Charles Dickens Great Expectations Essay Example for Free

Charles Dickens Great Expectations Essay The themes that are introduced and emphasised in Chapter 8 of Charles Dickens Great Expectations are a near complete summary of the themes of the novel as a whole and of the conditions in which the English people had to live with in the 1800s. This chapter epitomises the circumstances in which English people lived and the situations that they faced, and it looks at many different perspectives and takes into account many different factors. The Industrial Revolution was a period in time when everything in England changed rapidly, and Dickens made sure that he captured Englands huge transition in every light he could. Dickens himself lived in poverty for a number of years, and his main motive for writing books (such as Oliver Twist and Nicholas Nickleby) was his desire to see change. These books are based around injustice and the divide between wealth and poverty. Chapter 8 of Great Expectations clearly defines the issues that Dickens sought to deal with through writing. The very first thing that happens in Chapter 8 Pips uncomfortable breakfast with Mr Pumblechook. Pip states in his narrative that on politely bidding him Good morning, Pumblechook immediately asked him a mathematics question. The breakfast then proceeds to continues in this manner (before I had swallowed a morsel, he began a running sum that lasted throughout breakfast. ) This is a prime example of control. This is one of the themes that come to the fore as the novel progresses. Pip finds that he very rarely has a choice in matters, he is either forced to do something or it would be very foolish or insulting to decline making certain choices. His life his almost completely influenced by others, and he often has no control over it at all. In Chapter 8, he is controlled by Pumblechook (as afore mentioned), Estella (You are to wait here, boy. ) and Miss Havisham (Play! ). In particular, Miss Havisham manipulates the lives of Estella and Pip to suit her own twisted, selfish needs to the point where she is remorseful of her actions. Dickens stresses the point that, in this era, the wealthy people dictate the actions of the poorer people. The fact that Pip is sitting back and enjoying the ride, so to speak, is a result of the people around him ordering and demanding things of him. Pip rarely has a choice to make, and is manipulated and used by many people, some with good intentions (Magwitch), some with evil intentions (Miss Havisham and Compeyson). Control and the gulf between inferiority and superiority are perpetual forces in the novel.

Contrasting Friendship Essay -- essays papers

Contrasting Friendship â€Å"The two ladies, who had been intimate since childhood, reflected how little they knew each other†. This is how, author, Edith Wharton shows the relationship of two characters, Mrs. Ansley and Mrs. Slade, in the short story â€Å"Roman Fever.† These two women who are supposed to be friends, led envious lives of each other, and because of the way they lived they were very contrasting and conflicting characters. In the end, I believe Mrs. Slade was guiltier for her actions and in fact the whole incident would have never happened if it weren’t for her. Before there widowhood these two ladies led very envious and superficial lives. In describing her friend Mrs. Slade says, â€Å"Mrs. Horace Ansley, twenty-five years ago, had been exquisitely lovely†¦though, of course, still charming, distinguished†¦far more beautiful than her daughter. Horace Ansley was just the duplicate of his wife. Museum specimens of old New York. Good-looking, irreproachable, exemplary†. In return, when Mrs. Ansley was asked about or spoke about Mrs. Slade she would reply, â€Å"Alida Slade’s awfully brilliant; but not as brilliant as she thinks. Mrs. Slade had been an extremely dashing girl; much more so than her daughter who was pretty, of course, and clever in a way, but had none of her mother’s—well vividness†. These two ladies had a friendship based upon nothing but there own jealous and arrogant behavior; as if the only reason they spoke was in spite of one another. As Wharton describes them, â€Å" these tw o ladies visualized each other, each through the wrong end of her little telescope† (258). Wharton realized that these fragments composed the only true communication about their friendship and therefore told the real story of Mrs. Slade and ... ...hat Mrs. Ansley finally decided to shut Mrs. Slade up of her arrogant, superficial talk and she nonchalantly turned to Mrs. Slade and said, â€Å"I had Barbara†. In the end, I believe, it was Mrs. Ansley who had the ultimate revenge. While Mrs. Slade had planned to get rid of Mrs. Ansley that night, Mrs. Ansley not only answered the letter, and had a night of passion with Mrs. Slade’s husband, but she also had his child. Each time Mrs. Slade tried to make Mrs. Ansley feel like she meant nothing, Mrs. Ansley came back with a harsher reality for Mrs. Slade. Throughout the whole story, I believe Mrs. Slade is ultimately at greater fault because she was the one who brought up the letter and she wouldn’t let it go. She felt she had to top Mrs. Ansley each time. Though both women were at fault, in a way, Mrs. Slade had no one to blame for the consequences but herself.

Racism in Disney Movies

Anastasia Trus WRTG 3020 Professor Pat Sullivan 30 March 2010 Racism in Disney During the last several decades, the media has become a strong agent in directing and controlling social beliefs and behaviors. Children, by nature, can be particularly susceptible to the influencing powers of the media, opening an avenue where media created especially for children can indoctrinate entire generations. Disney movies, like all other media â€Å"are powerful vehicles for certain notions about our culture,† such as racism. Giroux 32). Racist scenes in Disney movies are often identified as simply being â€Å"symbols of the time† when the films were produced. Furthermore, Disney racism is often passed over as simple humor, or as a simple guide to children's understanding of cultures. These explanations of racism in the films are incomplete because they fail to take into account the fact that the primary audience members of Disney films are not old enough to see the movies as relics of a different time and place. This is not to say that Disney films indoctrinate children with racist tendencies; nevertheless, racist scenes in still-popular films cast a blanket of insensitivity over the subject of racism. Disney’s reputation of being racially insensitive has never been more evident than in the time leading up to the release of its latest movie Princess and the Frog. Nearly everything about this film has caused a storm of criticism both from the public and from people within the film industry itself. It is curious that people are so enraged and concerned with this movie, when they ignore potentially more offensive racist elements in other films. If one analyzes society’s response to Princess and the Frog as a single phenomenon, then it does seem a bit odd that a children’s film could start such a heated social debate; however, after taking into account Disney’s history with racism and racial insensitivity, it is not surprising at all that the first black Disney princess would be such a controversial figure. Bombarded with accusations of anti-Semitism and racism, in the 1940’s Walt Disney was an avid supporter of the Motion Picture Alliance for the Preservation of American Ideals, a â€Å"red-scare† anti-Semitic industry group that wanted to blacklist artists (Alan 12). Perhaps this is one of the reasons Disney’s past is filled with questionable cinematic material. Fantasia was released in 1940, the third theatrical full-length animation, as shown in Disney's canon of animated films. The original version of Disney's classic â€Å"Fantasia† (1940) features a character called Sunflower, a little black centaur handmaiden. Sunflower is an extremely insulting caricature, and a bluntly racist stereotype of the â€Å"servile grinning nigger† variety (Walker 22). In a featured scene during â€Å"The Pastoral Symphony† elegant white centaurs frolick through the woods and are waited on by Sunflower. She is noticeably smaller than the other centaurs—ostensibly because she is half-donkey instead of half-horse, but more likely to exaggerate her inferiority—and has a darker complexion. Her sole function in the film is to eagerly polish and shine the hooves of the tall, sexy Aryan centaur women who glare down their petite noses at this pathetic servant. Such scenes were later censored in the film due to the characters being considered â€Å"ethnically offensive during the civil rights movement† (Walker 26).? In addition to reinforcing the stereotype of blacks as inferior beings, the scene from the â€Å"Pastoral Symphony† also furthers racism by supporting segregation. Throughout the film the female Aryan centaurs pair up with the males of their â€Å"race,† leaving Sunflower alone and separated from the group. Rather than correcting the racism within the scene, Disney later chose to eliminate it from the film – as if it never happened. When the racial climate of America changed in the 60s, the portrayal of such insulting stereotypes in movies and television became politically incorrect, and Disney (fearing accusations of racism) deleted Sunflower from Fantasia for the theatrical re-release of the film. Her troubling presence was simply cropped out of the movie even though you can still see the Aryans she used to pamper. Eliminating Sunflower from the movie may have been intended as harmless and as an attempt to be politically correct; however, it is cinematic decisions such as this that contributed to Disney’s reputation of being insensitive to issues of race. It was insulting enough for Disney to include the smiling servant stereotype to begin with, but to make matters worse, they started denying Sunflower's existence with the Fantasia re-release in 1960. How does that possibly make things better? A few angered African American communities said, â€Å"No, you misunderstand. In our perfect, Fantasia world, Africans aren't servants. They don't fucking exist† (Weinman 64). A contemporary film critic said, â€Å"What's fun though is that Disney says they never had such a character! We're all delusional† (Brunette 123). Maybe it was â€Å"acceptable† in the past to portray characters that had such blatant racist features; nevertheless, it is strange to deny its existence to audiences who had already seen the original version. This is how we deal with our ugly past: we deny it, trivialize it, gloss over it with pretty distractions and wishful thinking. Doing so, we deny ourselves a glimpse of the compelling reality of naked history. The well-meaning rush to unmake evil deeds by hiding them from the critical eye of modern sensibilities does nothing to honor the people who lived and struggled in those different times (Walker 28). Sunflower’s existence may be news to younger generations of Disney fans, but she has been here all along, and her presence as well as her absence carry great significance, especially in the context of how viewers and critics respond to other potentially racist films. Dumbo, the fourth film in the Disney industry, was made in 1941 and produced by Walt Disney himself. It was originally designed as an economical feature to help generate income after the financial failure of Fantasia. The concerns people had against Disney being anti-Semitic and racist were sill strong, especially after Disney projected his own sense of alienation onto â€Å"others† in Hollywood, namely, Jews, blacks, and union workers. In retaliation against the studio entrepreneurs, who were predominantly Jewish, Disney refused to employ Jews in high-level positions at his studio or as actors in his live-action features. Not until 1969, two years after Disney's death, did a Jewish actor, Buddy Hackett, feature prominently in a Disney film, The Love Bug. Disney Studios also denied black workers even minimal opportunities, as technicians and support personnel. Because Walt Disney was an infamous racist, even for his time, it is not surprising that a film he produced himself would be racist as well. Dumbo is full of racist images and themes. Dumbo’s birth itself speaks to the foundations of racism when the other female elephants single Dumbo out because he looks different with his unusual ears. Considering the fact that â€Å"big-eared elephants are African,† it is especially racist that Dumbo, who is seen as different and even freakish would be associated with Africa (Lugo-Lugo 167). Because Dumbo is different from everyone else, he is ridiculed for it. Just because his ears are bigger than those of a normal elephant, he is ostracized from the rest of the group. He only has one friend (Timothy Mouse), who ironically is also socially shunned because elephants are generally supposed to be scared of mice. This could be seen as another form of racism where someone is ostracized because they are different. Furthermore, in the movie, when it is time to set up the circus in town, it is significant to take note of who performs the hard labor necessary to make the circus function. Not only are the circus animals themselves condemned to build their own chamber of humiliation, but there are also faceless black men working hard at this labor. The faces on these men are featureless, with no eyes, no mouths, and no noses – showing that they possess no individual identities, like a group of invisible men. This is characteristic of the time period because the 1940s were right before the Civil Rights Movement, and although slavery had been abolished, blacks were still segregated and considered as lesser people. The song they sing while working is very appalling: We work all day, we work all night We never learned to read or writeWe're happy-hearted roustabouts When other folks have gone to bed We slave until we're almost dead We're happy-hearted roustabouts We don't know when we get our payAnd when we do, we throw our pay away We get our pay when children say With happy hearts, It's circus day today. The lyrics of this song portray slaves working day and night doing backbreaking labor. However, it says nothing about the system doing something wrong because the slaves seem happy to do the work. The song even mentions that slaves are also satisfied with working for no pay. The lyrics suggest that money was not something they worry about. The lyrics are insulting to the workers, stating that they do not know when they will get paid, but it does not matter because once they do get paid they will just throw their money away. Furthermore, the lyrics construct and laud the image of the passive and content slave whose true payment and fulfillment is watching the joy of (white) children on circus day. Lyrics such as â€Å"we slave until we're almost dead† but, â€Å"we're happy-hearted† are utterly absurd and disgraceful. Slavery was a morally wrong institution and the fact that Disney condoned its practices in Dumbo is horrifying. Another overtly racist element in Dumbo is the characterization and function of the crows. Richard Schickel says, â€Å"There was one distasteful moment in the film. The crows who teach Dumbo to fly are too obviously Negro caricatures† (Shickel 113). Leonardo Maltint, after quoting Schickel, says that critics may be overreacting to the crows: â€Å"There has been considerable controversy over the Black Crow sequence in recent years, most of it unjustified. The crows are undeniably black, but they are black characters, not black stereotypes† (Maltin 56). Even though Maltint makes a valid point, he does not address the fact that the crows in the film are very specifically depicted as poor and uneducated. They also use slang words such as calling each other â€Å"brotha† and speak in southern accents with incorrect grammar. Any one of these characteristics could be ignored as having racial implications; however, by combining them into one character, it is very reasonable, indeed, almost necessary to interpret the crow as a black stereotype. The other big argument for the Black Crow sequence being interpreted as racist is that the leader of the group of crows, towards the end of the movie, is named Jim. Therefore, Jim the Crow can very well be construed as being a reference to the Jim Crow Laws, which were prevalent in the southern United States from 1876-1965 and promoted racism and racial segregation. The crows' racial identities as black are further implied when they perform their song in a jazz style complete with scat stylization. The song â€Å"When I  See an Elephant Fly† is part of the music style generally popular at the time in black communities. As the crows begin humiliating poor Dumbo, Timothy Mouse steps up to defend him with the following comments: â€Å"Suppose you was torn away from your mother when you was just a baby. Nobody to tuck you in at nights. No warm, soft, caressing trunk to snuzzle into. How would you like to be left out alone†¦ in a cold, cruel, heartless world? † What an ironic comment to make to a set of characters who represent African-Americans, who, at the time, would only have been a few generations removed from the time when black slaves were routinely torn away from their families. The mouse continues: â€Å"And why? I ask ya, why? Just because he's got those big ears, they call him a freak. † Finally, Timothy says, â€Å"And on top of that, they made him a clown! Interestingly, Timothy’s reference to the clown points to the time when the white power structure practiced minstrelsy by making clowns of the socially despised blacks. It is important to recognize that Dumbo is racist not because of any single scene or image, but because of the message produced when all the racist scenes and images are combined. Dumbo is a freak with big â€Å"African† ears who must be segregated from the others. Furthermore, the only role he can have in the circus is that of the clown. The crows also point to black stereotypes through color, dialogue, and even name. Finally, the blatant reference to slavery through the figures of the circus workers contributes to an overall feeling of racism in the film. In many ways, analyzing whether one scene is racist is not nearly as important as understanding that racist undertones are present and noticeable in Dumbo whether we as a society want them be or not. It is important to note that not all racism in Disney films is directed at African Americans. One of the most well recognized racist symbols perpetuated by Disney is the portrayal of the Siamese cats in Lady and the Tramp (1955). Like stereotypical Asians, they are buck-toothed and have slanted eyes, and speak in ridiculously exaggerated accents that bear little, if any, resemblance to actual Thai speech patterns. Their features, along with the banging of a gong at the beginning of their song, could not make the Asian-specific racism any more obvious, â€Å"We are Siamese, if you please. We are Siamese if you don't please! We are former residents of Siam. There are no finer cats than we am. † Goldmark comments: One can hear the confidence and superiority in their voices. Those two cats don't care about anyone but themselves, lacking any kind of empathy. They are sociopaths, prepared to ruin Lady's life because it is fun and it serves them. They are portrayed as cunning and manipulative, giving the widespread idea that all Asians act superior, are cunning and manipulative. (Goldmark 115) In the film, the Siamese cats function not only as a racial stereotype but also as a stereotype of the upper classes in Oriental countries: â€Å"The cats prance around arrogantly in a Hollywood-invented style that is supposed to represent what the audience should assume are mannerisms of aristocratic Siamese or Chinese† (Romalov 46). The ambiguity in the exact ethnicity of the cats is significant because it demonstrates how Disney films tend to combine different ethnicities under the umbrella of one: â€Å"(Disney’s films, like many Hollywood films, often tended to lump ethnic groups together into a kind of undifferentiated mass-Asians, Chinese, Japanese, Siamese, for example Arab and East Indians as another example. ) The cats even roundly sing of their supposed heritage† (Romalov 46). This practice of ethnic â€Å"lumping† is even more obscene in Aladdin where Arabic and Indian cultures are intertwined and assumed to be one and the same. Like Lady and the Tramp, Aladdin attempted to include other races in the film that had not been included in other Disney movies of the past; unfortunately, we see many of the same racist undertones in Aladdin that are present in the film’s predecessors. Perhaps the most controversial and racist part in Aladdin (1992) is a set of lines in the opening song, â€Å"Arabian Nights. † It is one of the most contentious messages found in the film and begins the movie’s â€Å"depiction of Arab culture with a decidedly racist tone† (Giroux 104). An Arab merchant sings the lyrics: â€Å"Oh I come from a land/From a faraway place/Where the caravan camels roam. Where they cut off your ears/If they don’t like your face. /It’s barbaric, but hey, its home. † The message that is given right at the beginning of the film is that the Middle East is a desolate wasteland where the justice system runs on a simple limb-removal policy. The opening song alone s ets a tone that alienates the Arabic community from Western culture: â€Å"One would have to be very naive to believe that Hollywood would dare to use such a song if it did not see Arabs as belonging to an `other' or `alien' culture. Successive themes drive home the view that these creatures are suspicious, lazy, unethical, and violent outsiders. They' most definitely are not like ‘us’†(Shaheen 50). The lyrics to the opening song in Aladdin caused an uproar in Arab countries and the words were later changed to: â€Å"Where it’s flat and immense/ And the heat is intense. † Not only are the lyrics violent, but they are truly an example of the worst kind of racism. Disney distribution president Dick Cook was quoted as saying the change was made after meetings with members of the American-Arab Anti-Discrimination League but that â€Å"it was something we did because we wanted to do it [†¦] In no way would we ever do anything [†¦] insensitive to anyone,† he said (Shaheem 52). Yousef Salem, a former spokesperson for the South Bay Islamic Association, characterizes the film in the following way: â€Å"All of the bad guys have beards and large, bulbous noses, sinister eyes and heavy accents, and they're wielding swords constantly. Aladdin doesn't have a big nose, he has a small nose. He doesn't have a beard or turban. He doesn't have an accent† (Shaheen 56). This portrayal of Arab characters gives people a negative perception of Arabs. Furthermore, the Arab characters are mean whereas those who speak clear English and appear to be Americanized are â€Å"socially accepted†, or the â€Å"heroes† of society. In the first few scenes of the movie we see an Arab merchant, with a thick accent, wearing a turban and who is trying to sell stereotypical middle-eastern products (a vase which contains â€Å"a combination of hookah and coffee maker,† which can also produce â€Å"a million fries†). In addition, the movie shows Jasmine almost loosing her hand for giving a poor little boy an apple from the market stand. That is not accurate for most Middle Easterners who strive to help the poor and the homeless – they would not attempt to cut someone’s hand off for giving an apple to a poor child. These instances show the racist way in which people from the East are portrayed as barbaric. The film could also be considered racist in that it portrays Arab culture as deeply oppressive of women and brutally violent. Princess Jasmine is trapped mercilessly inside her palace home, and the palace guards threaten to cut off her hand at one point in the film. She is also constantly controlled by the men who surround her. Finally, she is the only other woman we see in the film besides the belly dancers in the opening scenes. What does that say in regard to the significance of women in Disney? Of course, Disney does not intend to offend anyone – that would be bad business. Most people who watch the movies are probably caught up in the Disney magic and do not notice these things. Problematically, one way in which Disney creates the magic is by using stereotypes that people respond to without thinking. Aladdin looks â€Å"right† for a hero; Jafar looks â€Å"right† for a villain; Jasmine looks â€Å"right† for a trapped princess. We as consumers do not think about it, but the practices and images we internalize as being â€Å"right† are very dangerous for society. For example, it is especially concerning that the upper class in the film, the royal family, appears white. The Sultan, Jasmine, and Aladdin are all fair-skinned and do not speak with accents, suggesting that they are more â€Å"white† than the other characters in the film. This image perpetuates the white power structure in America, and most viewers are only aware of this on a subconscious level (Shaheem 54). This subconscious awareness of practices such as racism in the media is especially hazardous for our society because if an individual is not perceptive of when she internalizes social evils, than she cannot be perceptive of when she perpetuates them. Even still, the fact remains that regardless of whether we think about it, recognize or denounce it, racism and stereotyping takes place in many Disney films, including the classic 1994 film The Lion King. The first and perhaps most noticeable example of racism in The Lion King mirrors a stereotyping practice seen in Aladdin. Like Jaffar in Aladdin, Scar is arguably one of the darkest colored characters in The Lion King. While the other heroic lions are lighter skinned, Scar is the only one with dark fur and a jet-black mane, reinforcing the stereotype where the darker and more ethnic character is the villain (Twomey 1). Another obvious example of racism in Aladdin, is seen with the hyenas, who are portrayed as stupid and violent, and are comprised of a lower-class animal group that feeds upon the scraps and leftovers of the more dominant, strong, intelligent creatures. This dichotomy is then reinforced by the use of stereotypes, classifying these stupid, low-class hyenas through the use of African-American (Whoopi Goldberg as â€Å"Shenzi†) and Latino (Cheech Marin as â€Å"Banzai†) stereotypes. It has even been said that â€Å"despicable hyena storm troopers speak†¦ in racially coded accents that take on the nuances of the discourse of a decidedly urban, black, and Latino youth† (Byrne 62). The speech patterns and accents of the hyenas present quite a stark contrast compared to the American and British accents of the rest of the cast. The hyenas also serve as an interesting opposition to the thoughtful, strong, and intelligent characters of the rest of the film, who represent the upper class, indeed, mostly â€Å"white† culture. That is not to say all African-Americans are poorly depicted. James Earl Jones voices the role of the powerful and wise â€Å"Mufasa†, and Robert Guillaume voices â€Å"Rafiki,† the wise shaman. Yet even with two of the strongest main characters being voiced by African-Americans, it is hard not to notice the stereotyping Disney seems to be making about Black, Latino, and lower-class culture. It is significant to recognize that The Lion King does not stop with racial stereotypes, but also cruelly targets other underrepresented groups including women and homosexuals. According to the Associated Press, Carolyn Newberger of Harvard University complained in the Boston Globe that â€Å"the good-for-nothing hyenas are urban blacks; the arch-villain's gestures are effeminate, and he speaks in supposed gay cliches† (Twomey 33). The film also furthers gender stereotypes by displaying women as subservient and dependent upon the strength of males. The strong-spirited Nala can be viewed as a counter to this, but just as with the racial stereotyping, one strong female character does not undo the overall statement being made about the weakness of women. It is the combination of Disney’s insensitive treatment of stereotypes targeting not only non-whites, but also women, and other minorities in films such as Aladdin and The Lion King that can help explain the 21st century’s response to The Princess and the Frog. Both before and after The Princess and the Frog was released, many of the film’s critics were very vocal about racism in the movie. Nearly everyone who has an opinion about the film has something different to say – in sum, nearly everything about the film is racist and offensive to someone and needs to be changed. As a starting point in analyzing the public’s critical response to Princess and the Frog, it is important to address all the criticism surrounding the black princess’s name. Many argue that the princess’s original name, Maddy, is to close to he slave term â€Å"mammy†: â€Å"A voice actor’s tongue wouldn’t have to slip very much to say â€Å"mammy† while ordering Maddy to do a chore, and in such a context, the name â€Å"Maddy† seemed both deliberately inappropriately evocative and easy for the audience to mishear† (Kareem 1). Furthermore, others argue that Maddy’s position as chambermaid fo r a spoiled, white girl is demeaning. Just as Disney changed the name of its protagonist to â€Å"Tiana,† they have also changed her from being a maid to being a prospective owner of a restaurant. True it is traditional for fairy tale protagonists to begin their stories with having a low social status, but a black heroine who is a domestic could be legitimately read not as a fairy tale trope but as a reinforcement of real world racial denigration (Kareem 1). Some may claim that it would be historically accurate for a 1920’s black woman to be a maid, but Disney does not even necessarily care about historical accuracy when animating actual history. Another point of heated debate in the film centers on the fact that the black princess ends up with an arguably whiter prince, Naveen (or at least a prince who looks white and is voiced by a Brazilian actor who also looks white). Whatever Naveen's ethnicity is, in her article â€Å"The Word on the â€Å"Princess and the Frog,† Disney’s First Film With a Black Heroine,† Nandra Careem quotes Shannon Prince who raises some interesting points about the problems behind Disney’s choice not to make him African American: Some might argue that portraying interracial marriage in film is good – but why then weren't any of the white princesses given non-white princes to save them from white villains? And since Disney doesn't give white princesses non-white princes, isn't this interracial relationship at the expense of black boys who deserve a hero just as much as black girls deserve a heroine? (Kareem, 1) Prince is not the only critic to take issue with the difference in skin color between the prince and princess. Cultural critic Hensley Jameson comments, â€Å"The prince is lighter than she is. What’s that say about black men? Sure, Boris Kodjoe is fine, and we come in all shades, but to be truly black, a character can’t be any lighter than Denzel Washington (Kareem 1). Originally the prince was explicitly reported as being the jazz-loving monarch of a European country. By giving the prince an olive, but still white, complexion and a Brazilian accent, Disney gets to go forward with their original white hero yet make him ambiguous enough to not be unequivocally criticized as white at the same time. Tiana isn't the problem,† says Angela Bonner Helm at Black Voices: â€Å"Was there any particular reason why her love interest, Prince Naveen of Maldonia, couldn't be black, too? Though America has a â€Å"real-life black man in the highest office of the land with a black wife, Disney obviously doesn't think a black man is worth the title of prince† (Kareem 1). The plot of The Princess and the Frog also follows Disney’s pattern of making their ev il characters more â€Å"ethnic† and darker than their good characters. The central villain in the film is the voodoo master, who is also African American. Elaborating on the presence of voodoo in the film, Careem comments that Disney grossly misrepresented the purpose and reality of voodoo: â€Å"The foundation of voodoo is not charms but monotheistic faith, belief in saints and spirits, and a focus on moral values such as charity and respect for the elderly. People do perform rites for protection and defense, but suffice it to say that voodoo is not about being a magician or a fairy godmother† (Mathews 1). The fact that Disney uses uninformed voodoo stereotypes rather than accurate facts in the film furthers the racist undertones in the film. The final major point of criticism in the film is concerned with the fact that the first black Disney princess spends most of the time in the movie as a frog: â€Å"Why does the black princess have to be a frog the whole time? Are they saying black people should be green instead of black? † wonders Shirley Wilson, a waitress at Rob’s diner who plans to boycott the movie: â€Å"when I watched the film I felt disappointed to learn that the heroine spends a significant chunk of the movie not as a black princess at all but as a frog. After decades of waiting, would it be too much to actually see an hour and a half of a black princess on the screen? † (Matthews 1). Wilson’s response to The Princess and the Frog is especially significant because it demonstrates how many people, even on a non-academic level have serious concerns about issues of race in the film. When addressing the critical response to The Princess and the Frog, it is difficult to ignore the fact that even though it has been over half of a century since the first Disney films were released, racism is still a point of criticism, both in the older films and in the ones being produced today. Furthermore, despite the fact that The Princess and the Frog features the first black Disney Princess, critics are even more upset about racism in the film than they ever were before – even in the case of more overtly racist films. Many of the points raised about racism and racial stereotypes in the film are valid and interesting; nevertheless, one cannot help but notice that they overshadow many of the advances Disney has made in eliminating other equally offensive stereotypes in their films. For example, whereas other Disney films typically lack the mother figure completely and perhaps only reference the mother when explaining the past, The Princess and the Frog includes a mother who is present for the entire film. It may not be obvious to most viewers of The Princess and the Frog, but Disney takes a huge and important step in introducing a mother figure to their film – their past practice of eliminating the mother figure is arguably sexist and offensive to the female identity. Another important change Disney makes in Princess and the Frog centers on the fact that unlike other Disney princesses who dream about meeting a prince, Tiana has realistic dreams and expectations – she wants to be a restaurant owner and works very diligently to achieve her goal. Despite this significant statement about female power, however, most film critics will probably instead choose to focus on the fact that Tiana, as an African American, is limited to owning a restaurant rather than a Fortune 500 company. Works Cited: Alan, Spector J. Cultural Diversity and the US Media. Albany: State Univ. of New York, 1998. Print. Brunette, Libby. Stereotypes and Racism in Children's movies. London: Harper Collins Publishers, 2002 Byrne, Eleanor, and Martin McQuillan. Deconstructing Disney. London: Pluto, 1999. Print. Giroux, Henry A. â€Å"Are Disney Movies Good for Your Kids? † Rethinking Childhood 10. 2 (2000): 32-115. Print. Goldmark, Daniel. â€Å"Locating America: Revisiting Disney’s Lady and the Tramp. † Social Identities 14 (2008): 101-120. Print. Kareem, Nadra. â€Å"Nadra's Race Relations Blog. Rev. of Race Relations. Web Log post. About. com. 23 Nov. 2009. Web. 10 Mar. 2010. . Look Out New World, Here We Come? Race, Racialization, and Sexuality in Four Children's Animated Films by Disney, Pixar, and DreamWorks. † Print. Lugo-Lugo, Carmen, and Mary Bloodsworth-Lugo. â€Å"Look Out New World, Here We Come? Race, Racialization, and Sexuality in Four Children's Animated Films by Disney, Pixar, and DreamWorks. † Cultural Studies Critical Methodologies 9. 2 (2009): 166-78. Academic Search Premier. Web. 13 Mar. 2010. Maltin, Leonard. The Disney Films. New York: Disney Editions, 2000. Print. Matthews, Bill. â€Å"Disney's Black Princess Is the Most Racist Thing Ever. † The Peoples News. ThePeoplesNews, 2 June 2009. Web. 20 Mar. 2010. . Robin, Allan. â€Å"European Influences on Early Disney Feature Films. † A Reader in Animation Studies 25. 3 (1997): 42-46. Print. Romalov, Nancy. â€Å"Lady and the Tramps: The Cultural Work of Gypsies in Nancy Drew and Her Foremothers. † The Lion and the Unicorn 18. 1 (1994). Http://muse. jhu. edu/journals. 1 June 1994. Web. 11 Mar. 2010. Schickel, Richard. The Disney Version; the Life, Times, Art, and Commerce of Walt Disney. New York: Simon and Schuster, 1968. Print. Shaheen, Jack. â€Å"Aladdin Animated Racism. † Cineaste 20. 1 (1994): 49-52. Print. Twomey, Steve. â€Å"†The Lion King† a Roaring Success Despite Lambasting. † Washington Post 28 July 1994, 46th ed. , sec. B: 4-7. Print. Walker, Janet. â€Å"Disney's Policy? No Black People, Please. † Academic Search Premier. 23 July 1994. Web. 12 Mar. 2010. Weinman, Jamie. â€Å"Zip-a-dee-dee-doo-don't Mention It. † Maclean's 120. 18 (2007): 63-64. Print.

Surrendering to the Menacing Darkness of Silence,...

â€Å"A woman’s garb covers me from tip to toe. Inside, made of stone, a hardened heart alone Can stone ever be molten by tear’s ebb and flow?† -Binodini Dasi. Violence against women is a worldwide phenomenon which spans all social classes and age groups. Violence in both its subtle and blatant from is so deeply embedded in cultures around the world that it is almost rendered invisible. To quote Charlotte Bunch – â€Å"Opening the door on the subject of violence against the world’s females is like standing†¦show more content†¦Leela and Bhaskar, an urban middle-class couple have been hearing the terrifying screams of sexual assault on a woman for several weeks in their neighborhood. Leela discloses her fears and persists on Bhaskar to call the police, to which he acts unresponsively calling Leela â€Å"oversensitive† about the issue a nd he also points at the difficulty of persuading the police about the credibility of the crime. At one instance it is revealed that though Bhaskar has apparently no desire to do anything for the crime being committed freely before their eyes day after day, nevertheless he does watch it, as Leela’s dialogue makes it evident, â€Å"We don’t even really watch, do we? I don’t. But†¦you do. You watch it!† (Padmanabhan, 6) And Bhaskar admits to this. Bhaskar’s friend Mohan comes to their house to see the â€Å"crime being committed†. The perpetrators of such inhuman violence have commanded the inhabitants of the locality to put their lights out at night, thus succeeding in throwing darkness

Essay on Comparing The Cats Table and Death of a Salesman

Both literary works, The Cats Table and Death of a Salesman demonstrate that everything is not always as it seems. Society tends to take things out of context, thus changing the outlook society has. Not everything is always as it seems. This idea is presented through the use of setting, point of view and symbols. There is always more to things than what meets the eye and everything is not always as it seems. Setting plays a large role in initiating the story and setting the feeling, the entire story revolves around setting. Where the story is told from can change the story entirely, someone may over exaggerate, or even under exaggerate what occurs throughout the story. Symbols really help the audience to better understand†¦show more content†¦Ã¢â‚¬Å"What is interesting and important happens mostly in secret, in places where there is no power† (Ondaatje 45). There is a table called the head table, and the people sitting at it are thought to be much more important than t he people sitting at the cats table. But the people who are seated at â€Å"the cats table† are the ones who are adventurous and interesting, vs. â€Å"the head table† who are snobby and stuck up, not having much fun. From which way a story is told can change the story drastically, some may over-exaggerate and some may under exaggerate. In Death of a Salesman the story is not told from a narrative point of view, there is no narrator whatsoever. But if a narrative role did occur from Willy Loman the story would have changed completely. Instead of Willy appearing to be a tragic hero, he would be taken as a narcissistic fool. â€Å"I’ll see him in the morning; I’ll have a nice talk with him. I’ll get him a job selling. He could be big in no time. My God! Remember how they used to follow him around in high school? When he smiled at one of them their faces lit up. 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Finance for Life - 712 Words

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Analysis of the Business of Rock Scissors Salon †Free Samples

Question: Discuss about the Analysis of the Business of Rock Scissors Salon. Answer: Introduction The following assignment is based on Rock Paper Scissors Salon which is one of the largest salons of Australia. The salon is based in New South Wales of Australia and expertise itself in the following business. The salon was doing well until last few years but a sudden change in the market and emergence of other similar salons has made life a bit difficult for Rock Paper Scissors to efficiently manage the business. Recently the management of the store has hired a management consultant to make the business more attractive and sustainable in nature. Management Concepts and Principles Strategic Planning Themarketing strategy is not a complex one, and satisfied clients are believed to be the bestmarketing tool. The time when a client leaves the business he has generated a completely different idea about the business. It is his task to helps spread the name and the quality of the business to the people. The clients thus will generally come from old and trusted clients of the salon. The salon does not depend on extensive advertising to attract the customers rather it believes in brand promotion through loyalty (Chai, 2014). The research undertaken by the salon has revealed that referrals have been the stand out performer for attracting customers to the salon. The service providers will also seek for such refers from the clients themselves. They will announce exclusive discounts and other attractive benefits on proper referral of new customers in their salon. Plans can be put into action like conducting a lucky draw among the customers who refer clients. The winner of the lucky draw tak es home flight tickets to some exotic foreign destinations. Recommendations Before the integration of the strategic plans of Rock Paper Scissor the management of the salon must make it sure to; Have a transparent picture of the current scenario of the market Have a updated information on the number of different competitors Set the right goals of the company Increase the Corporate Social Responsibility of the organization and the ethics of the organization Set the strategic plans in such a way that it does not have any adverse effect on the environment Vision and Mission Statement At Rock Paper Scissor the management of the salon aims to provide the best in line experience to the customers of the salon by a number of different ways namely; Motivating the employees to achieve the goals of the organization Improving the communication between the customers and the employees Innovation of the salon through the creation of new products and services Helping the company reach new heights by increasing the organizational performance of the organization Targeting for the ultimate glory On the other hand mission statement of the salon is to push for the ultimate growth and go above all the industry expectations to provide a high quality and professional service to every person inside or outside the community. This helps the community to feel good about themselves both inside and outside the community. Therefore the main aim of the organization is to provide the people with a completely different experience (Konishi, 2017). Recommendations Some of the key recommendations that will come in handy for the mentioned salon are; They have to identify their actual aim and what does they hope to achieve The salon must ensure to provide quality services to the customers The organization must look into the management and organizational factors of the organization The key stakeholders of the organization are the customers, employees and the community affiliations. Goals, Strategy and Objectives The objectives of the mentioned business unit is to provide the best possible services to the people visiting the store in New South Wales and satisfy them by such exclusive service. Apart from this secondary objectives include building a loyal customer base and work for making the salon into one of the best in the business in the island nation (Chai, 2014). On the other hand goals of Rock Paper Scissors are; Attracting more and more customers each week To recruit a number of professional hair stylists who can also provide world class training to the inexperienced trainees Creating a brand name of its own by inviting celebrities once in a month After setting out the goals and objectives it is the primary task of the organization to fix the strategies of the business. The strategies of the business includes the setting up of the website, getting an idea of the target group of customers that are needed to be fixed by the salon, ensuring the types of products and services that are to be provided by the company and many more required elements as such. Recommendations The management of the organization, before setting up the goals, strategy and the objectives of the salon must ensure to; Create a niche market of the salon Performing a detailed market analysis Determining the different threats and opportunities of the organization Have a proper planning to implement the strategy for the business Leadership As a salon owner, one may be a multitasking master, perfect business strategy, mentoring, marketing, and customer relations roles. But that versatile skill is worthless if the person overlooks the crucial aspects that inspire and satisfy employees and clients. For salon management success it is important to prioritize the following factors influencing the shops overall personality and attitude (Grinsven, Heusinkveld Benders, 2016). Recruiting a manager allowed one salon owner to switch his focus towards the staffs (Chai, 2014), which improved the business. The previous responsibilities of the person included front desk, stylist, and administrative duties. Thanks to the redirected motivational efforts, the shops culture is flourishing. Employee benefitslike paid vacation, health insurance, and many more as such can attract top talent. Interviewees shadow personnel before coming on board. They start with clear benchmarked growth paths. An extensive three-month training program helps n ewbie stylists sharpen their technical and retail expertise. Anyone receives one extra paid vacation day annually for reaching $100,000 service and $25,000 product sales. If the business fails to excel at all essentialleadership duties, the management has to supplement the team with strong employees who shine in your weakest areas. That might involve hiring disciplined financial, detail-oriented, and taskmaster experts. Everything will run better when the management focus on the passions and leave the shortcomings to crew members that are more qualified. Similarly, a convenient application will help the flow of the operations smoothly. Rock Paper Scissors provides all the vital tools to direct the business more efficiently. Popular features expedite payroll with commissions and bonuses, staff scheduling, back bar product usage, and inventory. By reducing busy work, thissalon management softwarefrees up time to pursue the strengths of the business, interacting with patrons, and boosting the prosperity. The leadership frameworks that can be helpful for Rock Scissors is, "transformational leadership which is one of the most effective styles to use. Transformational leaders haveintegrityand highlevel of emotional intelligence (Grinsven, Heusinkveld Benders, 2016).The leaders have the quality to motivate the people with a shared vision for the future and an effective communication. The leaders are also well aware, humble and polite. They are famous among the workers as because they held themselves responsible for the failure of the team and inspires the team on a timely basis to get the best out of each of the team members. This leads to high levels of productivity and engagement. The leader in the business can inspire others to work hard for the salon and bring accolades. However, the term leadership is not a "one size fits all" thing; often, the business must adapt their own process to adapt to the situation. This is why it's useful to develop a thorough understanding of other leadership frameworks and styles; after all, the more approaches the business is familiar with, the more efficient you can be. Recommendations The researcher has provided some recommendations which if implemented can serve as one of the best in terms of quality and improve the leadership skills of the person; Taking Concise and popular decisions Can provide a vision for success to the employees of the organization Can establish a sound mode of communication with different known and unknown individuals Making decisions based on real time information Motivation Motivation is one of the main elements that drives the growth of the salon. Motivation among the employees is one of the main factors that helps the salon to establish a brand name in New South Wales as well as in Australia (Cooper, 2016). Good relationships, advancement opportunities, company reputation are important motivational factors that influence the performance of an organization. The management of the mentioned salon must make sure that they implement all these elements to make the organization a successful one. The organization can take the help of Maslows Hierarchical model which is one of the best in the business. Such a framework if properly implemented can lead to success for the organization. Recommendations As mentioned earlier the organization must follow the Maslows Hierarchical model to ensure the success of the business. The focus should be on building a proper work culture and ensuring job satisfaction among the employees. For this to be achieved the organization has to make sure that they have to retain their employees, treat fairly with them and ensure a better workplace environment for them. Performance Management According to the management consultant the management of the organization must make sure to perform in a proper way to woo customers. Performance appraisal should be provided to the employees to enhance their performance by distributing rewards and rewards. Recommendations Performance can be increased by; Performance planning can be done to set the goals of the organization Assessment must be done to analyze the performance of the employees over a stipulated time period A weekly target can be fixed to increase the performance of the workers Ethical Practice According to the management consultant the ethical code must be transparent, to the point and should have the important features that support the operations of the management of the salon that describes itself to be reliable and honest. The following code also include a statement that the management and the owners cannot and shall not have the rights to discriminate or abuse any employees or the customers of the salon on grounds of caste, sex, age race , language and many more such controversial topics. Ethical code can also include the use of products that are safe to use and follow safe procedures. The payment charges can also be included in the following as these are the charges that help the customers to select the type of service they are in need of. The licensing and the registration number of the salon must be kept intact or displayed in the store to prove that the store is a genuine and government approved one (Cooper, 2016). Use of statements such as "employees will respect their co-workers' property," and "employees will treat all clients with dignity and respect." Including the prohibition against the wrongful acquisition of clients and use of foul language by them is a serious offence. The management of the company can also encourage the other employees of the organization to showcase high degree of professionalism when they engage with clients. The primary duty of the workers is to make sure that the clients are happy and ready to do business again and again with the company (Leonard Trusty, 2015).The salon must also ensure the privacy of the customer in the salon. Protecting the privacy of the customers is thus one of the important task for the workers of the salon. The salon must also maintain the time schedule and maintain their commitments. It is beyond the control of a person on how other salons in the area conduct business, it is upon the employees of the salon to conduct themselves professionally and efficiently to provide a stiff competition to the customers (Konishi, 2017). This particular section of the ethical code includes the commitment to not publish negative information about the different competitors of the business; and must promise to abstain from deliberate attempts to woo their customers. The salon must also adhere to all the policies and rules of the industry. Recommendations The researcher has provided some recommendations for Rock Paper Scissor to help it term as one of the most ethical stores of Australia. Some of them are, The workers and the management of the salon must be honest enough so that the customers can rely on them. Honesty helps the organization to earn the trust of the customers The organization must be efficient enough which is one of the primary condition for the growth of the salon. A positive attitude must be maintained by the workers which will make every customers happy. Respecting the customers, establishing a trust and establishing a personal behavior rather than a professional behavior helps to earn more and more accolades for the organization. Innovation Innovation forms one of the key elements of any form of business especially Salon. Rock Paper Scissor has been one of the stand away examples of innovation in such a regard (Yeh, 2017). Innovation refers to the creation of new and latest products and services that are in line with the latest trends. Rock Paper Scissor has created a number of different product and services to cater to their vast range of customers (Cooper, 2016). The salon follows the linear innovation model that is based on technological push to create a technologically high range of products and services that are meant for the organization. The linear innovation model has helped the organization to attain a set of goals of the organization. The salon has invented a number of such products to meet the demands of the customers (Konishi, 2017). Recommendations The salon must adhere to some policies while innovating the products and services of the organization. Some of them are; Innovation must be carried out in such a way that it meets the needs of the customers The products and services must meet all the necessary specifications of the market Innovation must be aimed at implementing changes by integrating human change strategies The business must encourage a creative collaborative environment with the staff and the customers Conclusion The researcher has been able to meet the necessary aims and objectives of the research. The research has considered all the necessary requirements that are ideal for the research. The discussion about the different elements will be helpful for the readers as well as the future researchers to make out a clear idea on the management concepts of the mentioned salon in Australia. An analysis of the research will provide a proper insight into the theories of management. References Chai, A. (2014).Shears Inc Salon Management System(Doctoral dissertation, Universiti Tun Hussein Onn Malaysia). Cooper, R. (2016). 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