Postcolonial Theory & Feminism Essay Example for Free

Postcolonial Theory Feminism Essay Postcolonial theory is actually a growing as well as a controversial field. Some of the critics understand postcolonial theory as hypothetically and incoherent not worth mentioning at its best and political harmful at its worst. Post colonial theory is however superficial as an uncritical condemnation of the Western nations, cultures as well as values. For some reasons, these wrong interpretations materialize from a lack of intellectual commitment with the topics in that same field. These critics are actually motivated by a political desire which is out to sustain and legitimize the power of Western values, nations together with the cultures. This paper will respond to these types of distortions. The paper will identify how philosophical reflections might assist people to understand the nature of connections between dissimilar cultures. After the introduction together with the main problems in the field of postcolonial theory, the paper will talk so much about the early theorists of anti-colonialism. However, postcolonial theory must be conceptualized as an extension of the aforementioned anti colonial struggles. In this situation one is able to understand fully the connections between colonialism and the western philosophy. At times when the West tends to control as well as shaping different cultures and the way of their thinking, the study of the way different cultures interacted during the past seems tremendously necessary. As a result, feminist theory is the expansion of feminism into philosophical or theoretical position. It tends to encompass the work done in a very broad variety of disciplines, importantly including the approaches towards women’s roles and lives together with the feminist politics in sociology and anthropology. Feminist theory always aims at understanding the natural history of inequality and it actually focuses on power relations, femininity politics as well as sexuality (Tiffin, 9). Postcolonial feminism is the main form of feminist philosophy which tends to criticize the Western forms of feminism, particularly liberal feminism as well as fundamental feminism plus their universalism of female experience. The postcolonial feminists argue that the cultures that are impacted by the colonialism are often vastly different and it should be treated that way. Colonial oppression might result in glorification of pre-colonial culture in which in cultures with traditions of stratification of power along the lines of gender, could somehow mean the acceptance or refusal to deal with, inherent matters of gender inequality. Postcolonial feminists does not present a united front on feminist issues, but it can be described as the feminists who have always reacted against both universalizing tendencies in the Western feminist thought as well as a lack of attention to gender issues in mainstream postcolonial thought (Tiffin, 9). A lot of postcolonial feminists tend to argue that the oppressions connecting to the colonial experience, more especially class, radical together with ethnic oppressions, have marginalized women in postcolonial societies. In one way or the other, they tend to challenge the assumption whereby the gender domination is the most important force of patriarchy. Furthermore, postcolonial feminists point to the superficial interpretation of women of non-Western societies just like the passive and people who don’t have a voice, as opposed to the depiction of Western women as educated, modern as well as empowered. At the same time as demanding gender oppression contained by their individual cultures, postcolonial feminists in addition tends to fight the charges of being Western, just the way some would contend within their cultures (Reina, 46). As a result, feminism is the conviction in the social, political as well as the economic equality of women. It involves a variety of movements, philosophies and theories which are concerned with the idea of gender dissimilarities as well as campaigning for the rights of women together with their interests. Feminist theory came as a result of these particular feminist movements. The idea of postcolonial feminism arose right from the gender history of colonialism. The regal powers regularly imposed Westernized norms on top of colonized areas. In the year 1940 to 1950, immediately after the creation of the United Nations, previous colonies were being supervised for what was deemed as social development by Western principles. The progression of women, in the middle of other variables, has always been supervised by questionably Western organizations for example the United Nations. Consequently, customary practices together with the roles taken up by women from time to time is regarded as objectionable by Western standards which could sometimes considered as a type of rebellion in opposition to colonial oppression. Postcolonial feminists, they really work so hard in order to fight femininity oppression in their individual cultural models of the social order relatively than from those of the Western. The fundamental theoretical principle of postcolonial feminism is that the concept of freedom, equality as well as rights stems right from the enlightenment together with privilege European and Western norms, instead of representing a universal ethical system (Boniface, 14). Postcolonial feminist writing tends to overlap a great deal with transnational feminism together with the third world feminism. Postcolonial feminism is somehow connected with post colonialism. However, there is an essential alliance among black feminists plus the postcolonial feminists because both of them have really struggled for identification by the Western feminists as well as men in their own individual ethnicity. As a result, feminist discourse actually shares a lot of similarities with post colonial theory and consequently both fields have always been thinking of being associative. They are both predominantly political and they are concerned with the struggle against injustice and oppression. However, both of them tend to refuse the established patriarchal, hierarchical system which is actually conquered by the hegemonic white men as well as passionately denying the hypothetical supremacy of mannish power together with the authority. The demoralized women are in this sense of the same kind with the colonized subject matter. Basically, exponents of post colonialism are very much reacting in opposition to colonialism in both the political and economical sense. The feminist theorists on the other hand are refusing colonialism of a sexual environment. In one way or the other, colonialism is the biggest iniquity for the reason that it mechanically entails the danger of misogynistic. Colonial oppression do affect the lives of women both socially and economically whereby it has forced postcolonial critics to take on a keener awareness of gender roles during the time when they are discussing imperialist exploits. In the same way, feminism has become very much aware of the post colonial counterparts in the latest period of time. The failure to acknowledge the historical specificity is actually damaging like any other assumptions which are based in chauvinism as well as ignorance. Feminists also tried to apply the intolerance of blanket terms towards post colonialism and they as well have subsequently been so much critical of post colonialists’ tendencies to construct one category of the colonized, hence ignoring the essential issues of gender differences (Reina, 29). There are quite a number of significant literary texts which are written both from post-colonial and feminist stand point. The texts usually share views about individuality and disparity of the subject and agreements on shared strategies of resistance against the external forces that are doctorial. Bill Ashcroft in his book, â€Å"Key Concepts in Post Colonial Studies† compares â€Å"writing place† in post-colonial theory to â€Å"writing the body† in feminism. This clearly indicates that colonized space in the discourse of feminist is the highly vulnerable body of the female. This therefore reflects the fertile and productive nature of the place and body that has got the power to yield crop and also to destroy it. They are both capable of ruthlessness when forced to it. Caryl Churchill’s controversial play â€Å"Cloud Nine† written in 1979 deals in a broader length with ‘double colonization’ towards women by their male counterparts and the colonial powers. Consequently, there is a critic of gender of familial and sexual duties in the ‘Victorian colonial society’. The play utilizes both cross-dressing and role-doubling in a comical way to fully explore the association between colonial and sexual oppression throughout history. The first act takes place in a British colony within Africa whereby Clive, one of the racist and sexist colonial administrator brings forth his stringent ideals both to his family and the natives of Africa. Being the superior white male, he identifies the roles that women and the natives must play. His doting and self effacing female counterpart is Betty. She says she is a man’s creation and what men want is what she wants to be. The boundaries of gender are fully closed as Betty is played by a man. This foregrounds her gender as a fiction that is constructed by a â€Å"male gaze†. The patriarchal society of Clive can not be able to envision the identity of women. Betty therefore, must just be played by a male actor and through Betty’s character; Churchill satirizes the traditional role of women who are subordinate in history. This forces us to recognize that the female identity is both a historical and a cultural construction. There are also some constructions of the pre-colonial that are strongly influenced by phallocentrice prejudice which defines a native woman as passive and subsidiary inferior. There are also more representations of female native figures in Western Art and Literature which perpetuate the myth of the female that is charged erotically. For instance, the primitive exotism danger of Ayesha in H. Rider Haggards novel â€Å"She† which is full of prejudice. And truly much of the 19th century, the black skin depicted sexual promiscuity and bad behavior It has been made clear that during the time the artists were attempting to make an ultimate change and the oppressive power connections encoded in the sense of nation, race and empire, together with those of class, gender and sexuality in tracing a path of feminist postcolonial concerns. The present feminist postcolonial theory goes on exerts a pressure on mainstream postcolonial theory on its constant iteration of the necessity to consider gender issues. Some time ago, feminist postcolonial theorists tent to criticize male theorists because of assuming the behavior of British men might take a stand for the behavior of imperial subjects in general or to symbolize the empire as a whole. The feminist postcolonial theories always engage the two fold project, to racialise mainstream feminist theory as well as to insert feminist concerns into conceptualizations of colonialism and post colonialism. Feminist postcolonial theory is concerned, among other things, to analyze the relationship among the western women and that is indigenous women (Tiffin, 9). Feminist is at present abandoned in a good number of feminist theories. The acknowledgment of subjectivity which tends to ground the feminist practice apparently doesn’t ground it for others. People don’t think the same way. However, ant-liberal feminist theory as well demonstrated and enacted its own failure to resolve the conflicts it debates so energetically. The conflicts are not going to be resolved by the theory. They cannot be resolved for the reason that women are human beings in spite of everything. Finally, that unbearable reality makes feminist theory important.

Portrayal of Two Mothers in Blood Brothers

Portrayal of Two Mothers in Blood Brothers Compare how Willy Russell portrays the two mothers in â€Å"Blood Brothers†. Blood Brothers is a popular play by Willy Russell. It was written and first performed in 1981. The play tells of twin brothers, separated at birth, with one kept in a low-class family and the other is adopted into a wealthy family. The characters of Mrs Johnston and Mrs Lyons, the mothers, are total opposites. Mrs Johnston is a struggling, single mother of seven, with another two on the way, whereas Mrs Lyons is a privileged, yet childless, married woman. When we are first introduced to Mrs Johnston, she is a single mother ever since her husband left her for a younger woman. She is a low–class Liverpudlian, who is extremely hardworking. Mrs Johnston is described as a woman in her thirties, but looks sixty, because of the stress of work and her children. Mrs Johnston stutters at times, when shes under pressure, like when Mrs Lyons is persuading her to give away one of the twins, â€Å"Erm, well I think its the†¦ but, Mrs Lyons, what†¦Ã¢â‚¬  Act 1 Scene 5. Mrs Johnston is shown as unsure and pressured into something she doesnt want to do. The reader may find it disturbing, since not many mothers give away their children to their employers. Mrs Johnston realises what Mrs Lyons is talking about, but is still confused over the whole situation. When she talks, ellipses are used to show that she pauses in her dialogue, because she is uncertain about the consequences to what she is about to do, â€Å"At er†¦Ã¢â‚¬  Act 1 Scene 5. She is hesitating because she is in doubt and hasnt really decided. Mrs Johnston is lost for words and cant think of anything to say. Mrs Johnston is a superstitious lady, even though she denies it. The reader can see this in a scene between her and Mrs Lyons, â€Å"Mrs Lyons: [Twigging, laughing] Oh, you mean its superstition. Youre superstitious are you? The Mother: No. But you never put new shoes on a table.† Act 1 Scene 3. When Mrs Lyons laid shoes on the table, Mrs Johnston panicked. Mrs Lyons uses Mrs Johnstons belief of superstition against her when trying to keep her ‘son, Edward, one of the twins. Mrs Lyons contrasts really strongly against Mrs Johnston. At first, Mrs Lyons is shown as a bright person in her thirties, unlike the stressed Mrs Johnston who is the same age. Mrs Lyons is an upper middle-class woman. She is also a very patronising woman, who is forceful and pressurising. Mrs Lyons uses negative views about extra children so that Mrs Johnston will have to give away one of the twins to her. She doesnt do this in an aggressive way, but in a dangerously sweet manner, â€Å"Mrs Lyons: Already youre being threatened by the Welfare. With two more how will you avoid some of them being put into care? Surely, surely, Mrs Johnston, its better to give one child to me than to have some of them taken into care! If hes with me youll still be able to see him each day as you come into work.† Act 1 Scene 5. She gives Mrs Johnston reasons to give up a child. Mrs Lyons is shown to be self-centred, â€Å"My husband is due back tomorrow! I must have my baby now.† Act 1 Scene 6. She doesnt care about Mrs Johnstons feelings, Mrs Lyons only wants the baby because if Mr Lyons returns and doesnt see it, he will know that his wife was lying. Mrs Lyons is willing to take a child away from its mother, so that she can save her own skin. Mrs Lyons is a very sly and devious woman, as she uses superstition against Mrs Johnston, so that she can keep one of the twins, after Mrs Johnston tries to take him back, â€Å"Mrs Lyons: †¦ You know what they say about twins secretly parted, dont you? The Mother: [Terrified] What, what? Mrs Lyons: They say†¦ they say that if either twin learns he was one of a pair they shall both die immediately! It means, Mrs Johnston, that these brothers shall grow up unaware of the others existence. They shall be raised apart, and never, never ever told what was once the truth. You wont tell anyone, Mrs Johnston, because if you do you shall kill them!† Act 1 Scene 8. Mrs Lyons is being dramatic, but she knows that Mrs Johnston is convinced, because she saw how Mrs Johnston overreacted when she put shoes on the table. Mrs Lyons is very manipulative, but she conceals it very well. This superstition ends up backfiring on Mrs Lyons because Mrs Johnston soon forgets about it, but it continues to haunt Mrs Lyons decades later. She becomes paranoid and obsessive, believing that Mrs Johnston is following her to tell Edward the truth. This shows the reader that the superstition affects her instead of Mrs Johnston, the person it was intended for. When she is trying to convince Mrs Johnston to give away a twin, all she mentions is the materialistic advantages of her lifestyle, â€Å"The Mother: †¦ Hed be able to play on those lawns wouldnt he? And have his own room and†¦ Mrs Lyons: If he grew up here†¦ as our son†¦ He could have everything.† Act 1 Scene 5. Although she agrees with everything Mrs Johnston says, Mrs Lyons never mentions if she would love the child as if it was hers. The reader could think that Mrs Lyons could give him everything apart from love. The stage directions are in the text because Blood Brothers is a play. They are there because the dialogue doesnt describe how the characters are reacting or what the scenery is like. The stage direction gives the reader an idea of what is happening, without giving too much away, â€Å"The Mother: [Terrified] What, what?† Act 1 Scene 8. If the stage directions werent given, the reader wouldnt know how Mrs Johnston said it. She could have been curious or confused about the situation. The stage directions help with the readers imagination and interpretation of Blood Brothers. The Narrator is also a very good dramatic device. He acts as a shadow of the other character. The Narrator is there as a reminder of Mrs Johnston and Mrs Lyons agreement. The other characters dont acknowledge him which shows he is of a ghostly nature. The Narrator raises suspicion and builds up tension between the characters. He has no emotion and talks of the Devil, â€Å"Theres no use clutching at your rosary The Devils in the backyard, he can see Through the gaps in the curtains he sees it all, Theres no use hiding in the hall. When he raps at the knocker then he knows youre in; No you wont, no youll never get away from him No you wont, no youll never get away from him.† Act 2 Scene 1. The Narrator is trying to tell Mrs Johnston and Mrs Lyons that their pact wont work, because the truth will be known. He uses repetition and rhyme, so that his lines are more catchy and memorable. The Narrator is a creepy and disturbing character because he knows the future and talks about the Devil, which makes him God-like and all seeing. He is a neutral character because he doesnt choose sides and we dont know anything about him, other than he knows the fate of each character. The Narrator also represents superstition because he is there throughout the play, reminding the reader of the lie Mrs Lyons told. The dialogue of the two families is very diverse. Mrs Johnston uses ‘common English and Mrs Lyons uses ‘standard English. Mrs Johnston uses ‘common English in her dialect and many slang terms throughout the play, â€Å"Oh its, its smashing thank you, Mrs Lyons.† Act 1 Scene 3. This shows that she wasnt brought up in a rich family or she wasnt properly educated. Mrs Lyons uses ‘standard English in her language, since she is quite wealthy and possibly well educated. Instead of calling her son Eddie, she calls him Edward, â€Å"Edward! Edward its time for bed.† Act 2 Scene 3. Childhood is very prominent in the play. The reader can see a difference in the twins upbringing. Eddie seems to have grown up very fast because at the age of seven, he is already very polite and well spoken. His parents have influenced him because he is like a miniature adult. The reader can see that Mrs Lyons was very overprotective when she brought Eddie up, because he is already familiar with things like dictionaries at such a young age, â€Å"Eddie: In the dictionary. Dont you know what a dictionary is?† Act 2 Scene 2. Eddie speaks like he has used a dictionary a lot, whereas Mickey doesnt know what one is, but agrees to make himself look smarter. In contrast, Mickey is more wild and untamed. He plays childhood games, like mounted Police and Indians, and runs around with a toy gun. Mrs Johnston probably let him do whatever he wanted, because she had his other siblings to look after as well. This is something that Eddie never did, â€Å"Were playing mounted Police, and Indians. Im a Mountie. Mam, Mam, you know this morning weve wiped out three thousand Indians.† Act 2 Scene 1. A gun is mentioned throughout the play. At first, a harmless air gun is used a toy. This symbolises the fate of the twins. The child versions think its just a toy used to vandalise, but as they grow up, real guns are used. At the end of the play, when Mickey feels that Eddie has taken everything away from him, he produces an authentic looking gun. Even then it isnt real. The child and the adult Mickey thinks of guns as a relic of power. When Mrs Lyons moves to the countryside, she orders that poplars be planted, so that the council estate cant be seen. The poplars are a barrier between Mrs Lyons and Mrs Johnston. Mrs Lyons wants sever all ties with the Johnston family, but they manage to move to the countryside as well. Superstition plays a big part in Blood Brothers. With the Narrator as a constant reminder, the reader sees that Mrs Lyons superstition affects every character in the play. Mrs Lyons is most affected. Simple things that a mother would tell a child would be nonsense to her, but knowing that Mrs Johnston is superstitious helped her get a child. At that point, superstition was an advantage to her. But when she faces the reality of what she has done, Mrs Lyons becomes deluded. The idea of motherhood and surrogacy is also present. Mrs Johnston and Mrs Lyons raise their sons very differently. Mrs Johnston lets Mickey be carefree and wild, but he isnt allowed to play near the ‘big houses in the park. Mrs Lyons raises Eddie the way she desires, but he finds his way back to his biological family. She becomes insane because of Eddies bonds with his real family. This reveals her real personality, compulsive and aggressive. Surrogacy is shown as a bad thing in Blood Brothers, because Mrs Johnston was reluctant to give away her child. Mrs Lyons manipulative personality is seen here, in her desperation to have a child, as she forces Mrs Johnston to give away her son. Blood brothers are also one of the themes mentioned. It started off as a childs alliance to his friend, but carries on until adulthood. The twins do forget about it at times in their life, but it keeps returning. The one who came up with the idea, Mickey, is the one who ends up dismissing it. He thinks nothing of it any more, â€Å"Eddie: [Pause] I thought†¦ I thought we always stuck together. I thought we were†¦ blood brothers. Mickey: That was kids stuff, Eddie, didnt anyone tell you? [Pause. Mickey looking at him. An ironic snort] But I suppose you still are a kid, arent you?† Act 4 Scene 2. Social class and division is also mentioned. Whilst Mickey and Eddie overcome that boundary, their mothers havent. Mrs Johnston is treated very badly because of her low-class status. When Mickey is in trouble with the police, the Policewoman is very patronising and shows Mrs Johnston no respect, â€Å"[to Mrs Johnston] And he was about to commit a serious crime, love, a serious crime. Now do you understand that? [The Mother nods] You dont want to end up in court again do you? Eh? [Shakes her head] Because thats whats going to happen if I have any more trouble from one of yours†¦ † Act 2 Scene 7. The Policewoman uses a threatening tone and rhetorical questions, such as ‘Eh? She also uses repetition because she thinks that Mrs Johnston is poorly educated and inferior to her. Since Eddie was also there at the time, the Policewoman paid a visit to his house too, â€Å"As I say, it was more if a prank really, Mrs Lyons. Id just dock his pocket money if I was you. But one thing I would say, and excuse me if Im interfering, but Id not let him mix with the likes of them in the future. Make sure he keeps with his own kind, Mrs Lyons, not running round with them at the other end†¦Ã¢â‚¬  Act 2 Scene 7. The Policewoman is more polite to Mrs Lyons. She refers to the incident as a crime to Mrs Johnston, but tells Mrs Lyons it was a prank. She doesnt use repetition with Mrs Lyons. She is inside Mrs Lyons house because Mrs Lyons is a respected woman and if the neighbours saw, people would talk. The Policewoman is very two-faced, treating one mother better because of her status. The town, where the characters live, is separated. The reader can see a definite social division. There is the wealthy ‘in the big houses near the park and the workers in the council estate.

Who Cares about Student Apathy? :: Personal Narrative Essays

Who Cares about Student Apathy? Over the last several months I have been emerged in the issue of voter apathy. This year only 8.3% of students voted in our Student Government elections. This became an important issue to me since I first came to high school. I watched many of my friends show no interest in what was going on around high school. They did not know any of the candidates and they did not seem to care what happened to the organization that carried the most weight in conveying student interests to the administration. From this discourse, I set out this semester with goals in mind. 1) Increase voter turnout in the SGA election 2) Make voting available on-line 3) Increase student interest in SGA Needless to say I failed at all 3 goals. Our voter turnout went down from the previous year, and I was told voting on-line had already been discussed and the administration had decided that it was not practical. It is hard to measure whether I increased interest in student government, however, based on the previous two, I believe interest has not increased. While at this point in my endeavors I became frustrated. That did not stop me. I started simply talking to people I know about voting. I asked them why they thought students had apathy and what they thought might change that. These discussions changed my outlook completely. I was no longer concerned with just getting everyone to the polls because I realized that it took more than that to get people involved. In order for students to vote, they must strongly believe that what is happening affects them personally and that by voting they are not only taking a stand about something, but also they believe their stand will make a difference. Students who are not voting for these reasons probably should not be voting. This was a turning point in my process, and from here I took two new steps. 1) I developed a survey on voting 2) I created an information sheet to publicize the SGA election The SGA election is not highly publized, and I felt it might be beneficial to post sheets telling students how and where to vote. I particularly liked the "one vote" statistics on the information sheet distributed to students. Who Cares about Student Apathy? :: Personal Narrative Essays Who Cares about Student Apathy? Over the last several months I have been emerged in the issue of voter apathy. This year only 8.3% of students voted in our Student Government elections. This became an important issue to me since I first came to high school. I watched many of my friends show no interest in what was going on around high school. They did not know any of the candidates and they did not seem to care what happened to the organization that carried the most weight in conveying student interests to the administration. From this discourse, I set out this semester with goals in mind. 1) Increase voter turnout in the SGA election 2) Make voting available on-line 3) Increase student interest in SGA Needless to say I failed at all 3 goals. Our voter turnout went down from the previous year, and I was told voting on-line had already been discussed and the administration had decided that it was not practical. It is hard to measure whether I increased interest in student government, however, based on the previous two, I believe interest has not increased. While at this point in my endeavors I became frustrated. That did not stop me. I started simply talking to people I know about voting. I asked them why they thought students had apathy and what they thought might change that. These discussions changed my outlook completely. I was no longer concerned with just getting everyone to the polls because I realized that it took more than that to get people involved. In order for students to vote, they must strongly believe that what is happening affects them personally and that by voting they are not only taking a stand about something, but also they believe their stand will make a difference. Students who are not voting for these reasons probably should not be voting. This was a turning point in my process, and from here I took two new steps. 1) I developed a survey on voting 2) I created an information sheet to publicize the SGA election The SGA election is not highly publized, and I felt it might be beneficial to post sheets telling students how and where to vote. I particularly liked the "one vote" statistics on the information sheet distributed to students.

Minimalism Essay example -- Essays Papers

Minimalism In order to understand minimal artists’ tendency to produce objects and not images, we need to define minimalism. Michael Delahunt at Artlex (1) refers to minimalism as â€Å"A twentieth century style of art stressing the idea of reducing a work of art to the minimum number of colors, values, shapes, lines and textures†. But I think this definition does not completely reflect what minimal artists did. They did not get interested in ‘complex’ things as colors, values, lines etc. They preferred objects to images or I would rather say ‘brushstrokes’. Because that they believed that â€Å"less is more†, even brushstrokes were too much for them. Minimalists were against self expression. They wanted to use the meaning a ready made object already has in it. This was totally suitable for their purpose of using minimum effort and material for an artwork. Preparing an image would consume too much of the artists’ time and effort. And what’s more, it would have self expression in it. They also believed that art could be concieved by mind before execution. That is, one must be able to explain an artwork to another who hasn’t seen it. For example Mohology-Nagy gave instructions by phone to a factory for one of his works(2). This can be thought as a instruction manual for an artwork (I think we can call minimalism as D.I.Y. art!). But you can’t do this kind of art with a painting. Can you think of it? â€Å"put some yellow there, mix red with brown and put it on the tree with ...

John Miltons Paradise Lost Essay: Allegory of Sin and Death :: Milton Paradise Lost Essays

Allegory of Sin and Death in Paradise Lost  Ã‚     Ã‚  Ã‚   That Milton's Paradise Lost is unsurpassed--and hardly equaled--in English literature is generally accepted by critics and scholars. Whether it may have serious flaws, however, and what they may be, is less certain, for it is here that opinion varies. Of particular interest to some is the allegory of Sin and Death (II. 648-883). Robert C. Fox wonders that it has not been the subject of much more critical discussion, asking "Is it that Milton's readers are puzzled by this episode and, unable to explain its significance, prefer to pass it over in silence? Or do they regard it as so obvious in meaning that no interpretive remarks are necessary?" ("The Allegory" 354). Whatever the answer to Fox's query, his point is well taken; in a survey of the bibliography of the Modern Language Association from 1950-1980, fewer than twenty references specifically devoted to this allegory can be located, and many of these, rather than pursuing the question of its appropriateness and/or it s importance within the total work, simply investigate its tradition and sources.    Merritt Y. Hughes, in referring to those scholars who have commented on the allegory, writes that "for two centuries critics agreed that the step into pure allegory in Sin and Death was a blemish on the poem and an external incrustation. Recently they have been wondering whether it is not a part of the structural irony of the whole design" (177). It is this latter view on which this paper focuses; the allegory is indeed an integral part of the whole of Paradise Lost, not an error of judgment on Milton's part, as some critics believe. It is defensible on two levels, both in terms of structure and in terms of content.    Since it is the presence of allegorical figures--abstractions--in the epic to which some critics object, it is necessary here to discuss both allegory and epic form. Allegory, according to William Flint Thrall and Addison Hibbard, is defined as "an extended metaphor in which objects and persons in a narrative . . . are equated with meanings that lie outside [it]," uses characters that "are usually personifications of abstract qualities, the action and the setting representative of the relationships among these abstractions. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear" (7-8).

Life of Rizal Essay

One of the most favourite novels of Rizal was the Count of Monte Cristo which was authored by Alexander Dumas. This novel—which portrays the story of Edmond Dantes– instilled his romantic cravings. Accordingly, the life of Edmond Dantes was a story of hope, vengeance, forgiveness, and mercy. This novel was an excellent example of pure wisdom and love. The theme of its story struck Rizal’s genius mind and unique character. The novel became a favourite reading material of the hero during his teenage years. On the other hand, I can say that this story of Edmond Dantes was truly one of a kind during the times of Alexander Dumas. The story would show us the evil side of human person– selfishness and pride. In fact, the events in the story still exist during these times. One good example is the corruption and injustices happening in our country. To name a few: the case of Ampatuan Massacre which until now is still not resolved and the families of the unfortunate victims still not able to taste justice of the crime; and the unending corruption in the Philippines. Furthermore, we can also relate the theme of the story to each of us. The novel was an epic adventure of a human being’s nature and emotions. I can say that it is natural for us to feel angry to those who had wronged us. When we hold grudge to someone, we are compelled to take revenge in order to satisfy our feelings of anger. In fact, this kind of emotional adventure has already happened to me once then and I learned so much out from that experience. Surely, it had also happened to someone else on this planet and many lives are torn apart just because of the selfishness and pride of some people. However, when we surrender everything we feel to God and feeling all those emotions of anger without trying to change anything that has happened to us– we will soon be enlightened and forgiveness will step our way. When everything is already enough and we feel that many people have been affected just because of that feeling of anger and revenge, we start to forgive those who had wronged us. Accordingly, this is one of the best feelings we experience as humans because in forgiveness you see peace and love. When you forgive a person, it means that you are letting go of that grudge and finds your way to peace and happiness. Indeed, the Lord Jesus taught us to forgive those who had wronged us. Even He Himself died in the cross in order for us to be redeemed from our sins and to experience new life. That’s how huge God’s love for us. Thus, it is fine when we have to undergo feelings of anger towards a  person. It is good to feel it rather than rejecting it because when we start running from the truth that we are angry at the person– and all we just feel is revenge– we start to hurt ourselves and others. Our health will be destroyed so much that our relationships will be in much chaos. Perhaps, this novel nurtured the spirit of Rizal to fight Spanish tyranny. He was consciously aware of the atrocities and maltreatment that some Spanish officials and friars did to his fellowmen. Corruption and injustice were everywhere but most of the Filipinos were not aware of it. The powerful Spanish Friars just used the Catholic Religion in order to cover their corrupt actions. But Rizal knew that there was something wrong and he must act to fight it.

Torispherical Head Tank Volume

Calculating tank Volume frugality time, increa guiltg accuracy By Dan J integritys, Ph. D. , P. E. C alculating politic raft in a plane or up poleed cylindric or elliptical cooler sens be complicated, depending on changeful acme and the shape of the gallerys (ends) of a even armoured combat vehicle or the cig atomic number 18tte of a straight armoured combat vehicle. Exact equations now are operational for several commonly encountered cooler shapes. These equations gouge be used to make fast and accurate fluent-volume calculations. in all equations are rigorous, precisely computational difficulties entrust arise in certain limiting configurations.All volume equations hold melted volumes in cubic units from storage cooler proportions in reproducible linear units. All variables formation armoured combat vehicle shapes required for tank volume calculations are be in the Variables and Definitions sidebar. Graphically, Figs. 1 and 2 immortalise plane t ank variables and Figs. 3 and 4 show straight tank variables. Exact bland volumes in elliptical level or straight tanks can be institute by first calculating the fluid volumes of appropriate rounded horizontal or good tanks u the pitsg the equations described preceding(prenominal), and becausece by adjusting those results using appropriate field formulas.horizontal rounded Tanks mobile volume as a function of fluid big top can be deliberate for a horizontal rounded tank with each c unmatchedlike, roundedal, rainbow fish, worldwide, or tori worldwide motions where the fluid bill, h, is measuring stickd from the tank arse to the fluid surface, see Figs. 1 and 2. A guppy head is a conical head where the apex of the conical head is level with the top of the rounded plane particle of the tank as shown in Fig. 1. A torispherical head is an ASME-type head delineate by a knuckle- roentgen contestation, k, and a dish- wheel spoke parameter, f, as shown in Fig. 2.An ellipsoidal head moldiness be exactly half of an ellipsoid of revolution only a hemiellipsoid is legitimate no segment of an ellipsoid get out work as is true in the case of a spherical head where the head may be a spherical segment. For a spherical head, a ? R, where R is the spoke of the cylindrical tank body. Where recessed conical, ellipsoidal, guppy, spherical, or torispherical heads are considered, whence a ? L/2. Both heads of a horizontal cylindrical tank essential be identical for the equations to work i. e. , if one head is conical, the otherwise must be conical with the same dimensions.However, the equations can be combined to deal with fluid volume calculations of horizontal tanks with heads of different shapes. For instance, if a horizontal cylindrical tank has a conical head on one end and an ellipsoidal head on the other end, calculate fluid volumes of two tanks, one with conical heads and the other with ellipsoidal heads, and ordinary the results to get the desired fluid volume. The heads of a horizontal tank may be flat (a = 0), protuberant (a 0), or cotyloid (a 0). The chase variables must be inside the ranges stated a ? R for spherical heads a ? L/2 for concave ends 0 ? ? 2R for all tanks f 0. 5 for torispherical heads 0 ? k ? 0. 5 for torispherical heads D0 L? 0 foliate 1 of 12 Variables and Definitions (See Figs. 1-5) a is the distance a horizontal tanks heads extend beyond (a 0) or into (a 0) its cylindrical section or the depth the tooshie extends below the cylindrical section of a perpendicular tank. For a horizontal tank with flat heads or a vertical tank with a flat bottom a = 0. Af is the cross-section(a) bowl of the fluid in a horizontal tanks cylindrical section. D is the diam of the cylindrical section of a horizontal or vertical tank.DH, DW are the height and width, respectively, of the ellipse specify the cross section of the body of a horizontal elliptical tank. DA, DB are the major and min or axes, respectively, of the ellipse defining the cross section of the body of a vertical elliptical tank. f is the dish-radius parameter for tanks with torispherical heads or bottoms fD is the dish radius. h is the height of fluid in a tank measured from the lowest part of the tank to the fluid surface. k is the knuckle-radius parameter for tanks with torispherical heads or bottoms kD is the knuckle radius.L is the length of the cylindrical section of a horizontal tank. R is the radius of the cylindrical section of a horizontal or vertical tank. r is the radius of a spherical head for a horizontal tank or a spherical bottom of a vertical tank. Vf is the fluid volume, of fluid depth h, in a horizontal or vertical cylindrical tank. Page 2 of 12 Horizontal Tank Equations Here are the specific equations for fluid volumes in horizontal cylindrical tanks with conical, ellipsoidal, guppy, spherical, and torispherical heads (use radian angular measure for all trigonometric functions, an d D/2 = R 0 for all equations) conic heads.Vf = A f L + K . 0 ? h R 2 aR2 ? ? / 2 h = R 3 ? ? K . R h ? 2 R 1 ? 2 M 1 ? M2 M M= R? h R K ? romaine lettuce ? 1 M + M 3 romaine lettuceineh ? 1 Ellipsoidal heads. Vf = A f L + ? a h 2 1 ? Guppy heads. h 3R Vf = A f L + 2aR2 2a h cos ? 1 1 ? + 2 Rh ? h 2 (2 h ? 3 R )(h + R ) 3 R 9R Spherical heads. 3R 2 + a 2 6 ? a 3R 2 + a 2 3 h ? a h2 1 ? 3R Vf = A f L + a a ?a ( ( ) ) . . . . . . . . .. h = R, . . . . . . . . . h = D, a ? R a ? R . . . . . . . .. h = 0 or a = 0, R, ? R 2 2r3 R2 ? r w R2 + r w z R cos ? 1 2+ + cos ? 1 ? 3 R (w ? r ) R(w + r ) r r ? 2 w r2 ? R cos ? 1 w R a ? 0. 01D y 4w y z w3 tan ? 1 + 3 z 3 . . h ? R, D a ? 0, R, ? R a R2 ? x 2 2 r 2 ? x 2 tan ? 1 dx ? A f z a r 2 ? R2 w a2 + R2 2a ( ) . . h ? R, D a ? 0, R, ? R a 0. 01D r= a? 0 a = r ? r 2 ? R2 + ( ? ) for convex (concave ) heads w ? R? h y ? 2 R h ? h2 z ? r 2 ? R2 Page 3 of 12 Torispherical heads.In the Vf equation, use +(-) for convex(concave) heads. V f = A f L 2 2 v 1,max ? v 1 (h = D ? h) + v 2,max + v 3,max . . . h 2 ? h ? D 2 ( v 1,max + v 2 + v 3 ) . . . . . . 2 v1 . . . . . . . . . 0 ? h ? h1 h1 h h 2 2kDh? h2 v1 ? 0 kD cos ? n 2 sin ? 1 n 2 cos ? 1 n2 ? w 2 ? w n 2 ? w 2 dx n g w ? w n 2 ? w 2 + g n 2 ? g 2 dx ? cos ? 1 n n 2 v2 ? 0 g g2 + r w z r3 g2 ? r w 2+ cos ? 1 + cos ? 1 ? r g(w + r ) r 3 g (w ? ) v3 ? g cos ? 1 g2 ? w 2 w3 w tan ? 1 ? w r2 ? 3 z g . . . . .. 0. 5 f ? 10 + w z g2 ? w 2 6 g2 ? x 2 z + wz 2 2 g (h ? h1 ) ? (h ? h1 ) 2 (r 2 ? x 2 tan ? 1 ) dx ? w z 2 w 2 g cos ? 1 ? w 2g(h ? h1 ) ? (h ? h1 ) 2 g 0. 5 f 10,000 v 2,max ? v 2 (h = h 2 ) v 3,max ? v 3 (h = h 2 ) = v 1,max ? v 1 (h = h1 ) ? a1 6 ( 3g 2 2 + a1 ) a 1 ? r ( 1 ? cos ? ) r ? fD h 2 ? D ? h1 w ? R? h z ? r 2 ? g 2 = f D cos ? = r cos ? ? ? sin ? 1 1? 2k = cos ? 1 2 (f ? k ) 4 f 2 ? 8 f k + 4k ? 1 2 (f ? k ) h1 ? k D (1 ? sin ? ) n ? R ? k D + k 2D 2 ? 2 g ? f D sin ? = r sin ? In the above equations, Vf is the total volume of fluid in the tank in cubic units consistent with the linear units of tank dimension parameters, and Af is the cross-sectional area of fluid in the cylindrical body of the tank in self-colored units consistent with the linear units used for R and h. The equation for Af is given by A f = R 2 cos ? 1 R? h ? (R ? h) 2 R h ? h 2 R Page 4 of 12 Figure 1. Parameters for Horizontal rounded Tanks with conical, Ellipsoidal, Guppy, or Spherical Heads. Spherical head Cylindrical Tube Hemiellipsoid head r(sphere) DGuppy head cone-shaped head a (cone guppy) a(sphere) R h a(ellipsoid) L Af Fluid cross-sectional area CROSS SECTION OF CYLINDRICAL pipage h 1. 2. 3. 4. 5. 6. 7. Both heads of a tank must be identical. Above plot is for definition of parameters only. Cylindrical tube of diameter D (D 0), radius R (R 0), and length L (L ? 0). For spherical head of radius r, r ? R and a ? R. For convex head other than spherical, 0 a ? , for concave head a 0. L ? 0 for a ? 0, L ? 2a for a 0. Ellipsoidal he ad must be exactly half of an ellipsoid of revolution. 0 ? h ? D.Page 5 of 12 Figure 2. Parameters for Horizontal Cylindrical Tanks with Torispherical Heads. kD h2 R D ? fD h h1 Horizontal Cylindrical Tank Examples L The pursuit examples can be used to let out application of the equations Find the volumes of fluid, in gallons, in horizontal cylindrical tanks 108 in diameter with cylinder lengths of 156, with conical, ellipsoidal, guppy, spherical, and standard ASME torispherical (f = 1, k = 0. 06) heads, each head extending beyond the ends of the cylinder 42 (except torispherical), for fluid depths in the tanks of 36 (example 1) and 84 (example 2).Calculate five times for each fluid depth for a conical, ellipsoidal, guppy, spherical, and torispherical head. For example 1 the parameters are D = 108, L = 156, a = 42, h = 36, f = 1, and k = 0. 06. The fluid volumes are 2,041. 19 gal for conical heads, 2,380. 96 gal for ellipsoidal heads, 1,931. 72 congius for guppy heads, 2,303. 96 Gal for spherical heads, and 2,028. 63 Gal for torispherical heads. For example 2 the parameters are D = 108, L = 156, a = 42, h = 84, f = 1, and k = 0. 06. The fluid volumes are 6,180. 54 Gal for conical heads, 7,103. 45 Gal for ellipsoidal heads, 5,954. 1 Gal for guppy heads, 6,935. 16 Gal for spherical heads, and 5,939. 90 Gal for torispherical heads. For torispherical heads, a is not required infix it can be calculated from f, k, and D. torispherical-head examples, the calculated value is a = 18. 288. Page 6 of 12 For these Vertical Cylindrical Tanks Fluid volume in a vertical cylindrical tank with either a conical, ellipsoidal, spherical, or torispherical bottom can be calculated, where the fluid height, h, is measured from the center of the bottom of the tank to the surface of the fluid in the tank.See Figs. 3 and 4 for tank configurations and dimension parameters, which are also defined in the Variables and Definitions sidebar. A torispherical bottom is an ASME-type bottom defined by a knuckle-radius factor and a dish-radius factor as shown graphically in Fig. 4. The knuckle radius will then be kD and the dish radius will be fD. An ellipsoidal bottom must be exactly half of an ellipsoid of revolution. For a spherical bottom, a ? R, where a is the depth of the spherical bottom and R is the radius of the cylindrical section of the tank.The following parameter ranges must be spy a ? 0 for all vertical tanks, a ? R for a spherical bottom f 0. 5 for a torispherical bottom 0 ? k ? 0. 5 for a torispherical bottom D0 Vertical Tank Equations Here are the specific equations for fluid volumes in vertical cylindrical tanks with conical, ellipsoidal, spherical, and torispherical bottoms (use radian angular measure for all trigonometric functions, and D 0 for all equations) Conical bottom. ? Dh Vf = 4 4 a 2 h 3 2a 3 . . . . . . . h