (Williams, Streetcar 21). She is depicted as a perfect product of southern culture, which had long enjoined upper-class women, taught to be unconcerned with fleshly matters. Unfortunately, the role of the narcissist is played at the expense of reality; a woman infatuated with her ego loses all hold on the actual world, she has no concern to establish with real relation with others (Jackson 285). Thus Blanche loses all of reality at the end of Streetcar Named Desire. The former belle and the aging belle nurture illusions about their youthful allure. This remnant of their youthful narcissism leads them to regale their family stories, adorn themselves in old jewelry, or repress old crushes. This results in illusion stemming from a narcissistic world. The heyday of the belle is short-lived; from a debut at sixteen or seventeen to the threat of spinsterhood by nineteen, her career lasts for a few short years (Dillman 28). The excitement of those years is intense: a belle is the center of male and female attention; all her actions are designed to attain the end for which her childhood has prepared her and on which her future depends. Indeed, the courtship phase of her life is the only phase over which she has at least some control, when her decisions might be based on preference. A belle may well remember these days, and cling to them as a brief moment of a time they had freedom (Bernhard, Southern Women 85). Amanda, Blanche and Alma proclaim themselves to be ladies. They carry an air of grandeur, maintaining elegant gestures and speech in situations that render those traits incongruous. Amanda persists in clutching the fragments of dreams, the flashes of memory, for psychological sustenance. Enthusiastically recollecting the battalions of gentlemen who formerly called on her at Blue Mountains, she retells the story over and over again (Bloom 187). She sees the world through a veil of fantasy and illusion. Amanda fancies herself a former Delta belle, an illusion into which she attempts to escape from the confinement of a tenement house in St. Louis. Rooted in a tradition of the genteel Southerner, she can have no social position, no financial security, apart from her husband. With no career plans, she devotes her pride to her husband and children. In her struggle for survival, she uses the DAR to sell magazines, while her daughter runs up the grocery bills and son ropes in potential providers. The myth is that a southern belle is the symbol of youth, beauty and wealth (Kolin 143). She attempts to force the southern belle on Laura, which contributes to the disintegration of Lauras personality as well Amanda refuses to acknowledge this myth has past, so she escapes into her memories:Sometimes they come when they are least expected! Why, I remember one Sunday afternoon in Blue Mountain . . . your mother received- seventeen! gentlemen callers! Why, sometimes there werent chairs enough to accommodate them all . . . Among my callers were some of the most prominent young planters of the Mississippi Delta- planters and sons of planters! There was young Champ Laughlin who later became Vice President of the Delta Planters Bank. Hadley Stevenson who was drowned in Moon Lake and left his widow one hundred and fifty thousand in Government bonds . . . (Jacobus 129)Within this world of memory and illusion, Amanda tries to hold the family together, economically and spiritually. Her husbands desertion of her and the family was the shock that sends her back into the golden days of her girlhood (Bloom 156). Since Amanda cannot face the reality that she was unable to hold her husbands love, she indulges in memories of that one supreme moment of her youth, the day when she might have chosen from seventeen gentlemen callers, all rich and successful and caring for their wives. Williams describes Amanda as, A little woman of great but confused vitality clinging frantically to another t ime and place, who having failed to establish contact with reality, continues to live vitally in her illusions (Kolin 98). Removed into her past and needing to fortify an endangered sense of self-worth, Amanda assumes an archaic form of southern behavior, gentility for What is there left but dependency all out lives? (Jacobus 128). In the early American South a genteel code developed, giving the white southern woman homage both to safeguard her purity from the manhood of black slaves and to symbolize a civilizing influence on the decadent ways of the white landed gentry (Abbott 52). So gentlemen callers represent a time when men were chivalrous and women were respected, admired, and pampered. The gentlemen callers in turn represent a Glorious Hill, a past that the South once had and is still trying to hold on to. Blanche resembles Amanda in her reactions to the harsh world. Her attempt to hold the crumbling world of the family plantation together is similar to Amandas attempt to keep her family together. Blanche pleads with her sister Stella you cant forget your past (Williams, Streetcar 25). Also like Amanda she refuses to accept the reality of her life and attempts to live under illusion. She has a false sense of gentility, which is contradicted, by an equally false sense of promiscuity. The conflict between these two modes of behavior leads her to her destruction (Roudane 173). Blanche is, like Amanda, an aristocrat who has lost her social status and is unable to break from her past. Unlike Amanda, she attempts to escape from, not into, the past, with its sordid reality. Stanleys revelations about her many deceptions both prevent her escape and show her more complex entanglement (Bloom 69). She retreats into the prison of madness, where finally she takes refuge from both past and present. As representative of the Old South, Blanche dissipates her power; far from failing to recognize her cultural (and personal) past, she is bound to it. Caught in a neurotic limbo, she combines in herself the opposites of Johns exaggerated physical urges and Almas culture, pretense and affectation; Blanche cannot reconcile them, nymphomania and prudery, love of the past and hatred of the past, genuine culture and pretensions fakery exist at the same time (Dillman 155). She remains frozen in a time that stands still for women of culture and breed and intelligence can enrich . . . and time cant take them away (Williams, Streetcar 53). Blanche represents one way the South could take: unable to face the contrast between the romantic past and realistic present, Blanche violently betrays her code while desperately trying to maintain it. Ironically, the escape of these characters becomes a prison, confining and degrading the prisoner and sometimes others with her. Blanche DuBois sense of propr iety clashes with her repressed sexual drives when she confronts Stanley who lives outside the code of southern chivalry. He is a man whose overt sexuality is simultaneously desirable and repulsive to her. Unfortunately, her narcissistic coquetry induces her to entice the one man who can destroy her. She cannot reconcile her divided personality in the face of the violent passions of the modern world; consequently, she withdraws into a world of illusions and madness (Jackson 126). While representing the South further, the modern world after World War I cannot carry the conflicting idles of the past and the present reality of war. .ud22f175f7ed58971ae9ac8e803f24fb5 , .ud22f175f7ed58971ae9ac8e803f24fb5 .postImageUrl , .ud22f175f7ed58971ae9ac8e803f24fb5 .centered-text-area { min-height: 80px; position: relative; } .ud22f175f7ed58971ae9ac8e803f24fb5 , .ud22f175f7ed58971ae9ac8e803f24fb5:hover , .ud22f175f7ed58971ae9ac8e803f24fb5:visited , .ud22f175f7ed58971ae9ac8e803f24fb5:active { border:0!important; } .ud22f175f7ed58971ae9ac8e803f24fb5 .clearfix:after { content: ""; display: table; clear: both; } .ud22f175f7ed58971ae9ac8e803f24fb5 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud22f175f7ed58971ae9ac8e803f24fb5:active , .ud22f175f7ed58971ae9ac8e803f24fb5:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud22f175f7ed58971ae9ac8e803f24fb5 .centered-text-area { width: 100%; position: relative ; } .ud22f175f7ed58971ae9ac8e803f24fb5 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud22f175f7ed58971ae9ac8e803f24fb5 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud22f175f7ed58971ae9ac8e803f24fb5 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud22f175f7ed58971ae9ac8e803f24fb5:hover .ctaButton { background-color: #34495E!important; } .ud22f175f7ed58971ae9ac8e803f24fb5 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud22f175f7ed58971ae9ac8e803f24fb5 .ud22f175f7ed58971ae9ac8e803f24fb5-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud22f175f7ed58971ae9ac8e803f24fb5:after { content: ""; display: block; clear: both; } READ: Blah blah blah EssayEven though Stella, the star married to the brute, offers Blanche an example of synthesis, and even though Blanche herself is considerably more free than Alma, Blanche is like Alma is succumbing to the sensual at the expense of her ideals and her own well-being (Kolin 84). Alma and Blanche are a movement toward sensuality representing mental if not physical destruction. And a spiritual person in a physical world is impossible. The idealism is illusionary; Alma is unable to translate it into positive action. Her mother leads her to self-pity. She is bitter because she has not gotten anything for her self-sacrifice, not even recognition. Her life tied to duty; Alma has a dream about what she would do if things were different (Bernhard, Southern Women 74). She says to John, Most of us have no choice but to lead useless lives! But you . . . have a chance to serve humanity. Not just to go on enduring for the sake of indurance, but to serve a noble, humanitarian cause, to relieve human suffering (Williams, The Theatre 154). This need of escape branches from Almas ancestry is Cavalier and Puritan- her mother wears a plumed hat; her father is a preacher. She cultivates social graces, romanticizes sex, and in a manner dictated by her genteel code immediately sets out to satisfy her desire for John. At the same time, she admires Gothic cathedrals, has faith in the everlasting struggle and aspiration for more than our human limits have placed in our reach (Williams, The Theatre 197). Culture and power in both traditions have produced Alma- and the South. At the end of the play she has not so much tempered beautiful illusion with mundane reality as she has shown herself ignorant of any historical perspective. Her decision to take what gratification this earth has to offer- giving little though to the consequences- is a playback of the Souths history (Kolin 184). So long as the soul of the South refused to face reality, it had no future. Illusion may be a world of reality these southern belles are forced to live in, but this illusion can come from or grow more intense as a result of rape or conquest. Rape stood for ultimate domination and subordination. It is a symbol of power encompassing that onto the belle and onto the South. In a male-dominate society, women were a weaker class. After the Civil War, however, plantation owners had to adjust to an economic order no longer based on slavery (Stokes 23). The patriarchal South had made white men the dominant group in terms of their superior status, their access to lucrative economic roles, their autocracy in sexual roles, and their aggressive temperament. Women and blacks, on the other hand, were deemed subordinate in status, role, and temperament. A womans status depended upon her father or husband, her economic role was that of a marriageable alliance maker before marriage and a homemaker after marriage, her sexual role was that of a chaste maiden or faithful wife (s o that the legitimacy of the males line could be preserved (Bernhard, Hidden Histories 65). Rape as the ultimate act of domination results when the male feels denied the privileges he assumes are his right. The right to copulate whomever he pleased was long assumed; restrictions placed on him by societal taboos or laws were in no way as severe as those placed upon white women. During and after World War I, the North began to dominate the South, imposing industry and materialism as well as greed, inflicting an emphasis on money. It is reminiscent of the not-forgotten Civil War (Abbott 34). To no avail, Blanche (the Old South) threatens Stanley (the North) and screams, So I could twist the broken end in your face! (Williams, Streetcar Named Desire 130). After proclaiming lets have some rough-house! He springs toward her, overturning the table. She cries out and strikes at him with the bottle top but he catches her wrist . . .Weve had this date with each other from the beginning! She moans. The bottle falls. She sinks to her knees. He picks up her inert figure and carries her to the bed (130). It is implied and not directly stated that she is raped. If it is assumed that Blanche is representative of the Old South, she is being conquered metaphorically by the North as they did in the Civil War and again in the Industrial Revolution. The belle herself is presented as the repository of the southern values; the rapist is an outsider who represents the antithesis of these values. The rape of Blanche and other southern belles is a symbolic action that represents the violent disordering of a harmonious society (Kolin 137). Obviously, Alma was not raped, but conquered by John Buchanan Jr. After the tables have turned, yes, the tables have turned with a vengeance, Alma has compromised her spiritual side, her soul, for the sensual side of John (Williams The Theatre 247). She has to an extent faced reality, but at a price. His sensual side conquers Alma who died last summer- suffocated in smoke from something on fire inside her (243). Buchanan, despite his upper-mi ddleclass status, is another Stanley, a man who believes in the fundamental morality of a primitive existence. Like Stanley, he expresses contempt for the abstractions of the historical, cultural, and traditional past. Later though, John finds love and hope through Nellie (Bloom 67). Alma is forced to begin to turn her head away from her windows that lead to the Buchanan house, and towards other men, so we are able to keep on going? (Williams, The Theatre 254). Friction evolved from two opposing clusters of images. One of rural, semi-rural life enriched by tradition, religion, stable and predictable social behavior, and feeling of individual worth. And the other a chaotic, frenzy of industrial way of life. This is the atmosphere of the South following World War I. The violence and exploitation existed side by side with the genteel refinement of the South. According to Ms. Abbott, southern myth disintegrated for several reasons whether it be the failure of individuals to pursue their ideas or the inability of southerners to resist contamination by materialists who do not believe in the southern code of behavior, the southern belles, the South, lost. (77). Amanda, Blanche and Alma are vehicles for views of Tennessee Williams of the South. Common themes exercised through not only Tennessee Williams plays, but through much of southern literature are narcissism, memory/illusion and rape. They illuminate the reader of common themes of the Souths history and present state. From George Bagby to William Faulkner, the belle represents a human ideal, now regarded as antique while eliciting a paradox between living in the past and present congruently. Although, this way of life should not be encouraged in the real world, as a literary figure, her day is not over. BibliographyEvans 14Works CitedAbbott, Shirley. Womenfolk: Growing Up Down South. New York: Ticknor and Fields, 1983. Avia. Southern Belles WebRing. 1997. 1 Nov 1999. Bernhard, Virginia Eds. Hidden Histories of Women in the New South. Columbia: University of Missouri Press, 1994. Bernhard, Virginia Eds. Southern Women. Columbia: University of Missouri Press, 1992. Bloom, Harold Ed. Modern Critical Views: Tennessee Williams. New York: Chelsea House Publishers, 1987. Bynum, Victoria E. Unruly Women: The Politics of Social and Sexual Control in the Old South. Chaphill Hill: The University of North Carolina Press, 1992. Dillman, Caroline Matheny Ed. Southern Women. New York: Hemisphere Publishing Corporation, 1988. Jackson, Esther Merle. The Broken World of Tennessee Williams. Madison: University of Wisconsin Press, 1965. Jacobus, Lee A. Ed. The Bedford Introduction to Drama Third Edition. Boston: Bedford Book, 1997. Kolin, Philip C. Tennessee Williams: A Guide to Research and Performance. Westport: Greenwood Press, 1998. Roudane, Matthew C. The Cambridge Companion to Tennessee Williams. Cambridge: Cambridge University Press, 1997. Williams, Tennessee. A Streetcar Named Desire. New York: Signet Book, 1947. Evans 15Williams, Tennessee. The Theatre of Tennessee Williams Volume Two. New York: New Directions Publishing Corporation, 1971. Theater

Emma VS Clueless essays

Emma VS Clueless essays The movie Clueless that came out in 1995 was smash hit at the box offices, and while being based on the nineteenth century novel Emma the two stories shared almost identical characteristics despite the time and location that they took place in. At the center of each story is a spoiled young woman. Clueless is centered on a young teen from LA and in the novel Emma; Emma stars a Spoiled young woman in high society nineteenth century England. Both young ladies are from a higher class than most and they both go through a maturing phase in life after a major calamity. Cher and Emma are both very arrogant at times and tend to think of themselves very highly. I think the reason for this is because they were both raised by there fathers, who are over indulgent at times as well as the fact that both of their mothers died while they were still very young. Im sure it is hard to find many personal flaws with yourself while you are provided with everything that you want. In the start of each story both Cher and Emma take mercy on new comers to their social rings. In Clueless a new girl from New York is landed in the middle of Chers school. Cher instantly sees this as one of her projects, she decides that she will take Tai the new girl in and teach her the rules and etiquette of someone of her social rank. Cher and he friend Dee take Tai around school and show her all of the social classes. They point out where she will fit and where she will not. Tai meets a boy that she likes at lunch, but when she shares the good news with her new friends she is scolded because of the boys social standing. Cher says that these Skateboarding hippies are unpolished and will bring Tai down and that no respectable girl actually dates them. The story of Emma is remarkably similar. In Emmas case she takes in Harriet Smith a girl of obvious lower class. When Harriet tells Emma of her new friendships she has made with the ma...

Biography of Oscar Wilde, Irish Poet and Playwright

Biography of Oscar Wilde, Irish Poet and Playwright Born Oscar Fingal OFlahertie Wills Wilde, Oscar Wilde (October 16, 1854 – November 30, 1900) was a popular poet, novelist, and playwright in the late 19th century. He wrote some of the most enduring works in the English language, but is equally remembered for his scandalous personal life, which ultimately led to his imprisonment. Fast Facts: Oscar Wilde Full Name:  Oscar Fingal OFlahertie Wills WildeOccupation: Playwright, novelist, and poetBorn: October 16, 1854 in Dublin, IrelandDied: November 30, 1900 in Paris, FranceNotable Works: The Picture of Dorian Gray, Salome, Lady Windermeres Fan, A Woman of No Importance, An Ideal Husband, The Importance of Being EarnestSpouse: Constance Lloyd (m. 1884-1898)Children: Cyril (b. 1885) and Vyvyan (b. 1886). Early Life Wilde, born in Dublin, was the second of three children. His parents were Sir William Wilde and Jane Wilde, both of whom were intellectuals (his father was a surgeon and his mother wrote). He had three illegitimate half-siblings, who Sir William acknowledged and supported, as well as two full siblings: a brother, Willie, and a sister, Isola, who died of meningitis at age nine. Wilde was educated first at home, then by one of the oldest schools in Ireland. In 1871, Wilde left home with a scholarship to study at Trinity College in Dublin, where he particularly studied the classics, literature, and philosophy. He proved himself to be an excellent student, winning competitive academic awards and coming first in his class. In 1874, he competed for and won a scholarship to study at Magdalen College, Oxford for another four years. During this time, Wilde developed several, widely differing interests. For a time, he considered converting from Anglicanism to Catholicism. He became involved with Freemasonry at Oxford, and later became even more involved with the aesthetic and Decadent movements. Wilde scorned â€Å"masculine† sports and deliberately created an image of himself as an aesthete. However, he was not helpless or delicate: reportedly, when a group of students attacked him, he singlehandedly fought them off. He graduated with honors in 1878. Society and Writing Debut After his graduation, Wilde moved to London and began his writing career in earnest. His poems and lyrics had been published in various magazines previously, and his first book of poetry was published in 1881, when Wilde was 27 years old. The next year, he was invited to make a lecture tour of North America talking about aestheticism; it was so successful and popular that a planned four-month tour turned into nearly a year. Although he was popular with general audiences, critics eviscerated him in the press. In 1884, he crossed paths with an old acquaintance, a wealthy young woman named Constance Lloyd. The couple married and set out to establish themselves as stylish trendsetters in society. They had two sons, Cyril in 1885 and Vyvyan in 1886, but their marriage began to fall apart after Vyvyan’s birth. It was also around this time that Wilde first met Robert Ross, a young gay man who eventually became Wilde’s first male lover. Wilde was, by most accounts, a loving and attentive father, and he worked to support his family in a variety of pursuits. He had a stint as editor of a women’s magazine, sold short fiction, and developed his essay writing as well. Literary Legend Wilde wrote his only novel – arguably his most famous work – in 1890-1891. The Picture of Dorian Gray eerily focuses on a man who bargains to have his aging taken on by a portrait so that he himself can stay young and beautiful forever. At the time, critics heaped disdain on the novel for its portrayal of hedonism and fairly blatant homosexual overtones. However, it’s endured as a classic of the English language. Over the next few years, Wilde turned his attentions to playwriting. His first play was a French-language tragedy Salome, but he soon shifted to English comedies of manners. Lady Windermeres Fan, A Woman of No Importance, and An Ideal Husband appealed to society while also subtly critiquing it. These Victorian comedies often revolved around farcical plots that nonetheless found ways to critique society, which made them immensely popular with audiences but riled up more conservative or straitlaced critics. Wilde’s final play would prove to be his masterpiece. Debuting onstage in 1895, The Importance of Being Earnest broke away from Wilde’s â€Å"stock† plots and characters to create a drawing room comedy that was, nonetheless, the epitome of Wilde’s witty, socially-sharp style. It became his most popular play, as well as his most praised one. Scandal and Trial Wilde’s life began to unravel when he became romantically involved with Lord Alfred Douglas, who introduced Wilde to some of the seedier side of gay London society (and who coined the phrase â€Å"the love that dare not speak its name†). Lord Alfred’s estranged father, the Marquess of Queensbury, was livid, and an enmity between Wilde and the marquess sprung up. The feud reached a boiling point when Queensbury left a calling card accusing Wilde of sodomy; an infuriated Wilde decided to sue for libel. The plan backfired, since Queensbury’s legal team mounted a defense based on the argument that it could not be libel if it was the truth. Details of Wilde’s liaisons with men came out, as did some blackmail material, and even the moral content of Wilde’s writing came under criticism. Wilde was forced to drop the case, and he himself was arrested and tried for gross indecency (the formal umbrella charge for homosexual behavior). Douglas continued to visit him and had even tried to get him to flee the country when the warrant was first issued. Wilde pled not guilty and spoke eloquently on the stand, but he did warn Douglas to leave for Paris before the trial ended, just in case. Ultimately, Wilde was convicted and sentenced to two years’ hard labor, the maximum allowed under the law, which the judge decried as still not sufficient. While in prison, the hard labor took a toll on Wilde’s already-precarious health. He suffered an ear injury in a fall that later contributed to his death. During his stay, he was eventually allowed writing materials, and he wrote a lengthy letter to Douglas that he could not send, but that laid out a reflection on his own life, their relationship, and his spiritual evolution during his imprisonment. In 1897, he was released from prison and immediately sailed to France. Final Years and Legacy Wilde took the name â€Å"Sebastian Melmoth† while in exile and spent his final years digging into spirituality and railing for prison reform. He spent some time with Ross, his longtime friend and first lover, as well as Douglas. After losing the will to write and encountering many unfriendly former friends, Wilde’s health took a steep decline. Oscar Wilde died of meningitis in 1900. He was conditionally baptized into the Catholic Church, at his wish, just before his death. At his side to the end was Reggie Turner, who had remained a loyal friend, and Ross, who became his literary executor and the primary keeper of his legacy. Wilde is buried in Paris, where his tomb has become a major attraction for tourists and literary pilgrims. A small compartment in the tomb also houses Ross’s ashes. In 2017, Wilde was one of the men formally given posthumous pardons for convictions of previously-criminal homosexuality under the â€Å"Alan Turing law.† Wilde has become an icon, much like he was in his time, for his style and unique sense of self. His literary works have also become some of the most important in the canon. Sources Ellmann, Richard. Oscar Wilde. Vintage Books, 1988.Pearson, Hesketh. The Life of Oscar Wilde. Penguin Books (reprint), 1985Sturgis, Matthew. Oscar: A Life. London: Hodder Stoughton, 2018.

Religion and Spirituality Essay Example | Topics and Well Written Essays - 1000 words

Religion and Spirituality - Essay Example Religiousness can be described as having a personal belief or faith in God and the values levied down by a certain sect or a school of thought, performing activities i.e. rituals that demonstrate alliance to a certain religion (e.g. church memberships or alliances etc), adhering to a belief-based system of life and following God’s will (Zinnbauer et al. 557). On the other hand, a research conducted by Zinnbauer et al. indicated that spirituality is an outcome of a scared experience. Some of the definitions of spirituality include being connected with God or any other form of almighty power, belief in transcendence, integrating certain beliefs into a system of life, demonstrating God’s love to others, focusing on gaining inner stability and personal growth. Other definitions of spirituality are â€Å"an ultimate concern, an integrating or unifying factor within the personality, authenticity, a source of yearning, a meaningful identity and purpose, a union with God. It c an be seen that the definitions of religion mainly surround existence of God. Hence, it accepts the fact that there is a supreme power who has defined certain rules and principles which are meant to be followed if one wishes to have indemnity. These religious morals and values define an institutional system of life in various forms. Taking example of Christianity, there are various sects that have their own set of doctrines which are reflected in their lifestyle as well as in their manner of praying. Hence, religion defines a rather concrete set of beliefs, accepting existence of God and its supremacy giving it an outlook of obligations that one has to follow in order to be associated with a certain religion. On the other hand, spirituality is a matter of choice. It concerns personal experiences and feelings that surround the existence of a superior power. It is important to note that other than accepting presence of God, some may find spirituality in a non-sacred phenomenon as well . The later concept relates to karma or an output of one’s deeds and nature’s responses to them. A critical analysis of these two definitions may indicate that where religion can be a heart less observance of certain principles, spirituality is more about gaining inner peace and inspiration through nature, other humans and different phenomenon of life. Also, where religion can lead to association with different derivative social functions, spirituality can make one opting for isolation in order to find self-actualization and inner stability. 2. Spiritual assessment allows one to be aware of their stimulants that inspire them spiritually. There are various tools that can be used to asses one’s spiritual alliances. One of the most common tools that are used mainly in palliative, elderly and end-of-life care is FICA spiritual assessment tool. FICA stands for faith (or beliefs), importance and influence, community and address (Borneman 2). The tool has been designed to assist physicians and various healthcare professionals to consider spiritual needs of their patients in order to give a holistic treatment and also of themselves while providing services in their respective fields. This tool assesses how one perceives himself to be religious or spiritual (â€Å"FICA Spiritual Assessment Tool† n.p). Also, it defines the things that give meaning to the phenomenon of life and life after death. Second important component of this assessment is how one incorporates such religious or spiritual values into their life and how it influences their behaviour during illness and role of these beliefs in regaining health. Third part of assessment concerns the environment or community

UNDERSTANDING INCLUSIVE LEARNING AND TEACHING IN LIFELONG LEARNING Essay

UNDERSTANDING INCLUSIVE LEARNING AND TEACHING IN LIFELONG LEARNING - Essay Example To counter overreliance on this slides and handouts, student involvement in discussions and feedbacks is handy. I also collect suggestions and answers and clarify any issues that are not well understood on the whiteboard. This enhances inclusion of all the students in my clothe design lesson. Much of the teaching time is spent on practical work. I try to encourage group work as part of teaching though there is some resistance faced. However, individual work is also important to balance and meet the learners need. All this I work them within the restriction of time at hand. The incorporation of modern technology also poses a challenge to some students. Most cognitive theorist such as Piaget, Ausubel among others were interested in the changes in the learner’s understanding that resulted from learning and the environmental importance in the process (Powell & Tummons 2011, p.49). Regardless of the variations in constructivism, it promotes free exploration of the students within a given structure of the framework. From the theories, have looked at the best way my students can benefit from learning. I plan my lessons with a demonstration and brainstorming activities. The materials and tools to be utilized are identified and availed for the lesson to help my lesson objectives be accomplished. I utilize practical activities whereby the students are divided into groups that assist them in explore the issue at hand, solve the problem, and use their techniques to answers questions as demonstrated. During the lesson, I facilitate to ensure that tasks are well understood, and learners fully participate. I have realized that each student is unique, and each has a particular need. Therefore, allowing the students discover the technique that is workable for them helps them achieve their goals. Through the groups, the students share their solution at the end of the lesson thus motivating them. They also demonstrate the various creative approaches to the