Reviewing The Great Poet Emily Dickinson English Literature Essay

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Emily Dickinson was the greatest poets produced by America. Since Dickinson’s works were published after her death, her life became a mystery. In order to study her life, scholars attempted to interpret her life through reading her poems. There were nearly 2,000 of Dickinson’s poems had been published. The first editor divided the poems into four themes: Life, Love, Nature, Time and Eternity. As a matter of fact, approximately one third of her poems were dealing with the theme: nature. Transcendentalism and woman’s culture were the two influential motives that contributed Dickinson’s interest in nature. Nature actually was the subject of Transcendentalism. Ralph Emerson could be regarded as the representative figure of American Transcendental movement. Dickinson, as a woman poet, reached in an atmosphere dominated by Emerson. She was affected by Ralph Emerson’s Nature which shared the idea of man and nature. Exploring nature as portrayed in Emerson’s Nature and in Dickinson’s nature poems could be discovered to which Dickinson agreed or differed from Emerson’s viewpoints. Transcendentalism encouraged man to isolate himself and got closer to nature. Emily Dickinson also tried to keep aloof from the society and hided behind the open door when visitors come in.

Dickinson’s life in Amherst, her relationship with her parents and her education and reading influenced her writing and thinking. Dickinson grew up in Amherst which was a small and quiet rural town in New England; she enjoyed her entire life in the simplicity of this area. New England meant more to Dickinson than merely a place to live. Her entire life and work seemed to exhibit the close association with the New England environment. “Wild flowers-kindle in the Woods-/The Brooks slam-all the Day-/No Black Bird bates his Banjo-”(Bianchi 103). The experience of coming close to nature was gained in her early years and was limited to the region around Amherst. Dickinson’s intense interest in nature resulted from her intimate contact with it. Her botanical knowledge of flowers and plants, her love for insects and animals, and her personal conversance with the grandeur of the landscape were all recorded in her poems.

Dickinson’s preoccupation with nature may be traced back to her parents’ influence. Emily was born into a prominent family; her father, Edward Dickinson was a well-known lawyer and treasurer of Amherst College. He was conservative about the issue of women’s education because according to the traditional belief, women were not supposed to pursue academic study. Although, Edward Dickinson held fear toward women’s education, he set up a family library for his children, so they can read books for self education. Edward Dickinson also built a garden for Emily Dickinson. This garden offered her a private study place and also kept her in touch with nature. Moreover, Emily took the responsibility for housekeeping because of her mother’s illness. Emily Dickinson’s inspirations were not only from her observation of creatures when she saw them in motion outside the windows, but also from doing the household chores. Emily Dickinson preferred to stay at home. Her reclusive manner of living had the effect of isolating herself from society and bring her closer to nature. The environment that surrounded her enhanced her interest in searching for the meaning of nature.

Emily Dickinson’s initial view of nature was inherited from the New England Puritan tradition. In Dickinson’s childhood, she was educated to embrace the Puritan doctrines of seeing correspondence between the natural and spiritual world. “Edward Hitchcock, president of Amherst College, devoted his life to maintaining the unbroken connection between the natural world and its divine Creator.” Nature was seen as a sacramental sign and symbol. Edward Hitchcock’s lecture inspired Emily Dickinson. Her indebtedness to Hitchcock lies in his instruction and inspiration to explore the beauties and mysteries of nature. Beside Hitchcock’s view of nature, Benjamin Newton guided Dickinson to explore the intellectual and spiritual world of Transcendentalism. “Mr. Newton became to me a gentle, yet grave Preceptor, teaching me what to read, what authors to admire, what was most grand or beautiful in nature, and that sublimer lesson, a faith in things unseen” (153). Newton took an important role in the shaping of her poetic thought. Newton not only exposed Dickinson’s intellectual thoughts but also inspired her to be a devotee of nature. Another important person which influence upon Emily Dickinson was Ralph Emerson. Transcendentalism holds for Dickinson lies in the mystical harmonies of man and nature. Both Dickinson and Emerson reflect their obsession toward natural world. There are some contrasting viewpoints to be found in their works.

In the book Nature, Emerson explains how every idea has its source in natural phenomenon and stresses that only through utilizing intuition can people see the idea in nature. Emily Dickinson and Emerson both reveal their appreciation of the beauty and harmony of nature’s appearance, and both put their emphases on the power of imagination as a way to explore the mysterious bond between man, nature and God.

“ ’Nature’ is what we see—

The Hill—the Afternoon—

Squirrel—Eclipse—the Bumble bee—

Nay—Nature is Heaven—

Nature is what we hear—

The Bobolink—the Sea—

Thunder—the Cricket—

Nay—Nature is Harmony—

Nature is what we know—

Yet have no art to say—

So impotent Our Wisdom is

To her Simplicity. “

As an observer of the natural landscape, the various and intricate features of natural world attract the poet’s attention by means of sight and sound. Dickinson likes to portray the natural beauty around her by a keen perception of the creatures or natural phenomenon. Dickinson’s natural world is similar to which Emerson states in Nature, “A leaf, a drop, a crystal, a moment of time is related to the whole, and partakes of the perfection of the whole. Each particle is a microcosm, and faithfully renders the likeness of the world.” Dickinson seems to echo Emerson’s assertion that each part of nature contains all within it. She also considers the unity of natural objects is more significant than that of individual parts, for nature is “heaven” and “harmony”.

“The Bee is not afraid of me.

I know the Butterfly.

The pretty people in the Woods

Receive me cordially—

The Brooks laugh louder when I come—

The Breezes madder play;

Wherefore mine eye thy silver mists,

Wherefore, Oh Summer's Day?”

In this poem, Dickinson shows her passionate love in playing with these tiny natural creatures through the imaginative power in her delineation. Dickinson is able to envision herself in an analogical relationship with nature. She expresses a close relationship between herself and nature through personification. These natural creatures will give her delight without asking anything of her in return. Dickinson likens the bee to a friend; she marvels at the butterfly’s grace, moreover, she feels at ease with the pretty people in the woods. When she approaches the brook, it will give her a warm welcome. Similarly, in “I taste a liquor never brewed,” the poet also shows her fascination by the natural phenomena and she thinks the nature as a source of pleasure.

Apart from approaching to the natural world in person, Dickinson likes to see everything from the window of her room. The window offers her a vantage viewpoint from which she can perceive the external world without being disturbed.

“The Angle of a Landscape—

That every time I wake—

Between my Curtain and the Wall

Upon an ample Crack—

Like a Venetian—waiting—

Accosts my open eye—

Is just a Bough of Apples—

Held slanting, in the Sky—

The Pattern of a Chimney—

The Forehead of a Hill—

Sometimes—a Vane's Forefinger—

But that's—Occasional—

The Seasons—shift—my Picture—

Upon my Emerald Bough,

I wake—to find no—Emeralds—

Then—Diamonds—which the Snow

From Polar Caskets—fetched me—

The Chimney—and the Hill—

And just the Steeple's finger—

These—never stir at all— ”

In the first two stanzas, Dickinson portrays the specific landscape as it appears when she awakes. The seasonal movement fascinates her and appeals to her by its never-ending outward show. She takes account of the autumn giving way to winter, in which the colors of autumn disappear and are replaced by the evidence of winter. Emily Dickinson also reflects nature’s grandeur landscape in her poetry.

Dickinson’s viewpoint derived from the ideas of Emerson. Dickinson is indulging the romantic tradition of nature poetry on account of the Emerson’s Transcendentalism-the inference about man’s relationship with nature, and the acknowledgment of certain phenomena in the natural world. Not all Dickinson’s view of nature is from Emerson’s view. Dickinson gradually becomes aware of indifferent power of nature toward man, and her feeling of alienation from the natural world.

What mystery pervades a well!

That water lives so far --

A neighbor from another world

Residing in a jar

Whose limit none have ever seen,

But just his lid of glass --

Like looking every time you please

In an abyss's face!

The grass does not appear afraid,

I often wonder he

Can stand so close and look so bold

At what is awe to me.

Related somehow they may be,

The sedge stands next the sea --

Where he is floorless

And does no timidity betray

But nature is a stranger yet;

The ones that cite her most

Have never passed her haunted house,

Nor simplified her ghost.

To pity those that know her not

Is helped by the regret

That those who know her, know her less

The nearer her they get.

The well, as an object of nature, appeals to her as an enigmatic force with its frightening trait. The word “abyss” not only means the immeasurable depth of the well but also indicates a certain distance of nature to men. We can see Dickinson feels a sense of anxiety and terror toward the well. At the end of the poem, Dickinson indicates the alienation between man and nature by asserting “nature is a stranger,” and nature is no longer benevolent to man. Dickinson uses the image of the “haunted house” and “ghost” as a metaphor for the gloomy characteristics of nature. Although Dickinson has an acute power of observation and intensely sensitive mind, Dickinson sill cannot penetrate the innermost secrets of nature because of its mystery and apathy. Moreover, the more Dickinson intends to peer into nature the more frustrated she feels by its alienation and strangeness. Dickinson seems to express her belief that an essential division exists between the natural world and mankind.

Several of Dickinson poems concerning her attempt to establish an interaction with natural world but ultimately fail. Dickinson restates that a separation exists between the natural world and man.

A bird came down the walk: 

He did not know I saw; 

He bit an angle-worm in halves 

And ate the fellow, raw.

And then he drank a dew 

From a convenient grass, 

And then hopped sidewise to the wall 

To let a beetle pass.

He glanced with rapid eyes 

That hurried all abroad,-- 

They looked like frightened beads, I thought; 

He stirred his velvet head

Like one in danger; cautious, 

I offered him a crumb, 

And he unrolled his feathers 

And rowed him softer home

Than oars divide the ocean, 

Too silver for a seam, 

Or butterflies, off banks of noon, 

Leap, plashless, as they swim.

The speaker maintains a certain distance from the bird in these first two stanzas. As an outsider, the speaker can observe the whole scene with regard to the bird’s action. The speaker precisely renders her witness at first, the bird eats a raw worm and then, he demonstrates genteel behavior toward the beetle. This dramatic transitional scene arouses the speaker’s desire to come close to the bird by offering him a crumb. When the speaker is attempting to establish a rapport between herself and the natural object. However, the bird soon senses he is being seen and then he flies away. As a consequence, the speaker fails to make connection with the bird. The poet depicts nature’s cold response to man’s generous treatment can be seen as its indifference to ordinary mankind.

The poem “A Narrow Fellow in the Grass” related to the idea of nature’s alienation to self and man’s limitation in full comprehension of nature’s inner secret.

A narrow fellow in the grass

Occasionally rides;

You may have met him,--did you not,

His notice sudden is.

The grass divides as with a comb,

A spotted shaft is seen;

And then it closes at your feet

And opens further on.

He likes a boggy acre,

A floor too cool for corn.

Yet when a child, and barefoot,

I more than once, at morn,

Have passed, I thought, a whip-lash

Unbraiding in the sun,--

When, stooping to secure it,

It wrinkled, and was gone.

Several of nature's people

I know, and they know me;

I feel for them a transport

Of cordiality;

But never met this fellow,

Attended or alone,

Without a tighter breathing,

And zero at the bone.

Dickinson uses the metaphor to stress the evanescent quality of the snake. She likens the snake moving across the meadow as a boat would move across water. Also, Dickinson focuses on the snake’s instantaneous appearance and flight. Dickinson separates herself from the creatures as “Nature’s People.” She may feel a delight of cordiality toward these creatures of nature, but the snake is an exception. In the last stanza, we see Dickinson deals with the snake as a metaphor of the great adversary of mankind. Her reaction to the snake comes from the feeling of awesome and icy chill it gives her. In conclusion, the snake can be seen as an antagonistic and malicious force of nature. Nature is no longer a friend but an enemy.

From all above poems, Dickinson not only reflects her dubious attitudes toward the benevolent relationship between men and nature but also presents nature’s way as being ultimately strange to mankind and portrays a sense of alienation. Instead of Emerson’s optimism, Dickinson’s attitude toward nature is negative. Further, she negates nature’s benign aspects and perceives it as a force hostile toward humans. On the whole, we see Dickinson seems to experience a radical estrangement between the self and the natural world. She attempts to follow Emerson’s thought but she discovers the distinctions from him. Dickinson believes the man maintains a certain distance from the natural world.

By analyzing Dickinson’s poems, we can investigate the influential force of Dickinson’s unique conception of nature. In the beginning, we need to pay attention to her sequestered life in Amherst. The geography of Amherst tended to isolate it from more developed society. Under this circumference, Dickinson was able to get close to nature and became inclined to withdraw herself from the world. Dickinson’s reclusive manner of living might have led her to search for an understanding of Nature’s meaning. Her entire life in Amherst could be seen as an important cause to cultivate her interest in nature.

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Reviewing The Interest Of Films And Books English Literature Essay

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It is fairly common to see a movie based on a popular book.  In fact, in the last few years there has been a lot of films that were made base of a lot of popular novels for example the Harry Potter series, the Twilight Sagas, Journey to the center of the earth, and the Chronicles of Narnia just to name a few. Invariably, there is always a difficult decision to be made by the makers of such films:  How accurate do we keep this movie to the source material? Would it be better to stick word for word to the book, or merely try and keep the same "spirit" as the novel?  The novel Dune is a perfect example of the different attempts of filmmakers to answer this question.  Alejandro Jodorowski decided to completely change the plot and the ideas behind it to fit his own vision of the film (Internet Movie Database).  Ridley Scott wanted to make the sister Alia of the main character Paul the result of an incestuous affair between the main character and his mother Jessica (Internet Movie Database).  David Lynch decided to completely change the characters of the villains into gross, puss spewing monsters.  Dino DeLaurintis and his studio, which produced David Lynch's Dune, made Lynch change an even more important part of the plot: the use of types of weaponry.  They did not like the idea of humans fighting with knives and swords 25, 000 years in the future (Internet Movie Database).  The most recent version, written and directed by John Harrison, decided to go the opposite way as all the former directors who worked on a film version of this novel.  He decided that instead of making his own version of the book into a movie, he would take the book and just move it onto the screen, hence the title of his miniseries, Frank Herbert’s Dune.  But is it really?  Even with the four hours and thirty minutes screen time Harrison had to use for the director’s cut, could he possibly have made an accurate film translation of this novel?  For many including myself, the answer is no.

Character-wise, there are both many similarities and many differences between the miniseries and the book. Physical differences will be ignored.  Paul-Maud'dib Atreides, the main character of both versions, demonstrate how two different people can read the same book and imagine different characters.  In Harrison's miniseries, Paul begins as an arrogant, sullen, self-righteous young boy.  Many critics have complained about this, claiming that the Paul in the novel was absolutely nothing like Alec Newman's portrayal of him (Clemmenson).  They say that Paul was a noble, honorable, happy, and respectful individual.  Neither idea of the character of Paul is completely right or wrong.  The way Herbert wrote those early scenes featuring Paul allow his character to be interpreted either way.  He is shown to be disrespectful of the Reverend Mother Romallo early on in the novel, and he admits to having pulled pranks on his teachers, such as putting sand in Gurney's bed.  He has had no contact with other children his own age, and he has been raised to think he is better than those in lower situations, which can be seen by the reactions of Duke Leto and others when Doctor Kynes forgets to address Paul properly (Herbert 110).  So, while many may disagree with this, the character of Paul in the miniseries was quite like the one in the book, depending on how you read those early scenes with him in it.

 The Lady Jessica is portrayed incredibly close to the character in the novel.  She is a strong and intelligent woman who betrayed her own sisterhood for love, and never once regretted her decision.  She also expresses the right amount of fear of her own children, mixed with the great love she feels for them.  Alia was also very well done.  She was represented as a tormented, yet sadistic young child who was wise beyond her years, and faced both the Fremen, hatred, and awe, because she is the sister of their messiah and also had many "mystical" gifts.  All three Harkonnens, the Baron, Feyd, and Rabban, were also transferred magnificently to the screen.  They were not made into these vile, monstrous creatures like in Lynch's Dune, but were powerful. Machiavellian politicians , while ruthless, were as such for a reason.  As the Baron he says in the book: "I cause pain out of necessity" (Herbert 16).  This Baron of the miniseries is the same.  It is even revealed during the scene The Temptation of Feyd's Uncle (scene 3, The Prophet) that the destruction of the Atreides, who for generations had been the Harkonnen's mortal enemies, was merely a means to an end. This is also taken directly from the novel, however the plan is never fully revealed like it is in the miniseries.  Rabban and Feyd are also like the characters of the book, but that is no real difficult feat as they are both fairly static characters.  Liet-Kynes comes alive in the miniseries, not because of how well he is translated from the book, but because of the great acting job by Karel Dobry.  The miniseries lost most of his inner turmoil, as he had some major issues with his father, who is not even mentioned in the miniseries, even though he is an important prophet to the Fremen that became evident during his death scene.  He also had to deal with his conflicting beliefs as an ecologist and as a Fremen.  As a Fremen he wanted to believe that Paul was his messiah. As an ecologist, the worst possible thing that could happen to his plans for Arrakis would be the arrival of such a "hero".  So even though his character was great in the miniseries he wasn't the same character as in the novel.  The same must be said for other secondary characters like Piter DeVries who, in the novel a sadist, Hasimir Fenring who, in the novel an intelligent, dangerous, but honorable man, Thufir Hawat who, in the novel survives until the very end and is very influential in the plots within plots that were mostly eliminated from the miniseries, Duncan Idaho who, in the novel more of a devil-may-care type person, Princess Irulan who was hardly in the novel at all, but in the sequels a far less intelligent and much weaker character, and Leto Atreides who, in the book a charismatic but cold and calculating leader.  In the end, it seems while Harrison was fairly successful at transferring the major characters to the screen, he failed miserably when it came to the secondary characters.

The script, dialogue-wise, is close to the book.  Most people, after watching the miniseries, seem to comment mostly about the changes in sayings or quotations from the novel to the miniseries such as the repetition against fear, and the "When religion and politics ride in the same cart." , and that is a valid complaint.   Not only were these quotations needlessly changed, but the originals often sounded better.  Also in the script are many lines that were carried over straight from the novel into the miniseries.  Lines such as "they tried and died" (Herbert 13) and "Is it not a magnificent thing that I, the Baron Vladimir Harkonnen, do?" (Herbert 14), are direct lifts from the novel to the film, along with countless other lines.  However, it must be noted that David Lynch's script actually used far more of these lines taken directly from the novel, but unlike Lynch's script, the lines that are taken from the novel in Harrison's miniseries seem to flow more freely and are not nearly so obvious, although there are those that would disagree with that, and believe that in both the movie and the miniseries the dialogue was horrendous (Baker).  

Story-wise, most of the large elements of the plot have remained.  In return, a whole new sub-plot has been added.  This new sub-plot also happens to be the most heavily criticized part of the entire miniseries. The addition of it makes the scenes that were in the novel and omitted from the miniseries even more obvious to fans of Dune.  This new sub-plot in the miniseries focuses on the character of Princess Irulan Corrino, who in the novel is seen only as the author of passages of books which are quoted before each chapter of the actual novel. These passages are supposedly written years after the events of the novel.  She also appears at the very end of the novel, but has no dialogue. During these added scenes she also replaces two other characters in the book:  One, the daughter of wealthy water merchant, who is involved in short lived conspiracy to capture Paul by luring him with sex, and the other being the Lady Margot Fenring, who in the novel warns Paul’s family through a hidden message about a traitor among them.  She is also the wife of one of the most influential characters in the book, even though he himself only is in two scenes of the novel.  In replacing the daughter of the water seller, the small conspiracy involving the attempt to capture Paul is eliminated from the film, and in replacing Margot Fenring, not only is her warning to the Atreides omitted from the film, but also is a bit of foreshadowing and characterization for Paul, which showed the difference between the Atreides and Harkonnen, the villains of the novel.  Margot's husband, Hasimir Fenring, who, as stated earlier, was one of the most important characters in the book, is in the miniseries, but his importance is greatly diminished.  In the novel he is a "potential Kwisatz Haderach", but due to some genetic engineering that left him a eunuch, he failed (Herbert, 473). He is the most dangerous man in the universe and the only one who could kill Paul.  It has been argued that the real climax of this book is not the fight between Paul and his cousin, Feyd Rautha Harkonnen, but between Fenring and Paul, as Fenring decides whether or not to kill the boy after the fight.  He decides, in the end, not to because "Here, finally, is a man worthy to be the emperor’s son." (Herbert, 487)  Another major omission from the story is Paul’s seemingly endless battle against what he sees as the inevitable future and his ultimate acceptance of it.  This future, of course being the jihad which would go on to kill over 90 billion people, all in his name.  This inner turmoil is seen a bit in the scene Sayyadina- The Consecration (scene 26, Muad'Dib), but only for a few short moments, and the Jihad itself is only mentioned in The Test (scene 3, Dune), and then only in passing.  In the novel Dune Paul’s battle with the Jihad   is one of the major focuses, as it is the key to the survival of the human species.  It is rather disconcerting to see it minimized so much in the miniseries.  Another eliminated story element is the reason behind the Emperor's betrayal of the Atreides.  In the novel the reason the Baron is given, and that several of the Atreides suspect, is that the Emperor moved against the Atreides because the Duke was becoming a very popular man in the Landsraad.  This is also the reason used in the miniseries (An Elegant and Vicious Plan, scene 6, Dune).  In the novel, though, this is a lie.  The Emperor actually moved against the Atreides because they had managed to train a small fighting force that was "within a hair" (Herbert, 374) as good as the Emperors Sardaukar terror troops.  This scene adds yet another level to the already complex political machinations in the novel, and the deletion of it serves to simplify the story somewhat.  Another couple of deleted sub-plots include: Feyds gladiator fight, where he and Thufir orchestrate a plot to turn Feyd into a hero, and Feyd wonders if Hawat is going to betray him with his own plot within a plot and have him killed.  Hawat and Gurney's exchanging of information through smugglers. Piters having to decide which he wants more: The Lady Jessica or the planet Arrakis.  A huge section of Paul and Jessica's escape from the Harkonnens, including a mid-air fight in an ornithopter, and attempted rape, Duncan arriving to rescue them more than once, and leaving again.  Duncan destroying a large Harkonnen force using a body shield, the whole Fremen and Sardaukar rivalry (in the novel the Fremen are already better fighters than the Sardaukar, the Fremen respect the Sardaukar ability to fight, and the Sardaukar hate the Fremen and begin a program on Arrakis against them), the use of artillery and the Fremen attempts to capture them, the capture of Thufir Hawat and the price of the Fremen loyalty to him, which includes the water of a dead Atreides soldier, the importance of the constellation Maud'dib which, due to a continuity error, is also referred to as a shadow in the first moon called Maud'dib, the image in the second moon of a fist and it's religious significance, the inner conflict Paul is experiencing between his love for his mother and his hatred of what he perceives she did to him, this anger he has for her can be seen in several scenes, such as The Legend of the Kwisatz Haderach, scene 12, The Prophet but is never verbalized as it is during several of Paul’s prescient visions in the novel.  

In the end, Harrison does seem to have tried to import the book onto the screen.  In many ways he is successful.  He just was not successful enough.  While he succeeded in transferring the main characters to the screen, he failed in transferring the secondary characters.  While he succeeded in keeping the basic story of a young boy who becomes a messiah, he failed to keep such important aspects of the story like the importance of ecology, the book was originally going to be a story about an ecologist, and is dedicated to ecologists.  While he managed to keep religion as one of the most important parts of the story, he failed to show the results of this religious fanaticism, the Jihad, which is one of the most important aspects of the novel.  While he managed to import some lines from the novel into the miniseries, he needlessly changed others for no apparent reason.  In the end, while Harrison did a decent job at keeping the miniseries true to the book and making it an entertaining miniseries, this is still merely an "adaption".  It is not the book on film, like Harrison claimed with the title.  It is not Frank Herbert’s Dune, it is John Harrisons Dune.   The only way we could ever see Frank Herbert’s Dune is if Frank Herbert himself directs his famous novel.

Work Cited

Baker, Kage. “Letter to Mervius”, http://www.kagebaker.com/ January, 2001.

Clemmenson, Christina. "FilmTracks." http://www.filmtracks.com/titles/dune_tv.html.. Web. 26 May 2010.

Harrison, John, dir. Frank Herbert's Dune. Adapt. John Harrison. New Amsterdam Entertainment, 2000. DVD.

Herbert, Frank. Dune. New York: The Berkley Publishing Group, 1965. Print.

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Reviewing The Film The Land Of Eyes English Literature Essay

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The Land Has Eyes is a film by a Rotuman filmmaker who is also an anthropologist at the University of Hawaii. The film begins with a scene that describes the founding of the island where a group of people comprised of seven brothers and one sister is shown arriving at the island of Rotuma. One of the brothers has raped the sister and she is abandoned on the island with very little in the way of provisions although she does have a couple of breadfruit trees and a suckling pig. The brothers then leave the island and state that they are heading for Fiji. The story continues and this sister who we now know as a Warrior Woman, ruler of the land and the sea, is pregnant with the child resulting from the earlier rape between her and her brother. The film notes that future generations of women on Rotuma will carry her mana and spirit.

After this first scene, the film shifts the focus back to the present day lives of a family that lives on the island. The main character is a young girl named Viki and the film intensely reveals the everyday lives of Viki and her family. The family seems to be working mainly as wage laborers collecting coconuts and then using the copra meat inside to sell for funds upon which to live. It also seemed apparent that there was also an aspect where the father also may have been a tenant farmer because the neighbor made mention of 'how do you get rid of a neighbor you don't like? You take him to court for filching coconuts!' This actually happens in the movie and the father is found guilty of taking the coconuts by the colonial administrator due to the erroneous translation provided by the friend or cousin of the neighbor who accused Viki's father. This then results in the father and the family being disgraced in the eyes of the community with a conviction ending up with a rather heavy fine of ten pounds. The remainder of the movie shows what happens to Viki after her father dies and she wins a scholarship to go to school in Fiji as a result of her hard work in studying at the local school.

This film has a fairly substantial number of instances where the cultural traditions of the island of Rotuma are the focus of the film. In one scene, I believe the father states that our ancestor says 'The land has eyes and teeth, and knows the truth.' By this statement, it appears that the father is referring to the fact that even if the rest of the community believes that he is guilty of the transgression of stealing the coconuts, the land knows what really happened and will in a way protect him and his family from this unsubstantiated accusation. In the end, the land will take action to revenge the illicit actions of his neighbor who is attempting to get him off his land by making him unable to pay the fine which will result in the loss of the land.

The character of Viki fairly often seems to channel or talk to the Warrior Woman as a way in which to deal with the various trials and tribulations of daily life that she has to deal with both within and without her family ranging from her relationships with the teacher at school, her friends around the neighborhood, her siblings and family, as well as the problems of a young girl who is maturing and becoming a woman. This sort of communion or prayerful communication with the Warrior Woman spirit is a way of responding to the troubles that Viki finds both herself and her family in as the result of other's actions in the film.

Another example of cultural traditions as shown in the film arises when the girl Viki tries to talk to her father about appealing the court's or rather, the Administrator's order of a fine of ten pounds because she knows that the translator, Poto, has lied and feels that the father needs to take action to retrieve his good name in the community. The father responds that 'I've been shamed enough!! We'll deal with this the Rotuman way!' By this, it seems to mean that the father will rely on the cultural traditions or the spirits of the ancestors to resolve this situation of his unjust accusation of having stolen the coconuts.

One more instance of cultural traditions being shown in the film seemed to be the importance of the relationship between the brother and Viki. They seemed to have a special relationship where the brother-sister bond was very special as has been demonstrated in class when discussing these types of relationships in the cultures of the Pacific. The brother always seemed to be looking out for Viki and when he got in a fight over the false accusation where he was defending his father, Viki was right there to help him both by trying to pull the other guy off the brother but also by consoling him after the fight was concluded.

Just prior to the wedding scene and during it, there were also several occasions where you could observe cultural traditions at work. One of these involved the old woman coming to the father to borrow money and the staff for the wedding. She needed money for a costume and the father readily gave her quite a sum which the wife objected to somewhat strenuously. The old woman also made note of the importance of the staff by saying 'The staff is the last one on the island' and you could tell its importance to the old woman and the high level of desire she had to have its use at the wedding. The father, more or less, tells the wife that it is his obligation to help his relative by letting her borrow the money and staff and he does not seem disturbed, as the wife is, that he will be giving a small sum to the church. At the wedding itself, there are some cultural traditions that are shown including the scene where both the bride and groom are being bound in the preparations for the wedding. Also, there is an occasion at the wedding where the old woman makes the chief kneel down in front of her which is supposed to be a reference to remind the Chief to the link to the Warrior Woman who is the founding spirit of the island.

One final use of cultural traditions in the film was shown where the mother was training one of the daughters to do the traditional duties of a woman in the domestic area while the other daughter, Viki, who was good at school was being prepared to go away to Fiji so that perhaps she could one day be a high wage earner and help to support the parents after they reached old age. However, the early death of the father seemingly negated this aspect of the planning. Although it must be said, the mother herself would still need to be supported once she became an old woman and Viki's schooling would certainly help with this necessity.

Overall, there are many instances in this film that disclose the cultural traditions of the island of Rotuma. These range from the wedding ceremony antics, the brother-sister relationship, the calling upon the Warrior Woman in times of need, and the ceremonies that were used during the scene at the gravesite when the father was buried.

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Thier Eyes Were Watching God. Essay

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language arts

Their eyes were watching god essay

Love and indepence

Love and Independence, a division between together, and alone. In the book "their eyes were watching god" Janie shows her strong and her dependent side several times through out the story. Most of the time one may see that ilove can't ever be, but Zora shows a diffrent view to the situation. Zora neale Hurston introduces a diffrent way of seeing the importance and strength of love and independence by giving the character janie a sense of power and knowledge.

Janies ideal thought of a love is a "pear tree" a perfect, romantic time. Zora neale hurston shows through out the story of what janie's thought of a love story was. Janies first marridge was a disaster , she didnt really love her first husband, the relationship was forced on her by her grandother. She had no other choice but to marry him , she tried really hard to make it work out but it was impossible her "pear tree" just wasnt blooming , the love wasnt real. Janie says "The vision of Logan Killicks was desecrating the pear tree but Janie didn’t know how to tell Nanny that. She merely hunched over and pouted at the floor." (Their eyes were watching God, Zora Neale Hurston; 2. 39) According to janie her whole image of love is being destoyed by logan.

Janie leaves Logan for a better representative for her "pear tree" but something in her mind is telling her that he is not really the one ,but is better than what she had before. "Janie pulled back a long time because he [Joe] did not represent sun-up and pollen and blooming trees, but he spoke for far horizon. He spoke for change and chance." ( Hurston, 4.28) Logan shows Janie a new begning, a fresh start. Janie moves to the new town that her husband joe built. Mrs Starks has everything she could possibly want a shop of her own, a town, lots of acres of land, but still no real love and affection. Janie enjoys all of the funny talk and over exaggerated...

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Analysis of Compound Crusher Market Strategy

Mining machinery industry is an important pillar industry of the national economy, and as the construction of mining equipment and materials processing equipment in transportation, infrastructure, real estate and industrial raw materials and other industries industry it provides a large number of basic industrial raw materials and products for the rapid development of social economy. So mining machinery industry is not only an important foundation for establishing an independent industrial system, but also is an important symbol of social comprehensive industrial development power.
Compound crusher equipment is one of mining machinery industry and also occupies a very important position in the market. Dozens of different equipments such as Combination crusher , Jaw crusher , spring cone crusher , Impact crusher , compound cone crusher and so on are indispensable in deep processing of raw material of scoal, electricity, building materials and other fields, and also provide based technology equipment support for the railway and highway construction, water conservancy construction, municipal engineering contruction ,etc.
There appears the mineral market weakness and mineral prices sharply felling after the state steps up to the market at the national regulation of mineral resources.Because ad valorem tax will improve the industrial chain of resources exploitation and production cost, thus to curb demand and encourage energy conservation, at the same time, it helps to improve the efficiency of resource exploitation and utilization. From this point of view, implementation of the reform of resource tax will have a great impact on mining machinery, crusher equipment and other patterns.
From this, in order to get better development compound crusher enterprises grasp new market direction accurately, continue to extend "integrated" industrial chain, expand "diversification" marketing strategies deeply, improve quality of products and technical services and increase

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Ghuuytn

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Report

1. Each and every company have their own strategy, policies, culture and organisation. Size of a company may vary but they have their own working environment, structure, technology and people. Every time, it is not sure that the company will lead to success or goes towards failure. The activity of the company or the ratio of profit and loss of the company fluctuates because of the rules and regulations, employees’ expectation, competition, market condition, etc. So to achieve our goal we cannot simply stick into the previous style of management or the same daily activities.   In this case, we need ‘change’.
Change is another way of adjusting company’s strategy, its culture, structure and the technology. There are lots of reasons for change in the company. There can be an external or internal reasons for change. External reasons can be:
* Market condition
* Technology
* Government rules
* Economics
Besides, internal reasons are:
* Technology and equipment
* Employee behaviour
* Strategy
* Workforce
These changes can be adjusted in structure, i.e. design of jobs , authority, in technology, i.e. work methods and in peoples’ behaviour, expectations and attitudes.
I am an owner of small cleaning business which operates under the rules and regulations of NSW government, Australia. There are total five numbers of employees working under my company. As it is a small company and owned by me, I am the manger and supervisor for all of my five employees. I am running my company since past three years. Everything   was well operated. But then I have notice various factors are affecting my company because of the competitions of the other cleaning company in the market which are using latest machines and introducing new trainings to create experience cleaners.   As a result , most of my customers have reduced hours for my contract. Due to this, my employees and myself have been directly affected. Besides, as most of my employees are an overseas...

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