Character Development -- the Yugoslavian Bodybuilder
Kristoff Savi-ic is a first-generation Yugoslavian-American (of Serbian descent) whose parents immigrated with their three children to the United States in the 1990, having narrowly escaped the Balkan Wars that ensued immediately afterwards in the early 1990s. At 29, he is the youngest of three much older brothers and he bore the brunt of considerably intense and somewhat cruel teasing on their part as a child and as a teenager. His brothers were both jealous and resentful of the comparatively easy life that Kristoff enjoyed growing up in the U.S., both of them having experienced much more difficult childhoods in Yugoslavia and without any of the comforts and opportunities that were always available to Kristoff, who moved to the U.S. when he was 7. Partly because of his love of American junk food as a child, Kristoff became somewhat overweight as a child and his brothers, both of whom had military experience, tormented him about his weight. They also routinely showed off their manliness, mainly through their boxing and they taught Kristoff just about everything he knows about what kinds of traits and behaviors are admirable in men, including an extremely chauvinistic, mistrusting, and predatory sexual attitude toward relationships with women.
Kristoff was never a particularly good student but his parents always made excuses for him having to do with the fact that he had to overcome a language barrier. One of the predominant themes in the Savi-ic household has always been the relative ignorance of Americans in comparison to Serbians, and Europeans in general, especially in relation to their ignorance of world history and culture. No matter how poorly Kristoff performed in school, his parents always reinforced the family narrative that he (and all of the Savi-ics) are much smarter than Americans. Pavel ("Paul") Savi-ic, Kristoff's father, was studying to…… [Read More]
War has remained an important phenomenon used by the states to achieve their goals when the diplomacy failed. Previously, many philosophers has worked over war and defined it as a phenomenon that has a specific unpredictable nature. Similarly, they also provided us with certain principles, which are more often valid for most of the wars that have taken place so far. This paper discusses the campaign where the U.S. military ignored certain principles, misjudged the character of it and faced losses in Operation Iraqi Freedom.
Operation Iraqi Freedom: Analysis on Character and Principles of War
War has remained a consistent phenomenon throughout human history. It has been subject to evolution but the nature of war has always remained the same in one way or another. As compared to the development of technology or trade, literature or political reforms, the real history of a nation has been shaped by the wars it has fought for its survival (Hooker 4). The scenarios can differ; the new technological advancements can change the conventional ways and strategies of fighting a war. But the nature of war, its objectives and its character remains the same in many cases, which is observed throughout the military history.
Similarly modernizing the traditional principles of war does not make the previous principles obsolete. In fact, the new principles are made with the intention of fulfilling the essence of the previous principles (Dunlap 71). The Operation Iraqi Freedom was at first considered as one of the most successful accomplishments in the history of military expeditions. Within a short span of three weeks, with minimum causalities suffered, the U.S. led coalition forces swept across most of the country and defeated the hostile forces efficiently (Dennison 1). However, a little time after this short celebrated victory, a new phase of guerilla warfare started which toppled the victory of the U.S. led coalition forces and expanded to a large scale civil war. The only success that the coalition forces achieved was the removal of Iraqi dictator Saddam Hussein. Similarly due to the failures in the post war Iraqi situation,…… [Read More]
The subordination still exists on the outside and this is shown more and more through Amir's despotic behavior towards Hassan. The subordination has moved beyond its tacit acceptance phase and into a clearly recognizable perspective.
It is, however, completely irrational and comes, in fact, from Amir's own shame and being a coward and not doing anything to save Hassan. His incapacity develops on more than one levels and it is interesting to see once again how one of the characters is, in fact, pictured with regards to the relationship with the other character. On one hand, he is genuinely afraid of what could happen to him. On the other, more hidden level, he also wants the kite and is willing to trade anything for it, because the kite, as shown previously, will give him the stature he needs in society and, especially, in front of his father.
The fact that he is unable to intervene triggers his subsequent erratic behavior as well, generated, in fact, by his own conscience and culminating with framing Hassan so that Amir's father would believe he had stolen money.
However, the rape also had a different effect in the relationship between the two, one of equalizing the two characters on a subconscious level. Amir recognizes to himself that what he has done (or rather what he has not done) is wrong and this fact alone is able to determine the transformation of their relationship into one of equality. The fact that he accepts to himself the reality of the events also shows how the character evolves, as influence by Hassan's actions and behavior.
This is certainly a connected theme to the main theme described in the first paragraph. Amir evolves throughout the book as he begins to become accountable for his actions and all this new behavior is, in fact, triggered by Hassan. Amir certainly does not realize this until he grows up and lives in the United States, but it is already beginning to be felt by the reader after the rape. As mentioned in the previous paragraph, the simple fact that Amir accepts to himself that he did wrong is a key in that sense.
The plot develops so as to bring Amir's character forgiveness and redemption for his actions. Again, Hassan's character, even if Hassan…… [Read More]
The loud clang however received no answer and the land continued to be unnaturally still, only shaken by the great storm. There was nothing I could do against the waves on my own, so I had to descend into the village and call the people myself. As I ran through the streets, I met no one on my way and found only a few dogs barking and howling because of the danger they sensed in the storm. The wind was now so strong that it threw things in my way, making it even harder for me to walk. I could see the big door of the hall wide open and when I finally got there I found all the people sound asleep on the floor. I first saw the prince and approached him fast. I shook him and tried to awaken him, but he seemed immersed in a deadly sleep. The heaviness of the food and drink was on the minds of all the people and I could find no means to bring them back to their senses. Running through the hall, I saw that the great princess was not there, as she hadn't taken part in the revelry with the others. The storm outside was getting louder and I knew that I could only save myself from drowning and that the rest of the people will perish in their sleep. It gladdened me that maybe I could find the princess and take her with me, but it ached my heart to see the whole land destroyed. As I rushed in the tower room, I found the princess asleep like the rest and for a moment I was even more dismayed. But when I shook her, she came to her senses quickly, as she hadn't been seized by that terrible heaviness, like…… [Read More]
Finny succeeded to draw a circle of truth around himself that made him credible and put him above any intention of punishment whatsoever. His unique behavior and his style brought a breath of fresh air into the old school especially because "the Devon Faculty had never before experienced a student who combined a calm ignorance of the rules with a winning urge to be good, who seemed to love the school truly and deeply, and never more than when he was braking the regulation, model boy who was the most comfortable in the truant's corner" (idem). For all that, Finny unconsciously paved the way to perdition for his friend, Gene. He uncovered the feeling of envy in his best buddy that further led to suspicion and ended in indirect murder. As a result, Gene made Finny fall from the tree while exercising their dangerous jumps into the river, leading to his leg being fractured. The injury was fatal for Finny's athletic career and put him definitively out of the play. Even so, Finny did not stop to ponder. He simply changed his focus from himself to his friend, Gene, whom he wanted to prepare for the 1944 Olympics regardless of the Second World War that was currently being fought. In contrast with the fact that "the school is involved in everything that happens in the war, it's all the same war and the same world"(Knowles, 27), Finny lives in a world of fantasy and drags all those round him into it. "Bombs in Central Europe were completely unreal to us [...] because our place here was too fair for us to accept something like that" (idem, 30). The reader found out at some point that it was not just because the boys discovered an efficient way of prolonging their happy careless childhood, but also because Finny's personal intereste in enlisting in the army subsequently followed by his failure to do so. His way of setting his own rules, disregarding the conventional ways and always getting away with it proved that "Finny's life was ruled by inspiration and anarchy"(idem, 34), yet it led to his own death.
Works… [Read More]
The allegations against Mr. Parker are false, and furthermore, defy any sense of logic with respect to the history of the man in question. To suggest that he might have determined to yield all which he had worked for with no scintilla of ethical divergence by a single and senseless act such as that for which he is accused.
With his well-earned career and excellent reputation now at stake with this judgment, I implore a reconsideration of Mr. Parker's record and the nature of the case against him. First and foremost, I believe that the legal ramifications of this case must afford Mr. Parker an advantage in consideration, primarily based on the lack of concrete evidence against him. I will spare you the details of this shortage of concrete evidence, which will most assuredly be made clearer with any further hearings or proceedings against Mr. Parker.
I simply ask you to keep this consideration foremost in your mind as the case against him moves forward. There is a preponderance of the evidence which circumstantially appears to legitimize at least pressing forward with the case. However, this is truly the bare minimum of available evidence against any party. It is hardly a case of certainty such as seems to be implied by the professional consequences already facing Mr. Parker. Taking into consideration that the case against Mr. Parker is somewhat flimsy, and reflecting upon Mr. Parker's history here and his generally commendable character, it should seem increasingly apparent that this is not a man deserving of our skepticism or scrutiny.
It should seem apparent to you that I am fairly committed to defending the innocence of my employee. This is primarily because, in addition to my certainty that this is the case, the absence of an individual such as Mr. Parker from our organization would be a detriment to us. In addition to a dishonor for one deserving of no such character and career assassination, our company would be deprived the services and…… [Read More]
Comparison: Revenge and its Motivators in Frankenstein and Wuthering Heights
Mary Shelley's Frankenstein and Emily Bronte's Wuthering Heights are two of the most significant literary works in history, both maintaining the ability to remain successful and relevant far beyond the years immediately following their respective publications. While each novel is exceedingly different from one another, with one focusing on the perils brought about by a man-made monster who seeks to torment his creator and the other focusing largely on a pair of lovers caught in a tumultuous relationship that never allows them to truly be together, the theme of revenge and its ability to transform an individual completely is one that runs through each respective novel in a significant way. Doctor Frankenstein's Monster and Heathcliff in Wuthering Heights are two characters who are both tormented and driven by the thought of revenge, and by the end of each respective novel, these characters will do anything to enact their revenge upon those who have wronged them.
In Shelley's novel, the monster is a creation of Dr. Frankenstein, who by using strange and elaborate methods of science, succeeds in bringing this visually-horrifying creature to life. Terrified of what he has created, Dr. Frankenstein abandons his creation almost immediately after he is brought to life, leaving the monster alone and incapable of understanding who he is and what has led him to enter the world around him. Having been abandoned by his creator, the only human connection he has to the world, the monster, frightened himself, is forced to wander through the woods in search of someone to understand him.
The novel continues on with the monster learning the English language and the ways of humanity through his eavesdropping on a family in the woods and his interactions with the kind blind father who treats the monster with kindness, as he is unable to see his horrid features. However, this kindness does not last long, as the family returns to the cabin and drives the terrifying monster away. Being chased out by the family and eventually…… [Read More]
Some of society might indeed see her as too fat, which could lead to a mishandling of human services. Alternatively, others could dismiss her weight worries as inconsequential, and therefore never get to the lack of self-confidence at the root of her concerns. There is much confusion and mis-identification regarding weight; according to a recent study of women, while only "55% were overweight, though two-thirds said they thought they were overweight" (Kaiser, 2007). Jazmin is, in fact, somewhat overweight, but not to the extremity that she thinks she is, and not enough to cause her immediate or permanent medical damage. Her misperceptions about herself, however, as well as society's misperceptions about weight in general, can cause for a misdirection of human services.
If I were to encounter Jazmin Biltmore in real life in a professional capacity, I would recommend that she seek help from a licensed counselor and a nutritionist. This combination would be most effective, I believe, because Jazmin's self-confidence would be boosted if counseling led her to a better and more realistic image of herself. In addition, there is most often an underlying psychological cause for weight problems and feelings about weight, which can be countered with internal examination of these causes and an external re-evaluation of eating practices and habits (Edlin & Golanty, 2007). Nutrition can also play a significant role in depression and other emotional issues. The benefits of both counseling and nutritional information, then, are two-fold: through counseling, Jazmin would be able to understand and accept herself for who she is, in addition to finding the underlying cause for her weight issues; and through nutritional re-education, Jazmin will be able to choose foods that keep her happier and healthier, and would even help her lose weight.
There is every reason to believe that the results from this combination of psychological counseling and nutritional education will be very positive. Even…… [Read More]
Characters and Situations -- "The Godfather" and "The Green Mile"
Both "The Godfather" and the prison epic "The Green Mile" depict characters at the center of moral dilemmas. To underline the significance of the ethical dramas of these characters, both films effectively make historical and literary parallels, as well as deploy the techniques of metaphors and visual and verbal symbolism, to give the characters and the plotlines a significance that transcends the purely 'entertainment' quality of the film.
For instance, the character of the Godfather played by Marlon Brando is immediately characterized as a man of power and immoral influence through the use of the literary or historical allusion of the singer at his daughter's wedding -- an obvious stand-in for the real-life Frank Sinatra, one of the most famous crooners of all time. But the exhibition of the Godfather Don Corleone is not limited to merely his association with the singer, but is even more effectively deployed by his symbolic decapitation of the horse's head from afar of the man who refuses at first to employ the singer in his film -- a kind of castration of the movie man's power and influence with violence of the creature the man most adores. However, later, the Don will die, playing with his grandson in an orchard, humorously pretending to be a monster with an orange in his mouth -- a metaphor for the man's whole existence --…… [Read More]
It more appears that Hyde takes his own life simply to stay in control of it, and not for any particular moral reasons.
3. This quotation truly underscores the duality that is the principle concept behind the Strange Case of Dr. Jekyll and Mr. Hyde. What is of particular interest regarding this quotation is the fact that this duality exists on myriad levels. The most eminent of these, of course, is the personality split and physical transformation that takes place when Hyde drinks the potion and becomes Dr. Jekyll. The two are diametrically opposed -- Jekyll, the benevolent physician, turns into a repugnant, callous ruffian who is prone to commit murder and other unseemly acts. The crux of the novel is the fact that both personalities, proclivities, and people ultimately exist within the same man, which leads Jekyll to reflect in the preceding quotation that "…man is not truly one, but truly two."
The duality that Jekyll refers to in the preceding passage is mirrored within the conceptions of man that are antipodes of one another -- the intellectual, and the moral. What is significant about this fact is that Jekyll freely admits it, and denotes that there are two sides to his intelligence, which represent the two types of people that exist within him and within all of mankind: "the moral and the intellectual." The moral propensities of Dr. Jekyll are abundantly clear from his station in life and his very profession, which he utilizes to help people. Yet the wanderings of his intellect -- which allow him to succumb to the temptation of leaving his morality behind in the form of a decidedly immoral Mr. Hyde -- are directly contrasted with Jekyll's benevolence and morality. The crux of this quotation, and its relevance to this work of literature, is the fact that what the author has evinced within the appearance of two separate people actually reside within the same person. Thus, this passage succinctly sums up the major theme of this novel, and…… [Read More]
Oh, we just came back from a shoot-out. I participate in the Single Action Shooting Society where I go by the name Tex Fiddler," Joe said.
How in the world did you come up with Tex Fiddler?," I asked unable to repress my curiosity.
Well, I am from Texas and I love to play the fiddle. It is one of my hobbies," he said.
After this awkward introduction, we invited Joe and his wife to join us for the late meal we were having. Joe seemed very at ease in everything he was doing and saying. He and my husband talked about work, horses, guns and philosophy at the same time. Joe had an opinion on every subject and he always shared it. His infatuation with old western customs was obviously just one of his many different pastimes. Joe Provenzano was definitely a philosopher and Tex Fiddler, the character he invented, was one of his ways to speculate about reality.
Me and my wife like wearing these old western costumes," he said at one point. "This way we can go back in time and experience something else. The more costumes you wear, the more speculations you make about the nature of reality. And this helps us get one step closer to the ultimate truth."
The evening went on like in this way, and by the end, my husband and I had almost turned into philosophers ourselves. The next day my husband went to his interview at the Jet Propulsion Laboratories and he was offered the position. We ultimately moved down to Los Angeles where he worked for four years before moving to Seattle. During our time in Los Angeles, I met a number of unusual characters who worked with my husband, but none was more eccentric than Joe. I wonder if Joe Provenzano would have been Joe Pro-if he had been born and raised…… [Read More]
He simply cannot escape these expectations. So, when Robert DeNiro takes on a comedic role, such as the role of the potential father-in-law in Meet the Parents, the moment he comes on the screen, the audience is aware that he is Robert DeNiro, in addition to the character that is being portrayed. Therefore, his character can do things that other characters could not. Who but Robert DeNiro could portray a father who would give an actual lie detector test to his daughter's suitor (Roach)? Another actor who has made a career of playing essentially different versions of the same basic role is Hugh Grant. In each of his films, Grant plays a bit of a romantic doofus, who is handsome, and because he is handsome, has some success with women, but is essentially clueless about women. This is a characterization that he brings to each of his roles. Therefore, when his characters end up being cads, the audience is not even angry with him; they knew he was a cad before the movie even started.
What all of the examples above make clear is that characterization in a film is complex. It involves combining what the character does on screen, what the actor is known for off screen, and whatever is directly said about the character. What this means is that some movies are not at all effective at creating character. Even some of the best and most talented actors have been miscast in movies, where their presence simply did not sell the character correctly. On the other hand, some of the more memorable characters in film were created by relatively unknown actors, who were able to seize upon a role and make that role their own. In fact, the most effective characters in movies are so believable that they become real people in the minds of the audience. One prime example of this is Gregory Peck's portrayal of defense lawyer Atticus Finch in to Kill a Mockingbird. Atticus was not even the main character in the film; the film actually focused on Atticus' daughter Scout, and was her coming-of-age novella. Atticus was a relatively absent father figure, who raised Scout with a type of loving negligence. However, Peck took the role of Atticus and breathed life into it. He dressed…… [Read More]
The moment when Sula accidentally kills Chicken Little plays an important role in her relationship with Nel. While both girls are inclined to feel guilt as a result of their involvement in the child's death, Sula believes that her action was caused by her destructive nature and that it is perfectly natural for her to put across immoral behavior. In contrast, Nel gradually detaches herself from the event and comes to believe that she had nothing to do with Chicken Little's death. Her upbringing influenced her in believing that she could not possibly make a mistake as long as she acts in accordance with her mother's instructions.
The relationship between Sula and Nel is very different from the one between two typical children, as they feel that they are connected as a result of their similar goals. Even with the fact that they have different personalities they feel that they complete each-other. It is very probable that Nel considers Chicken Little's death an opportunity for her to get out of this relationship, taking into account that she feels pressured by the fact that Sula's behavior and personality is very different from her mother's behavior and personality.
It is difficult to determine if Nel feels sorrow for not acting when Chicken Little lost his life or whether she believes that she was simply wrong because she did not perform a socially accepted act.
The Deweys are meant to provide readers with an alternative to children like Nel and Sula. The fact that they all bear the same name makes it possible for readers to understand that the community in Bottom was a location where individuals lost their personal identity. Nel and Sula are more similar to Shadrock than they are to the Deweys and to normal individuals in their community. This makes it possible for them to learn more regarding their personal identities and to be able to get actively involved in changing their lifestyles at the moment when they want to.
The novel is called "Sula" because this character is the only one who experiences a complex upbringing and who eventually comes to live her life in accordance with her own interests. In contrast, Nel is unable to follow her dreams and ends up being very similar to her mother. She initially has a tendency to detach herself from…… [Read More]
Case Reflection #1
First come up with three qualities that constitute being a "Good Citizen." Your group members must agree on three qualities.
What are the three qualities? What factors did you consider in order to agree on these qualities? How difficult was it to agree on three qualities?
When considering which three qualities constitute being a "good citizen," we considered all of the six pillars of character, and the Boggs success skills. While we believed that all of these qualities are important, we determined collectively that trustworthiness, respect, and civic virtue were the most important to being a "good citizen." It was relatively easy to agree on the importance of these three qualities, although we had a good debate over which qualities to pick.
Do you consider yourself a "Good Citizen?" Why?
If I measure myself against the three qualities that our group has selected, then I would consider myself a good citizen. I try to remain as trustworthy as possible and not let people down. If I say I will do something, or say I will be somewhere, I follow through. Given that trustworthiness is one of the core parameters of being a good citizen, I measure up on that account. Respect is something I similarly try to cultivate. I try to listen to others' opinions when they are different from my own. Perhaps my biggest weakness is civic virtue. I could do more in terms of contributing to the community, volunteering, and generally participating in the political process.
3. If so, how did you obtain the appreciated qualities; through school or parental influence?
I received most of my appreciated qualities from my parents and my peers. My parents had the most meaningful influence on my character development, as they taught me the importance of honesty, dependability,…… [Read More]
Character identification: The Graduate (1967)
"Plastics." Although The Graduate was made in 1967, it is difficult not to identify with the protagonist Benjamin Braddock. Benjamin is a recent college graduate, adrift in the world and uncertain of his life's purpose. Benjamin finds himself constantly pressured by the adults in his life to select a stable career path and to settle down. Benjamin is disturbed by the emptiness and misery of the adults around him, but he is not sure about how to find a new way to live. He wants to please his parents but he does not want to become like his parents.
First and foremost, I identify with Benjamin because we are at similar life stages. We are no longer young adolescents who feel confident that our parents know what to do, yet we are uncertain of our own values. We seek objective, wise counsel from an outside authority, but we also known that there is no one who is not self-interested in the advice he or she gives. Older adults have made a substantial life investment in the traditional, suburban American Dream. Even though we may not feel this is right for us, we will have to forge ahead on a path of financial and personal independence.
Benjamin's choices feel very limited -- does he choose to sublimate his creativity and go into the production of "plastics," as he is urged to do at a party by an older guest? If not, what is the viable alternative? I feel personal and family pressures to get a good job by the time I graduate from college. My dilemma is slightly different than Benjamin in that I am more worried about finding a decent-paying job to pay off my student loans. Spiritual fulfillment as well as financial solvency seems like a far-off dream. But both of us are similarly dissatisfied with the choices before us and wish there was another way to 'grow up.'
Benjamin also finds himself frustrated by the lies of adult society.…… [Read More]
Elena's parents find it shocking, but they don't comment too much, although once Elena heard the two of them in their bedroom talking about Jessica being a bad influence on her. Elena wishes her parents would give her more credit than that. She doesn't even have a boyfriend. Nor does she want one. She's a virgin and she plans to stay that way.
Elena's dream is to dance on the show So Ya Think You Can Dance and then be noticed by one of the judges -- like Adam Shankman or 'Lil C. The people on that show look so happy and they get to dance to the best music and everybody respects them. When the cameras close in on the parents of these kid dancers, they look so proud. She would like her parents to look at her and be that proud. She wants to make them proud more than anything.
"You can do anything here," they say to her. "America is the land of opportunities for all," her dad says, but the she wonders why he has to make his living blowing leaves off of rich peoples' driveways if that's the case. She has never told him that because she knows it would hurt his feelings. She loves her dad a lot. He's a good man.
Her younger sisters Ana and Beatriz are 12 and 14. Her younger brother, Pablito, is 6. She's close to all of them, but they are so much younger than her. Her sisters have someone managed to escape the curse of Van Nuys. They have white friends and they get straight As. Her little brother is too young to know anything yet. Elena doesn't feel like she belongs in the family a lot of times because everyone seems so different from her. Her mother thinks she should make more of an effort to be a part of the family. She misses her family and wishes she could be, but there is something that makes her want to…… [Read More]
This attitude is wonderful to be around because Donna is so happy all the time. Regardless of what is going on, she is always up. We could be told that we have to work overtime, and Donna will simply say that it is more money. She will crack jokes about the boss, roll her eyes, and make funny faces right behind the boss's back just to try to make us laugh in a meeting. Her eyes might be small, but she can bug them out in a way while she is making a weird face that is so funny. She also loves to do things with her hands when we are in a serious meeting. She manages to next to or almost behind the boss so she can performs these antics and get away with them. She says she is not worried about being fired because she is an administrative assistant and they need those anywhere.
However, she will not be fired because she is remarkably efficient. When she is on the phone when an aggravated customer, she can calm them down simply by turning on her mom voice. We've all heard her do it and she says she got good at it by having four kids and learning how to talk to them. She says you just talk to people like you love them even though you know they are wrong. She even talks to the boss in such a way that she can change his tone and mood without him realizing it. He will walk into her office aggravated and leave with a smile. She says that is her contribution to society -- making life a little better one moment and one smile at a time. Like you do when you are raising kids,…… [Read More]
character book "Let Great World Spin" Ciaran,"Al
Round and Round: Closing the Gaps in Let the Great World Spin
Ciaran's narrative in book one of Let The Great World Spin, "All Respects to Heaven, I like it Here," contains vital information for the understanding of the events that take place within the novel, and for the significance of those events to its principle protagonist, Corrigan. It is highly important that this particular narration comes before those of the other characters (except for that of Philippe Petit) because of the structure of the novel which essentially contains 11 separate narrators all united by the Petit's skywalk between the pair of towers of the world trade center -- and their interactions and reverberating actions with Corrigan. To many of the other narrator's of Let the Great World Spin, Corrigan's behavior is inexplicable. He chooses to attempt to restore the worldly souls of prostitutes and street rabble, the very essence of offensiveness to most ordained clergymen. With so many different narrators telling variations of separate stories that collide around Petit's crossing of the towers in 1974, there are inevitably gaps that need explaining. Ciaran's narrative is responsible for filling many of those gaps by explicating the characterization, behavior, and motives of Corrigan, whose actions in turn link many of the characters in the story.
In many ways, Ciaran's narrative -- which primarily chronicles the affairs of his brother Corrigan -- reveals that purported gaps in the story, and in particular those found in class and pecuniary matters between his brother and his "congregation" of street peddlers, are not quite as immense as they might appear to many of the prostitutes in which Corrigan comes into contact with. Moreover, for all of Corrigan's moralizing and attempts to redeem people through the language and teaching of Christianity, he is not altogether different from these people. His proclivity for the street life, for intoxication and the worldly pleasures and fulfillment of that pleasure that unites him with many of the…… [Read More]
Characters in American Fiction
Two terms used that are to describe characters are static and dynamic, which mean rarely or never changing, and constantly changing, respectively. This paper provides an analysis of the characters of Sammy in the short story "A&P" by John Updike and Louise Mallard in the short story "The Story of an Hour" by Kate Chopin to determine whether these characters are static or dynamic. Drawing on supportive quotations from the two short stories, a discussion concerning who the person is at the start and end of the story is followed by an analysis of whether constant changes were a good thing for the dynamic character. Finally, a summary of the research and important findings concerning these issues are provided in the conclusion.
Review and Analysis
"Sammy" in John Updike's "A&P"
This short story is set in the early 1960s in a small town somewhere north of Boston (Saldivar 215). In his youthful zeal to prove himself virtuous and worthy of admiration of respect, the story's protagonist, Sammy, a cashier at the local A&P, has impulsively quit his hard-to-come-by-job because of something his manager, Lengel, said to three barefoot, bathing suit-clad young girls in his check-out line ("Girls, this isn't the beach. "We want you decently dressed when you come in here"). Perhaps the straw that broke Sammy's back in this exchange was the fact that Lengel would not let the issue drop and allowed a crowd to gather to further humiliate his young customers.
The flood of thoughts that compelled Sammy to make this fateful decision was not fast enough, though, for Sammy to have his momentous sacrifice even noticed by the three girls who had completed their purchase and already left. In this regard, Updike writes: "The girls, and who'd blame them, are in a hurry to get out, so I say 'I quit' to Lengel quick enough for them to hear, hoping they'll stop and watch me, their unsuspected hero." Alas, despite Sammy's envisioned new status…… [Read More]
Jay Gatsby is the central, enigmatic focus of F. Scott Fitzgerald's The Great Gatsby. When the reader first meets Gatsby, it is through the description of Nick Carraway, who notes that his neighbor of the less fashionable (i.e. 'new money') area of West Egg, Long Island has purchased a palatial mansion. Every weekend, people in motor cars come to Gatsby's parties; every Monday, the staff cleans up the debris. No luxury is too great for Gatsby: "every Friday five crates of oranges and lemons arrived from a fruiterer in New York… There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour, if a little button was pressed two hundred times by a butler's thumb" (Fitzgerald 3). The source of Gatsby's wealth is vague and gradually it emerges that he made his fortune as a bootlegger.
Gatsby tries to affect a posture of being part of old, aristocratic wealth. He claims to be an Oxford man although he likely never went to school and calls Carraway "old sport." However, this is a sham, just like the uncut (i.e., unread) classics in his library, put out for show. The books symbolize the facade of Gatsby's persona "See...It's a bona fide piece of printed matter. It fooled me. This fella's a regular Belasco. It's a triumph. What thoroughness! What realism! Knew when to stop too -- didn't cut the pages" (Fitzgerald 3). Gatsby's clothing, home, car, and even his language all signal 'new money' even though he hopes that their ostentation will gain him entry into elite society. Specifically, he hopes to win the heart of Daisy Buchanan. But although Daisy is intrigued by him, maybe even loves Gatsby as much as she is capable of loving anyone, she is not willing to sacrifice her social standing to leave her dull, brutish but 'old money' husband Tom.
Gatsby states that his entire project of self-improvement was embarked upon with Daisy in mind. When he was a soldier in the war, he fell in love with her, but was too poor. Everything he…… [Read More]