Comparative Analysis Of Brave New World And Lord Of The...

Brave New World and Lord of the Flies: Comparative Analysis on Archetypes Sometimes, societies cannot avoid sacrifice in order to thrive. Unfortunately, the purest individuals often make the sacrifices, not the deserving. Jesus Christ, a common archetype among literary characters, sacrificed himself for His community and people around Him. William Golding and Aldous Huxley’s contemporary dystopian novels reflect a similar theme through their use of archetypes. For instance, both Brave New World and Lord of the Flies reflect through the use of archetypes, how the most innocent members of society often undergo sacrifices in order to please those around them. However, their sacrifices can later lead to chaos in the community. The innocent people of society, instead of the deserving, often sacrifice and hurt themselves. Simon, the only one to help the littluns flourish, â€Å"found for them the fruit they could not reach† and â€Å"satisfied them† (Golding 56). To protect and care for the little children in a society, where everyone else fends for themselves, proves an individual pure and thoughtful to those around him. Golding relates Simon to Christ by showing that the selfless individuals often become the ones to end up as a sacrifice. Selfless, innocent people, though willing to provide for the needy, often become the sacrifice of their society, instead of those who may seem deserving of a punishment. To express another meaning of innocence, Lenina highlights John’s virginity, as theyShow MoreRelatedMarketing Mistakes and Successes175322 Words   |  702 PagesDESIGN DIRECTOR SENIOR DESIGNER SENIOR MEDIA EDITOR George Hoffman Lise Johnson Carissa Doshi Dorothy Sinclair Matt Winslow Amy Scholz Carly DeCandia Alana Filipovich Jeof Vita Arthur Medina Allison Morris This book was set in 10/12 New Caledonia by Aptara ®, Inc. and printed and bound by Courier/Westford. The cover was printed by Courier/Westford. This book is printed on acid-free paper. Copyright  © 2009, 2006, 2004, 2001, 1998, 1995, 1992, 1989, 1986, 1981, 1976 John Wiley SonsRead MoreProject Managment Case Studies214937 Words   |  860 Pagesof Business Administration Baldwin-Wallace College Berea, Ohio John Wiley Sons, Inc. This book is printed on acid-free paper. @ Copyright O 2006 by John Wiley Sons, Inc. All rights reserved. Published by John Wiley Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permittedRead MoreIgbo Dictionary129408 Words   |  518 Pageslanguage. Secondly, since the preparation of the ms. there have been two major published dictionaries of Igbo, by Echeruo (1998) and Igwe (1999) as well as innumerable publications marking advances in the understanding of the grammar of Igbo, which any new publication must take into account. In addition, the English itself has an archaic feel to it and I have sometimes updated rather antiquated expressions. For the present I have left in example sentences referring to long-disappeared stores, such asRead MoreStephen P. Robbi ns Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesOrganizational Behavior This page intentionally left blank Organizational Behavior EDITION 15 Stephen P. Robbins —San Diego State University Timothy A. Judge —University of Notre Dame i3iEi35Bj! Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Editorial Director: Sally Yagan Director of Editorial Services:Read MoreDeveloping Management Skills404131 Words   |  1617 Pagesorder to succeed. Visit www.mymanagementlab.com to learn more. DEVELOPING MANAGEMENT SKILLS EIGHTH EDITION David A. Whetten BRIGHAM YOUNG UNIVERSITY Kim S. Cameron UNIVERSITY OF MICHIGAN Prentice Hall Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Editorial Director: Sally Yagan Editor in Chief: Eric Svendsen

The Sin Of Ham Recorded Essay - 955 Words

The sin of Ham recorded in Genesis 9:20-24 has different views including voyeurism, castration, and paternal incest. Scholars Bergsma and Hahn have come up with the maternal-incest view from their study of specific words related to the account. The first part of this paper will focus on Bergsma and Hahn’s word study to indicate that their maternal-incest view is a viable option. The second part of the paper will focus on the word â€Å"bara† (to create) in the Hebrew Bible. This word will be examined to articulate the different usages and meanings of the word. Therefore, this paper will focus on the importance of word study to show that words are of critical importance in understanding the meaning of the Hebrew Bible in specific contexts. Genesis 9:20-24 Ham’s Sin There are different views concerning Ham’s sin recorded in Genesis 9:20-24. The traditional views include voyeurism, castration, and paternal incest. Bergsma and Hahn have introduced another view known as the maternal-incest view. Bergsma and Hahn have made a persuasive argument that states Ham’s sin was not incest with his father, but that he had sexual incestual relations with his mother. This conclusion has been made from the idiomatic meaning of the phrase ב×  × ªÃ—•× ¨Ã— ¢ ×”× Ã— ¨ â€Å"to see the father’s nakedness† (v. 22). The paternal incest view equates Leviticus 20:17, â€Å"to uncover nakedness† as a euphemism for sexual intercourse. The conclusion is then drawn that Ham’s sin of seeing his father’s nakedness must mean he hadShow MoreRelatedThe Doctrine Of The Old Testament2605 Words   |  11 PagesShem! May God enlarge Japheth s territory and numbers! May he live in the t ents of Shem and may Canaan be his slave! o This scripture deals with the sin of Noah’s son Ham and for this sin Ham’s descendants, through his son Canaan, would be owned as slaves by the descendants of Noah’s other two sons. 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Act 3 Scene 4 of Twelfth Night Essay Example For Students

Act 3 Scene 4 of Twelfth Night Essay Shakespeare creates comedy for the audience in a variety of ways during Act 3 Scene 4 of Twelfth Night, some techniques more subtle than others. These comic devices generate humour throughout the play through, in the eyes of the Elizabethans, outrageous puns based on the high or low status of the characters, play on words, dramatic irony and many other means. Shakespeare uses such comic devices in many of his famous Comedies, such as A Midsummers Nights Dream, Measure for Measure and As You Like It. Shakespearean comedies often include a mix of tragedy and humour, although this tragic side could be seen as a modern interpretation of Elizabethan humour, or perhaps just an attempt on Shakespeares part to experiment and blend together two contrasting genres of play. Either way, the mix of humour and tragedy is one of the factors that singles out Shakespeares work as original and timeless. All Shakespearean comedies have five acts, of which the climax is the third act. This is certainly true for Twelfth Night, because this is the act in which the main plot, the sub-plot, and all of the confusion, comes to a head. Shakespearean heroes are often only introduced in the very early stages of the play through the conversation of other characters. Their personalities are nearly always strong and full of virtue, but they are often flawed in some way or have a serious problem, such as the fact that Viola is caught up in her disguise, desperately in love with Orsino but made to woo another woman for him. The plot of the play features many comic twists as it follows the entangled lives of a few inhabitants of Illyria; particularly focusing on Viola and her brother, Sebastian, as they are shipwrecked and separated along the shore. Viola, thinking her brother is dead, dresses as a man and takes the name Cesario to work for the love-sick Duke Orsino, who is constantly pining for the affection of the grieving Lady Olivia. Olivia, mourning the death of her brother, promptly falls in love with Cesario when he comes to woo her for his Lord, thus showing the fickleness of love. Obviously, Viola (or Cesario) does not desire Olivias love, but actually longs for Orsino. Meanwhile, it becomes known to the audience that Sebastian has been rescued by a sailor, Antonio. Sebastian becomes involved in a duel Sir Toby, Olivias uncle, is encouraging Andrew, Olivias dogged suitor, to fight against Cesario for Olivias hand. Olivia mistakes Sebastian for Cesario, and Sebastian falls in love with Olivia. The two are quickly married. Lastly, Orsino and Viola, along with Sir Toby and Maria, also decide to marry. Cleverly entwined within this main story line is a hilarious sub-plot featuring the servants and other members of Olivias household. Sir Toby Belch, Olivias lady in waiting Maria, Sir Andrew Aguecheek, servant Fabian and the fool, Feste, together plot the humourous downfall of Malvolio. Malvolio is the puritanical, sombre and serious steward, who interrupts the merry-making of the other members of the household early on in the play. Maria fakes a letter from her Lady, Olivia, informing Cesario that his mistress is deeply in love with him and desires him to be opposite with a kinsmen, surly with servants, let his tongue tang with arguments of state, and for him to dress cross-gartered with yellow stockings. Malvolio falls for the trick, and fulfils the letters suggestions. Olivia consequently thinks him mad, which is encouraged by the subtle taunting of her household. Malvolio is locked up and tormented further by Feste, who pretends to be priest. At the end of the play, Malvolio vows on revenge. The plot and sub-plot of Twelfth Night have a huge amount of potential for comedy, and Shakespeare fulfils this potential spectacularly well, playing on the different roles of the intricate characters, and using all sorts of comic devices, to make the play the well loved and famous piece of literature, and performance, that it is. There are few recurring themes that feature in most Shakespearean comedies, such as confusion over identity, family tensions and the struggles of love, particularly for young lovers. A lot of these themes play a large part in Twelfth Night. For example, in a lot of Shakespeares plays there is a particularly clever servant, who often outstrips their master or mistress in intellect and wit. Feste the fool is a prime of example of such a servant, as he often makes remarks that, although they are encrypted within a riddle or some kind of joke, make a lot of sense or question the intellect of his superiors. This intelligence creates humour for the audience as it makes a mockery of the characters with the high status, as they are made out to be intellectually inferior to a fool. Bottom, of A Midsummers Nights Dream is another good example of a Shakespearean fool. One theme of Twelfth Night, and one that recurs in many of Shakespeares plays, is confusion and farce. It begins when Viola lands on an unknown shore, and promptly dresses as a man in order to find work in Duke Orsinos palace. From then on the various gaps in the knowledge of characters, such as the fact that Malvolio does not know Maria wrote the letter he found; the longing of Olivia for Cesario, who is in fact a woman; and the unknowing Sir Andrew, who does not realise that Sir Toby and Fabian mock him behind his back. All of this, plus the constant mood, and even, in Malvolios case, personality, changes of the characters convey a huge sense of confusion that helps heighten comedy. The chaos throughout Twelfth Night makes the play more entertaining and humourous for the audience. Love is another main theme of Twelfth Night. Firstly, throughout the play many of the characters fall in love-sometimes even twice, such as Orsinos initial desire for Olivia, then eventually his realisation of his love for Viola. Malvolios obvious obsession with Olivia and the love between Sir Toby and Maria illustrate love shown between high and low characters, creating a comic device within the theme. Olivia also demonstrates the fickleness of love as initially she is in mourning and deems herself unable to think about love when wooed by Orsino. Yet moments later she decides that she in love with Cesario, and declares that Love sought is good, but given unsought is better, in a mood that contrasts her apparently solemn state of mind at the beginning of the play. Many of the comic devices used in Twelfth Night are also used in some of Shakespeares other plays. For example, in many ways one of the three plots found within A Midsummers Nights Dream is similar to the plot involving Malvolio and the fake letter written by Maria. A Midsummer Nights Dream follows the story of Bottom, a low character, who acts superior to his co-workers and is portrayed as very opinionated. Bottom is very similar to Malvolio in that the latter also aggravates his peers by acting superior, and so provokes them to play a trick on him. In this way A Midsummer Nights Dream is also similar to Twelfth Night because Puck, a minion of the high characters in A Midsummer Nights Dream the king and queen of the fairies- turns Bottoms head into that of an ass, in a scene that is similar to that of Twelfth Nights Act 3 Scene 4.. This means that both Malvolio and Bottom have their appearance changed, and therefore create humour through a visual device, due to trickery; and both Malvolio and Bottom are oblivious to the mockery they are being subjected to as well as the reason for their ridicule. Both plays use high and low characters to generate humour, playing on the fact that in Shakespeares time it was unthought-of for people to act or rise above their set social rank. The fact that many of Shakespeares plays feature characters that do just that effectively shocked the audience and also helped to create comedy. Dramatic irony also features in both Twelfth Night and A Midsummer Nights Dream. In the case of Bottom and his head of an ass, the audience knows what has happened to him in order to repel those he is working with away from him, yet the character himself has no idea what is causing his peers strange reaction. This is humourous for the audience as they are able to laugh at Bottoms confusion as well as his appearance. The same applies to Malvolio; in Twelfth Night, the audience know the letter Malvolio is taking orders from is actually faked by Maria, yet the character himself does not, so he continues to act upon the letters demands, successfully making a fool of himself and earning the title of a possessed mad-man. Again, this would create comedy. One comic device Shakespeare cleverly uses during Twelfth Night is love triangles. One good example of a love triangle is that, initially, Orsino loves Olivia, who in turn loves Cesario, who loves Orsino. The climax of this intriguing situation arises in Act 3 Scene 4, in which Malvolio finds himself the butt of most of the jokes. At one point he declares that Maria is his sweet lady, and continually flirts with her. Olivia, on the other hand, becomes practically obsessive over her love for Cesario, calling him back to her time and again. Cesario, or Viola, in turn longs for Duke Orsino, whom she becomes very close to throughout the play. Duke Orsino is on love with Olivia- a point he makes very clear at the start of the play, where he declares if music is the food of love, play on; give me excess of it. This tangle of emotions and lust causes great confusion and helps to generate humour, as the characters fall in love often with the wrong people- this confusion also lends itself to the title of the play, which is named after, traditionally, the twelfth day after Christmas- at which time, status and normal conventions would be overturned and chaos and confusion would reign. This was a lso often known as The Feast of Fools- particularly fitting because throughout the play the characters act like fools, or as if they were partaking in this confusing celebration, despite the fact that the play is not actually set on Twelfth Night. Confusion is in fact one of the main themes of the play. The fact that Olivia, an esteemed lady, falls in love with Cesario, a young page, is deemed bad enough in the opinion of an Elizabethan audience. But the added fact that Cesario is, in fact, Viola dressed as a man causes great hilarity and confusion. I would think of Twelfth Night as a complex love web, where a majority of character are in some way romantically involved with another. This would contribute to the comedy and confusion throughout. The fact that Malvolio is in love with Olivia, who in turn is in love with Cesario, and calls her a sweet lady is humourous, especially from the point of view of an Elizabethan audience. The love triangles would have been particularly shocking, and therefore funny, for the audience during Shakespeares time period because the concept of Malvolio, the servant, being in love with Olivia, the lady, would have been seen as ridiculous and unconventional- this links into the humour behind high and low characters. What could be said to be the deeper meaning or implicit message of An Inspector Calls EssayHe then goes on to comment that a part of the challenge is very brief, and to exceedingly good sense -less. The fact that Fabian utters the last part as an aside, directed solely at the audience and not at any of the other characters, makes Fabian seem more likeable to the audience and gets them involved in the play. His mocking tone at this point would also have generated great humour, especially as this part involves a kind of dramatic irony- where the audience laugh with Fabian at the unknowing Sir Andrew. This mockery is part of a sub-plot deeper than that of Malvolio and Marias letter, involving Sir Toby and Sir Andrew. Sir Toby is actually manipulating Sir Andrew by hoping that if he helps him to marry Olivia, Sir Andrew will transfer a lot of his wealth to his new bride, and in turn Olivia would give Sir Toby some of the money. Sir Toby provides a glimpse of his intentions early on when talking to Maria about Sir Andrew- he states that Aguecheek has three thousand ducats a year and hes a fool. However, Sir Andrew is actually not as wealthy as he seems due to Sir Toby leeching money out of him, and so if he was to marry Olivia it would be unlikely that Toby would receive any huge bonus. So for this reason the joke is on Sir Toby, although he doesnt know it. This is also an example of dramatic irony, because the audience get the whole picture, whereas Sir Toby doesnt and thinks he is the one in control. This creates humour as the audience is able to laugh at both Sir Andrew, as he is manipulated by Sir Toby, and Sir Toby himself, as in the end all his hard work would have been for nothing. This also adds to the effect that Sir Toby is, in a certain sense, a fool, for it makes him out to be unaware of the situation, assuming and therefore foolish. However, the fact that Sir Toby not only attempts to deceive Sir Andrew but plays many pranks throughout Twelfth Night, and contributes to the main trick played on Malvolio that culminates in Act 3 Scene 4, depicts him as a different sort of fool- similar in many ways to Feste. One example of such a prank, similar to that in which Malvolio was branded as possessed in the first place, is when he takes part in the plot to dress Feste as Sit Topaz and further taunt the blindfolded Steward. The fact that Fabian and Toby encourage Sir Andrew to fight Cesario is very amusing because they know very well that Sir Andrew is a cowardly man, and not a fighter. Therefore the prospect of him challenging another man for a fight is ridiculous, and an opportunity for entertainment, not only for the audience, but for the mischief-makers of Twelfth Night as well. What makes this even more interesting is that Cesario is actually girl- the audience are able to appreciate the full extent of Sir Andrews cowardice; especially during Shakespeares era, because obviously at that stage women were not expected to fight and were regarded as weaker. This would have made Sir Andrew look even sillier. Dramatic irony itself plays a large part in heightening the comedy in Twelfth Night. Because the audience obviously get a much fuller picture of the overall situation, in some scenes they have superior knowledge of the situation than the characters, enabling them to laugh at certain passages knowing that the thoughts, words and actions of the characters are based on wrong assumptions. In essence, the characters themselves are ignorant of their own fate, whereas the audience are able to gain humour from knowing roughly where the play is heading. On top of this, the audience sometimes know what a certain character is talking about when others in the scene are unable to fully understand. One such situation arises in Act 3 Scene 4 when Malvolio refers to the handwriting in the letter he received by stating I think we do know the sweet Roman hand. Olivia meets this statement with utter confusion, as she knows nothing of the letter; yet the audience know exactly what Malvolio means, and are able to take humour from not only Malvolios hopeless and cringe worthy situation, but also from the confusion of Olivia. The fact that Malvolio says that we know the sweet Roman hand could be seen as a reference to the audience in that he is including them in his speech as proof. This further involves the audience in the mayhem of the play. Another example of dramatic irony is when Maria calls for Malvolio, reasoning that he is sad and civil, and so suited to her mood. However, the audience know very well that because of the letter Malvolio will in fact be, hilariously, the very opposite of what his Mistress expects. This creates the anticipation of humour to come, as well as comedy at the fact that Olivia is ignorant of what is about to happen. The concept of high and low characters is used a tremendous amount by Shakespeare during Twelfth Night. The theme of confusion is carried on through this comic device because often characters with low status act above their rank, or higher characters lower themselves. This heightens the comedy because in the Elizabethan era status was very important; it was unseemly for someone with a low status to act above their rank and vice versa. It was also incredibly difficult and rare for anyone to move between different ranks, which makes the constant switching of rank of various characters in Twelfth Night shocking, and humourous. One example of Malvolio getting above his rank is when he responds to Maria with the statement Yes, nightingales answer daws! This implies that at this point he sees himself as far superior to Maria, when in fact they are nearer equals. The fact that he sees himself as a nightingale talking to a common daw is humourous because he is so pompous and has a very high opinion of himself simply because of the letter he has received from Olivia. In my opinion, it also heightens comedy because Malvolio is comparing himself to a bird of great stature that possesses a joyous, beautiful voice, which does not reflect Malvolios true, sombre, stark and serious personality. Throughout Twelfth Night, Sir Toby lowers himself to the level of the servants, even though he is in fact of a higher status. This apparent switch of status comes about through his drunken antic with Maria, Fabian, Feste and Sir Andrew. The fact that he acts in an almost immature way presents to the audience a contrast to how high characters are supposed to act, heightening the humour. Sir Tobys switch in status culminates when he marries the lady-in-waiting, Maria. At one point in the play he tries to justify this by stating that Maria is a beagle, true bred. In Elizabethan times this shifting of ranks would have been very unusual, and for a person with a higher rank to marry one with a low rank was socially unacceptable. The fact that Sir Toby takes part in the mockery of Malvolio in Act 3 Scene 4 when he pretends that he thinks Malvolio is possessed by saying what, man, defy the devil! . This lowers him once more to the lower level of the servants because he is joining them in the almost immature and cruel teasing of Malvolio. Once again this would create humour. I have come to the conclusion that throughout Twelfth Night, Shakespeare tries to make the point that in actual fact servants are often cleverer and more deserving of rank than their mistresses and masters. This is shown through the fact that at the start of the play, the ranks are stereotypically correct, yet as the play progresses, the ranks switch and merge. Often characters with lower ranks outwit their superiors, such as Feste and his witty exchange with Olivia and Malvolio. This undoubtedly generates comedy, because it is shocking and so humourous for the audience. Shakespeare uses Malvolios soliloquy to create humour during Act 3 Scene 4 of Twelfth Night. The audience would find hilarious the way in which, throughout his love-stuck speech to himself and, unknowingly, the audience, Malvolio twists Olivias words in order to suit his desires. Malvolio states that when she went away she said let this fellow be looked to- fellow! He implies that this means that because she called him fellow and not Malvolio, like a Mistress would normal call a servant- by their name, it must mean she is attracted to him. This is amusing because Malvolio has twisted and exaggerated one loose word from Olivias mouth in order to assure himself that she likes him. Malvolio feels after his exchange with Olivia that he has limed her; meaning he feels that he has caught her in his net and that she now adores him. Statements like this create comedy because the audience know they arent true, again bringing into the play the device of dramatic irony. It is ironic that he later says that everything adheres together and that nothing that can be can come between me and the full prospect of my hopes, because again this is entirely wrong- in actually fact, it is only his way of thinking that makes everything seem to adhere together. Once again, Malvolios utter hopelessness and the fact that he is totally oblivious to how wrong he is would invoke laughter, as well as perhaps sympathy. Malvolios soliloquy provides a perfect opportunity for Shakespeare to underline and elaborate the fact that Malvolio is so obsessed with Olivia that he refuses to face the fact that she doesnt like him. The letter had a part to play in this as it convinced him that his love was requited. On top of this, the very image of Malvolio standing alone, wearing such ridiculous clothing and ranting wildly about how obvious it was that Olivia loved him, would be very amusing on its own- another example of visual comedy. In conclusion, Shakespeare uses many different comic devices throughout Act 3 Scene 4 and the whole of Twelfth Night- a lot of which can be identified in other Shakespearean comedies. After reading through the text, I have come to the conclusion that the use of comic props and the role of the fool are the most effective, and two of the most important, comic devices used throughout the play, especially in Act 3 Scene 4. The letter faked by Maria is essential to a lot of the humour in the scene, and sets up perfectly the dramatic irony of Malvolios belief that Olivia loves him. I feel that the letter is a prop that acts as a cornerstone for the sub plot- a central comic device that culminates in the hilarity and chaos of Malvolios dressing cross gartered, whilst flirting outrageously with the shocked and confused Olivia. The role of the fool is also a vital comic device because

The Beginning Of The End free essay sample

You are in a Brazilian samba, you are in a gospel church, you are in New York, you are in South Africa. You are fifty years ago, you are fifty years from now. You are everywhere at every time and this is The Beginning of the End, the new double-CD from David Zoffer. Its time to put away your Hootie and the Blowfish and your Dave Matthews Band, fellow students and teenagers. For those of you who really want to listen to something new and different, this is the way to go. The entire gamut of musical styles awaits you within this jewelbox. It is an eclectic collection of exotic rhythmic patterns, flowing melodies, and wailing guitar licks. This soulful, rockin, swinging album contains some exquisite composition, including the grooviest version of You Are My Sunshine ever. Aside from fast-paced jazz standards and originals, The Beginning of the End has its peaceful moments, too. We will write a custom essay sample on The Beginning Of The End or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The spell-binding ballad Magic and Distance is absolutely mesmerizing and Nicas Dream simply enchants the listener into a hopeless musical oblivion. Soul, energy, solid composition, and sheer talent are the marks of this album. Zoffers intense and magical work is not to be missed! .