Perspective of Nick Carraway, Narrator of F. Scott Fitzgerald’s The Great Gatsby :: The Great Gatsby F. Scott Fitzgerald

Narrator's Perspective in The Great Gatsby  Ã‚     Ã‚  Ã‚   Nick Carraway has a special place in this novel. He is not just one character among several, it is through his eyes and ears that we form our opinions of the other characters. Often, readers of this novel confuse Nick's stance towards those characters and the world he describes with those of F. Scott Fitzgerald's because the fictional world he has created closely resembles the world he himself experienced. But not every narrator is the voice of the author. Before considering the "gap" between author and narrator, we should remember how, as readers, we respond to the narrator's perspective, especially when that voice belongs to a character who, like Nick, is an active participant in the story.   When we read any work of fiction, no matter how realistic or fabulous, as readers, we undergo a "suspension of disbelief". The fictional world creates a new set of boundaries, making possible or credible events and reactions that might not commonly occur in the "real world", but which have a logic or a plausibility to them in that fictional world. In order for this to be convincing, we trust the narrator. We take on his perspective, if not totally, then substantially. He becomes our eyes and ears in this world and we have to see him as reliable if we are to proceed with the story's development.   In The Great Gatsby, Nick goes to some length to establish his credibility, indeed his moral integrity, in telling this story about this "great" man called Gatsby. He begins with a reflection on his own upbringing, quoting his father's words about Nick's "advantages", which we could assume were material but, he soon makes clear, were spiritual or moral advantages. Nick wants his reader to know that his upbringing gave him the moral fiber with which to withstand and pass judgment on an amoral world, such as the one he had observed the previous summer. He says, rather pompously, that as a consequence of such an upbringing, he is "inclined to reserve all judgments" about other people, but then goes on to say that such "tolerance . . . has a limit".   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   This is the first sign that we can trust this narrator to give us an even-handed insight to the story that is about to unfold. But, as we later learn, he neither reserves all judgments nor does his tolerance reach its’ limit.

Hamlet, Prince of Denmar Essay

Hamlet, Prince of Denmark, by William Shakespeare, tells the morbid tale of a young man’s quest for revenge. Set in Denmark during the Middle Ages, the play chronicles the assassination of a king and his brother’s usurpation of the throne and insinuation into the king’s old life, to the point of marrying the king’s own widow. Hamlet, the young prince, is charged by his dead father’s ghost to bring his uncle to justice and restore the rightful crown. When Claudius, Hamlet’s uncle, comes to the realization that his young nephew has uncovered his murderous conspiracy, he resolves to assassinate the young prince as well. However, when his attempt to have Hamlet executed in England is foiled, he must find another means to surreptitiously remove the threat to his kingship. After Hamlet accidentally kills Polonius, Claudius’ chief counselor, Polonius’ son is filled with rage, resulting in Claudius concocting a plan to match Hamlet against Polonius’ son, Laertes, in a duel to the death. II. THEME The theme primarily seen throughout the play Hamlet, Prince of Denmark is one of dilemma and indecision. This theme is reiterated often in the play, habitually in situations surrounding young Hamlet himself, due to his immaturity and inexperience. This is demonstrated as early as the opening of the play, in which Old Hamlet’s ghost appears to Hamlet. Hamlet’s difficulty in determining the difference between appearance and reality causes him to question whether the ghost is really a good spirit, or a devil trying to trick him. † Angels and ministers of grace defend us! — / Be thou a spirit of health or goblin damn’d, / Bring with thee airs from heaven or blasts from hell, / Be thy intents wicked or charitable, / Thou com’st in such a questionable shape† (Ham. I. iv.623-627). This theme can also be seen in Act III, Scene iii, in which Hamlet is debating on whether to truly kill Claudius or to spare his life. Hamlet is at the point of deliberation as he sees his uncle kneeling in prayer and remorse, and thus, vulnerable. â€Å"Now might I do it pat, now he is praying; / And now I’ll do’t;–and so he goes to heaven; / And so am I reveng’d. –that would be scann’d:† (Ham. III. iii. 2350-2353). However, at that very moment, Hamlet wavers and begins to have misgivings about doing the actual deed. â€Å"But in our circumstance and course of thought,/ ‘Tis heavy with him: and am I, then, reveng’d, / To take him in the purging of his soul, / When he is fit and season’d for his passage? / No† (Ham. III. iii. 2360-2363). Another example of this theme is seen during one of Hamlet’s darkest hours, in which he is disenchanted with life since his father’s death, as well as disgusted with is mother’s hasty marriage to Claudius. To Hamlet, these momentous events have degraded the Danish court. Hamlet’s strongest impulse to kill himself to avoid debasement, and yet, he fears the damning consequences of suicide. â€Å"To be, or not to be,–that is the question:– / Whether ’tis nobler in the mind to suffer / The slings and arrows of outrageous fortune / Or to take arms against a sea of troubles, / And by opposing end them? –To die,–to sleep† (Ham. III. i. 1710-1714). A minor theme in Hamlet, Prince of Denmark is remorse. In Act III, Scene iii, Claudius reveals his profound guilt about his crime, and states that he will never be able to seek God’s forgiveness for it. â€Å"My fault is past. But, O, what form of prayer / Can serve my turn? Forgive me my foul murder! — / That cannot be; since I am still possess’d / Of those effects for which I did the murder,† (Ham. III. iii. 2327-2330). This minor theme can also be noted when Hamlet regrets not telling Ophelia that he really did love her when he stumbles upon her funeral in Act V, Scene i. Earlier, he had insulted and rejected Ophelia during one of his bouts of madness. â€Å"I lov’d Ophelia; forty thousand brothers / Could not, with all their quantity of love, / Make up my sum. –What wilt thou do for her? † (Ham. V. i.3466-3468). III. DICTION In the play Hamlet, Prince of Denmark, William Shakespeare utilizes an assortment of vivid images to describe certain objects. This enables the reader to form a clear mental picture of what is happening in each scene and of what had happened in the past. †¦ in my imagination it is! my gorge rises at it. Here hung those lips that I have kiss’d I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? quite chap-fallen? Now, get you to my lady’s chamber, and tell her, let her paint an inch thick, to this favour she must come; make her laugh at that (Ham. V. i. 3375-3381). Shakespeare also makes good use of idialect in the play, which is particularly seen in Hamlet’s involvement with the gravediggers. â€Å"A pickaxe and a spade, a spade / For and a shrouding sheet; / O, a pit of clay for to be made / For such a guest is meet† (Ham. V. i. 3283-3286). These terms are expressions that are commonly used in the mortuatory business. Due to the fact that the play was written centuries ago, the language of the play contains a large amount of poetic diction, with antiquated pronouns as well as inverted sentence order, such as seen in â€Å"‘Tis now struck twelve. Get thee to bed, Francisco. / For this relief much thanks: ’tis bitter cold, / And I am sick at heart† (Ham. I. i. 11-13). Precise, exact meanings are used when describing scenes, as well. This is clearly seen in Act III, Scene ii in which the actors are reenacting Old Hamlet’s poisoning by Claudius. â€Å"Neptune’s salt wash and Tellus’ orbed ground, / And thirty dozen moons with borrow’d sheen / About the world have times twelve thirties been, / Since love our hearts, and Hymen did our hands, / Unite commutual in most sacred bands† (Ham. III. ii. 2023-2027). The use of diction greatly contributes to the subject and theme of the play, as well. The use of vivid images, as well as precise, exact meanings enable the reader to visualize the action that is taking place in each scene as well as understand the relationships that are occurring in the play. The inverted word order and use of antiquated pronouns help the reader picture a forbidding time period as well as visualize the conspiracies hatching around Denmark. Why, let the strucken deer go weep, The hart ungalled play; For some must watch, while some must sleep: So runs the world away. – Would not this, sir, and a forest of feathers–if the rest of my fortunes turn Turk with me,–with two Provincial roses on my razed shoes, get me a fellowship in a cry of players, sir? (Ham. III. ii. 2142- 2150). IV. TONE The major tone of Hamlet, Prince of Denmark is ominous. With the play opening in the dead of night at the walls of Elsinore Castle, the reader can immediately sense the gloom, uncertainty, and anxiety that hangs over the kingdom of Denmark. It seems that everyone is aware of the terrible evil that surrounds the monarchy, particularly all of the circumstances that led to Claudius’s coronation. The threatening possibility of further evil to descend upon the kingdom is unconsciously on the minds of every character within the play. Minor tones can be sensed throughout the story during certain areas. A feeling of morbidity can be felt while looking at specific sections of the story. This gruesome feeling is often felt in association with the scenes involving death, such as the graveyard scene in which the gravediggers are chuckling and singing as they dig Ophelia’s grave. Irony is also another minor tone that can be found in several areas of the play. Hamlet truly loved Ophelia, and, by a twist of fate, he also caused her death in a roundabout way, in the murder of Polonius, whose death so depressed Ophelia that it lead her to insanity, and ultimately suicide. Irony is also especially evident in Claudius’ death, in which he was forced to die in the same manner that he had planned for Hamlet. V. SYMBOLISM Different symbols represent different universal meanings in life and in the story. The most obvious symbol in the play is the poison that is used by Claudius in the murder of Old Hamlet. Poison is also used on the tip of Laertes’ sword and in Claudius’ drink in another attempt to assassinate Hamlet. This poison could also be seen as a symbol of the death and corruption spreading throughout Denmark as a direct result of Claudius’ rule. Another symbol seen in the play is the murder of Old Hamlet by his own brother, Claudius. The death of Old Hamlet by Claudius traces back to the time of the first murder between brothers, and shows a religious parallelism in going back to the story of Cain and Abel. Flowers are common enough in the play, but daisies hold a special meaning as well. Ophelia’s ‘mad scene’ is a scene which is full of flowers. In particular, however, she gives a daisy to Hamlet’s mother, Gertrude, which symbolizes faithlessness, in reference to Gertrude’s marriage to Claudius less than two months after her first husband’s death. Upon his suspicion of Claudius’ involvement in Old Hamlet’s death, Hamlet is struck with the inspiration to have actors reenact the death of his father in order to observe Claudius’ reaction. When the moment of his father’s murder is in the theater, Claudius is compelled to leave the room, and the play that the actors perform is symbolic of the guilt that Claudius feels. Perhaps the most famous of all symbols in the play Hamlet, Prince of Denmark is the skull of the king’s former jester, Yorick. Hamlet holds a few sentimental memories of the jester, who used to give him piggyback rides and play with him. Yorick’s death gives Hamlet an opportunity to contemplate human mortality, as well as remind him that life is not all pessimistic and glum and that there was a happier time in his life. VI. SPEAKER In Hamlet, Prince of Denmark, the speaker is in the third person. The author, William Shakespeare, is unnamed and uninvolved. The speaker does not have an active role within the story, yet is omniscient of everything that is occurring within the context of the play. VII. STRUCTURE Within Hamlet, Prince of Denmark, Shakespeare uses chronological order. The play begins with Hamlet discovering that the ghost of his father has been spotted wandering Elsinore castle, and ends with Hamlet avenging Claudius for the death of his father as well as his own death. Although references are made to events that have occurred in the past, such as the murder of Old Hamlet, these events are revealed as the past. Hamlet, Prince of Denmark, written by William Shakespeare, is a paperback book consisting of 342 pages. The front cover depicts a man in the foreground, presumably Hamlet, with the image of a lady in the background, presumably Ophelia. The play consists of five acts, with as little as two scenes and as many as seven scenes within an act. VIII. Imagery William Shakespeare’s play Hamlet, Prince of Denmark includes a wide variety of figurative language that helps the reader visualize the story and to guide in the understanding of the plot and the characters. Similes are used frequently throughout the play; the author uses similes often in describing objects around the scene, such as, â€Å"By the mass, and ’tis like a camel indeed† (Ham. III. ii. 2249). Irony of situation is also used in the story. For example, throughout the last half of the play, the reader is aware of Claudius’ plot to assassinate Hamlet by planting poison inside a goblet of wine, and assumes that Hamlet will be poisoned and die. However, in reality it is Claudius and Gertrude who drink the poison instead â€Å"No, no! the drink, the drink! –O my dear Hamlet! — / The drink, the drink! –I am poison’d †¦ Here, thou incestuous, murderous, damned Dane, / Drink off this potion. –Is thy union here? / Follow my mother† (Ham. V. ii.3788-3810). Alliteration is also used in the play by Hamlet. For instance, he refers to his â€Å"long life† (Ham. III. i. 69). and a â€Å"bare bodkin† (Ham. III. i. 76). An obvious and famous antithesis that can also be found in the play is the line, â€Å"to be or not to be† (Ham. III. i. 58), in which two opposites are juxtaposed next to each other for a dramatic effect. Metaphors were also used to imply comparisons between certain objects. This is clearly demonstrated in Act I, Scene ii during Hamlet’s soliloquy where he is comparing his own flesh to melting ice. â€Å"O that this too too solid flesh would melt, / Thaw, and resolve itself into a dew! † (Ham. I. ii. 312). The play also includes several soliloquies by Hamlet in which he is conversing with no one in particular save himself or the audience. During one long monologue, he is agitated and visibly upset over his mother’s marriage to Claudius and addresses the heavens â€Å"Like Niobe, all tears;–why she, even she,– / O God! a beast that wants discourse of reason, / Would have mourn’d longer,–married with mine uncle† (Ham. I. ii. 333-335). To help the reader understand certain situations and see circumstances from his point of view, Hamlet described certain objects with human characteristics, such as in â€Å"She married:– O, most wicked speed, to post / With such dexterity to incestuous sheets! † (Ham. I. ii. 340-341). Hyperbole is the use of figurative language that greatly exaggerates facts; for example, at Ophelia’s burial, Hamlet and Laertes are arguing and Hamlet calls for â€Å"millions of acres† (Ham. V. i. 3478) of earth to be piled onto all three of them. The phrase â€Å"Tis an unweeded garden,† (Ham. I. ii. 19). is the beginning of a conceit that extends throughout the book. Shakespeare is comparing Denmark to Eden, relying on the theme of corruption and how it spreads from the head monarch of Denmark (Claudius) throughout the entire court. IX. Genre The Handbook to Literature states that a revenge tragedy is a â€Å"form of tragedy made popular on the Elizabethan stage †¦ largely Senecan in its inspiration and technique. The theme is the revenge of a father for a son or vice versa, the revenge being directed by the ghost of the murdered man†¦ (440). The play Hamlet, Prince of Denmark perfectly fits this description in that Hamlet literally is the son that is directed by the ghost of his father, Old Hamlet, to avenge his death and bring Claudius to justice. Hamlet seeks revenge for the death of his father, which leads to much bloodshed and violence later in the play. According to The Handbook to Literature, a Senecan tragedy †¦ combined native English tragic tradition with a modified Senecan technique and led directly toward the typical Elizabethan tragedy†¦ though reflecting nsuch Senecan traits such as sensationalism, bombast, and the use of the chorus and the ghost, departed from the Senecan method in placing the murders and horrors on the state, in response to popular Elizabethan taste†¦ (472). This genre is also greatly accentuated in Hamlet, Prince of Denmark, particularly towards the climax of the play during the duel between Hamlet and Laertes, in Act V, Scene ii, which leads to the dramatic, and somewhat sensationalized, deaths of Hamlet, Claudius, Laertes, and Gertrude onstage. X. Metrics Hamlet, Prince of Denmark is a play that primarily uses blank verse. The Handbook to Literature defines blank verse as â€Å"unrhymed but otherwise regular verse, usually iambic pentameter† (62). The four lines below are spoken by Hamlet as be deliberates on whether to commit suicide or not. To be, or not to be: that is the question: Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles, (Ham. III. i. 1710-1714). These lines are written in iambic pentameter, although each of these lines contain an extra unstressed syllable at the end of each line. The majority of the play uses blank verse. However, there are certain areas in Hamlet, Prince of Denmark that employ prose in order to show intense feeling, as demonstrated in Act II, Scene ii. â€Å"†¦ l tell you why; so shall my anticipation / prevent your discovery, and your secrecy to the king and / queen moult no feather I have of late,–but wherefore / I know not,–lost all my mirth, forgone all custom of exercises† (Ham. II. ii. 1340-1343). Prose is also commonly used for expressing madness.

Sexual Harassment in Malaysia - Free Essay Example

Sample details Pages: 5 Words: 1359 Downloads: 1 Date added: 2017/06/26 Category Law Essay Topics: Sexual Harassment Essay Did you like this example? SEXUAL HARASSMENT IN MALAYSIA Sexual harassment is a serious offense, such offense often happen to woman especially in a workplace where majority employees are male or often the employer to the female worker is a man. In Malaysia, sexual harassment victims are usually the female workers. Sexual harassment could be anything from a verbal harassment, making inappropriate remarks, suggestion inappropriate stuff towards a female employee. Don’t waste time! Our writers will create an original "Sexual Harassment in Malaysia" essay for you Create order Sexual harassment could also be persistent flirting and making distasteful inappropriate body contact like light touching, pinching, patting, hugging and fondling. It is surprise to know that Malaysia does not have a law specifically for combating sexual harassment in workplace until the amendment done on Employment Act 1955 in 2012. Before that, sexual harassment is governed by a code of practice called the Code of Practice on the Prevention and Eradication of Sexual Harassment in the Workplace. This code of practice was introduced by the Ministry of Human Resources after the issue of sexual harassment has reached to its peak, forcing the authority to come out with this solution as the only law before this code is Section 509 of the Penal Code which reads à ¢Ã¢â€š ¬Ã…“Whoever, intending to insult the modesty of any women, utters any words, makes any sound or gesture or exhibit any object, intending that such word or sound shall be heard, or such gesture or object shall be seen by such woman, shall be punished with imprisonment for a term which may extend to 5 years or with fine, or with bothà ¢Ã¢â€š ¬Ã‚ . Section 509 Penal Code only deals with sexual harassment in the physical aspect, that means making inappropriate remarks does not amount to sexual harassment.[1] Clearly by the enforcement of this law alone is not sufficient to combat this issue and eventually pressured the Ministry to produce such code of practice. This Code offers a much more practical rule for employers and employees to follow in the protection of the employee from sexual harassments. This Code also provides a far wider definition of sexual harassment. It is stated in article 4 of the Code that à ¢Ã¢â€š ¬Ã…“Any unwanted conduct of a sexual nature having the effect of verbal, non-verbal, visual, psychological or physical harassment: that might, on reasonable grounds, be perceived by the recipient as placing a condition of a sexual nature on her/his employment; or that might, o n reasonable grounds, be perceived by the recipient as an offence or humiliation, or a threat to his/her well-being, but has no direct link to her/his employmentà ¢Ã¢â€š ¬Ã‚ .[2] This definition is indeed an improvement compare to the Penal Codeà ¢Ã¢â€š ¬Ã¢â€ž ¢s Section 509 which only covers physical aspect of sexual harassment, by this Code, those suffers from verbally harassment and psychological harassment are protected. Furthermore, this Code had distinguished sex harassment into two categorized which is sexual coercion and sexual annoyance. According to article 5 of the Code of Practice on the Prevention and Eradication of Sexual Harassment in the Workplace, sexual coercion is where an employer took advantage of his or her position to coerced the employee for sexual favors which if the employee refuses to execute those favors might be put in a position where they loses their job or benefits in the workplace. As for sexual annoyance, ità ¢Ã¢â€š ¬Ã¢â€ž ¢s where the victim is subject to offensive harassment which causes annoyance for the victim and it distracts the victim from performing their job properly. This category usually falls between employee to employee and sometimes between client to employee.[3] This Code also provides protection for employees outside of the workplace due to the job requires the employee to work outside. Article 6 of the Code explains that circumstances under which such employment-related sexual harassment may occur incorporates, yet is not limited to: (i) at work-related social capacities; (ii) over the span of work assignment outside the working environment; (iii) at work-related meetings or preparing sessions; (iv) throughout work-related travel; (v) via telephone; and (vi) through electronic media Next, after the introduction of the Code, another problem arose which is that the Ministry has no legal force to pressure all companies into adopting the Code, thus the amendment to the Employment Act 1955 was proposed by the Ministry of Human Resource in 2010 to give legal backing to the Code to combat sexual harassment more effectively and to give legal acknowledgement of the sexual harassment outside of workplace.[4] The proposal was to amend the Section 2 of the Employment Act 1955 to introduce a new definition for the term sexual harassment into as any unwanted behavior of a sexual nature, whether verbal, non-verbal, visual, gestural or physical, steered at an individual which is infuriating or humiliating or is a threat to his prosperity emerging out of and over the span of his employment. This definition is different compare to the definition given in the Code of Practice on the Prevention and Eradication of Sexual Harassment in the Workplace which reads à ¢Ã¢â€š ¬Ã…“any unwanted conduct of a sexual nature having the effect of verbal, non-verbal, visual, psychological or physical harassment: that might, on reasonable grounds, be perceived by the recipient as placing a condition of a sex ual nature on her/his employment; or that might, on reasonable grounds, be perceived by the recipient as an offence or humiliation, or a threat to his/her well-being, but has no direct link to his/her employment.à ¢Ã¢â€š ¬Ã‚ [5] Plus the proposed amendment plans to include Section 81G which will enforce on all employee under any contract of service. In addition, the proposed of Section 81B, makes it a compulsory responsibility for all employers to set up a channel to investigate all allegations regarding sexual harassment between employees and employers.[6] This section also demands that a complaint is to be inquire in a manner prescribed by the Minister. The proposed amendments of Employment Act 1955 demands that the employers whom failed or refused to investigate the complaints made, the employers must within 30 days let the person who made the complaints the reason why the complaints was not investigated in written form. This proposed amendment is a very positive proposal , it could effectively help the victims that did not get closure over the harassment that happened to them, an explanation to the victim could help them not feel like injustice has been done upon them. In 2012, finally, the amendment has pass through the Parliament and was enacted in 1st April 2012, a new law on sexual harassment was introduced where an employee can make a complaint against another employee or against the employer, the new law also allows the employer to made sexual harassment complaint against their own employees as well. The new laws had made it compulsory for the employers to investigate all the sexual harassment complaints and impose punishment to the employee if found guilty.[7] Conclusion is, Malaysiaà ¢Ã¢â€š ¬Ã¢â€ž ¢s sexual harassment law are in slow pace in the growing process, more can be done to provide better protection against sexual harassment. Such amendment on the Employment Act 1955 are just a small step into protecting the people and it is a positive beginning on the betterment of the laws of sexual harassment. [1] Lee Li Hoong (2011). Dealing with Sexual Harassment in the Workplace. [ONLINE] Available at: https://www.skhttps://www.skrine.com/dealing-with-sexual-harassment-in-the-workplacerine.com/dealing-with-sexual-harassment-in-the-workplace. [Last Accessed 24 April 14]. [2] Kementerian Sumber Manusia (2014). CODE OF PRACTICE ON THE PREVENTION AND ERADICATION OF SEXUAL HARASSMENT IN THE WORKPLACE. [ONLINE] Available at: https://www.mylabourlaw.net/quick-guides/36-sexual-harassment.php. [Last Accessed 24 April 14]. [3] Kementerian Sumber Manusia (2014). Code Of Practice on the Prevention and Eradication Of Sexual Harassment In the Workplace. [ONLINE] Available at: https://www.mylabourlaw.net/quick-guides/36-sexual-harassment.php. [Last Accessed 24 April 14]. [4] Alagappar, P.N. Marican, S, (2013). Media Coverage of Sexual Harassment in Malaysia: A Content Analysis Case Study. International Proceedings of Economics Development and Research. 64 (4), pp.17-21 [5] Kementerian Sumber Manusia (2014). Code Of Practice on the Prevention and Eradication Of Sexual Harassment In the Workplace. [ONLINE] Available at: https://www.mylabourlaw.net/quick-guides/36-sexual-harassment.php. [Last Accessed 24 April 14]. [6] Ismail, M.N. Lee, K.C. Chan, F.B., (2007). :Factors Influencing Sexual Harassment in The Malaysian Workplace. Asian Academy of Management Journal. 12 (2), pp.15-31 [7] T. Balasubramaniam (2012). LABOUR LAW AMENDMENTS: Little awareness of changes. [ONLINE] Available at: https://www.nst.com.my/opinion/letters-to-the-editor/labour-law-amendments-little-awareness-of-changes-1.73562. [Last Accessed 25 April 14].

Mass Incarceration And The People Church - 3627 Words

Mass Incarceration and the People Church. The Solution for Mass Incarceration in the US. â€Å"I’m not racist, I’m colorblind†. To many people, racism had ended since the civil right movement, when we no longer accept Jim Crow’s ideology. Nowadays, many people in our society believe that racism is no longer a problem of our society. They believe that people are no longer being judged base on the color of their skin, but it is based on their skills, their characteristic. It is the false belief that race is no longer exist and that people are treated equally in our society with President Barack Obama or Oprah Winfrey as an example. However, people don’t realize is that racism is still exist inside America. As President Barrack Obama says, â€Å"racism deeply rooted in America†. In fact, ignoring race doesn’t end the problem of race since the problem doesn’t get addressed as racial problem, but rather the problem of the individual. In other words, the society fails to reco gnize the existence of racism. It fails to recognize the fact that racism has become the system of America. More importantly, racism has become the controller of our criminal justice system. Instead of crime control, the justice system has become a system of racial control. It has become the new tool for the White Supremacist to maintain its power. Incarceration is no longer the issue of crime, it has become the racial issue. That being said, it’s the People Church that has the power to resolve this problem. It is theShow MoreRelatedMass Incarceration And Its Effects On Society1492 Words   |  6 Pages (The Editorial Board) The standard way of thinking about mass incarceration has it that mass incarceration is putting a stop to crimes. Today it has become common to dismiss the truth about mass incarceration. 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The church reaches out to individuals from all backgrounds, as demonstratedRead MoreThe Topic Of Religion ( A Focus On Pastafarians ) Rough Draft729 Words   |  3 Pagesbeen adopted by teenagers, pranksters, atheists, and true-believers alike. The church’s website, venganza.org states â€Å"Some claim that the church is purely a thought experiment, satire, illustrating that Intelligent Design is not science, but rather a pseudoscience manufactured by Christians to push Creationism into public schools. These people are mistaken. The Church of FSM is real, totally legit, and backed by hard science. Anything that comes across as humor or satire is purely coincidental.† It of

The Tragic Hero Of Euripides Medea - 1080 Words

Nafisa Asad Honors English II Melie Period 5 Tragic Hero in Euripides’ Medea Aristotle cites that, A man cannot become a hero until he can see the root of his own downfall. Consistent to Aristotle’s characteristics of a tragic hero, the tragic hero must fit the requirements of being noble and employed in a high standing position of society. There should be a tragic flaw that ultimately leads to his downfall, and those reading the play must feel pity for this character as he goes through necessary changes as a result of his flaw. Aristotle illustrates a tragic hero as one who falls from grace into a state of acute misery. In Euripides’ Medea, the tragic hero is Jason, a man of noble birth who falls from being honored and respected due to a flaw in his character, that flaw being adultery. His adultery leads to terrible outcomes, the deaths of many people, and his loss of all the things he loved.His character is an excellent example of the heroes who rise high, then ultimately fail due to their own nature. By the end of the play he realizes his er rors and becomes negligible. Some may argue that Medea is the tragic hero in the play, but this reasoning is flawed because Medea has no single flaw, she has exuded a sadistic nature from the start, from her actions involving the Golden Fleece to her killing her own offspring. Jason suffers from the fatal flaw of adultery that ultimately destines him for ruin, making it is clear that he serves as the tragic hero in Euripides Show MoreRelatedThe Concept of the Tragic Hero: an Analysis of Jason and Medea in Euripides Medea1442 Words   |  6 PagesIn ‘Medea’, Euripides shows Medea in a new light, as a scorned woman that the audience sympathises with to a certain extent, but also views as a monster due to her act of killing her own children. The protagonist of a tragedy, known as the Tragic Hero is supposed to have certain characteristics which cause the audience to sympathise with them and get emotionally involved with the plot. The two main characters, Medea and Jason, each have certain qualities of the Tragic Hero, but neither has them allRead MoreThe Concept of the Tragic Hero: an Analysis of Jason and Medea in Euripides’ Medea’1429 Words   |  6 PagesIn ‘Medea’, Euripides shows Medea in a new light, as a scorned woman that the audience sympathises with to a certain extent, but also views as a monster due to her act of killing her own children. The protagonist of a tragedy, known as the Tragic Hero is supposed to have certain characteristics which cause the audience to sympathise with them and get emotionally involved with the plot. The two main characters, Medea and Jason, each have certain qualities of the Tragic Hero, but neither has them allRead MoreThe Tragedy Of Medea By Sophocles1611 Words   |  7 Pagesthe many tragedies that Euripides provides us with, I chose the tragedy of Medea to further analyze, and present a strong argument for why I think Aristotle would find Medea a top-notch tragedy. 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However, there are so many different authors with different interpretations of the tragic hero, that to define the tragic hero with merely four traits is not plausible. Aristotle def ines the tragic hero in a way too simple manner. Aristotle’sRead MoreJason and Medea Essays893 Words   |  4 PagesThe Chorus delivers these final lines of Euripides’s Medea, â€Å"†¦the end men look for cometh not, / And a path is there where no man thought; so hath it fallen here.† (Euripides, 80) This quotation not only signifies the events, which have transpired in the plot of Medea, it also shows the recognition of a very curious aspect of Medea: that the protagonist of the play, Medea, is not the tragic hero. A tragic hero by Aristotelian standards is one who possesses a driving aspect– or hamartia – whichRead More A Tragedy Makes A Hero Essay1019 Words   |  5 PagesA Tragedy Makes A Hero Show me a hero and I will write you a tragedy. 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She fits in between the lines of a â€Å"good† character and â€Å"bad† characterRead More Medea as Woman, Hero and God in Euripides Play Essay2139 Words   |  9 PagesMedea as Woman, Hero and God In Euripides play the title role and focus of the play is the foreign witch Medea. Treated differently through the play by different people and at different times, she adapts and changes her character, finally triumphing over her hated husband Jason. She can feasibly be seen as a mortal woman, Aristotles tragic hero figure and even as an exulted goddess. Medeas identity as a weak woman is emphasised at the very start of the play. It is made very clear that

Investigate the ways in which hip hop music appeals to male and female audiences Free Essays

string(75) " records in the first place \(artists such as Snoop Dogg, The Notorious B\." Investigate the ways in which hip hop music appeals to male and female audiences, with reference to 50 cent’s Amusement Park, attempting to account for its popularity despite its sexist representations of women In this essay I shall be investigating the ways in which hip hop songs appeal to both male and female audiences, with specific reference to Amusement Park (released May 8, 2007) by 50 cent (real name Curtis Jackson), and its music video. I will attempt to account for the huge popularity of this artist, and others of the genre, despite the apparent sexism displayed in his songs. Firstly I shall look at how hip hop has gone from primarily an underground phenomenon to having mainstream status, as recounted by Bakari Kitwana (2005). We will write a custom essay sample on Investigate the ways in which hip hop music appeals to male and female audiences or any similar topic only for you Order Now From when hip hop originated, it was always an alternate culture for black youngsters to turn to. During the late 1980s economic recession, many Americans were still living in poverty: unskilled workers faced poorer wages than before, resulting in a sense of alienation from mainstream America. Although they had achieved equality in legal status, there were still plenty of economic and social problems facing black youth. Not only was hip hop an artistic way of expressing and making public these issues, but also provided a sense of culture those less privileged. Concerns could be voiced through the medium of music and radio stations, which, although primarily were by and for black people, still very much of the white working class population, who were also facing similar problems and suffering from the same detachment from the mainstream. In the late 80s powerful black icons began emerging, such as Michael Jordan, Oprah Winfrey, and major bands like Public Enemy who produced ‘politically charged lyrics, criticism of the media, and active interest in the concerns of the African American community’1. It soon became hard for white audiences to ignore hip hop culture. The East-West coast feud between artists from either side of America, leading to the eventual murders of Tupac Shakur and the Notorious BIG also brought both urban issues and its music in to public light. Gangster rap was a predominant subgenre which was responsible for expressing shocking views (notably rap group N. You can read also Audience Adaptation Paper W. A. ‘s F*** tha police) and portraying the more violent and misogynistic side of hip hop culture. While it still receives a lot of backlash, hip hop has become increasingly mainstream and popular. One way to account for the popularity of â€Å"Amusement Park† is to look at the representations of women in the video on its own, and to draw conclusions from those alone. The girls are shown against a very minimalistic background, only with the â€Å"ride† which they are on. This puts the focus on to their bodies and faces, increasing our sense of their sexuality. Both the shots of the girls and their poses are explicitly constructed, as their poses are unnatural and staged. They often look directly in to the camera, suggesting an awareness of the audience’s voyeuristic perspective. A shot which specifically give a sense of degradation is one in which a girl is shot almost directly from above, her body twisted unnaturally on the ground, looking on command as the camera focuses on her. This appeals to the male audience by making them feel that the girl is putting out her sexuality for the benefit of the viewers i. e. he individual watcher. It might seem that this video is primarily aimed at males however; the huge success of 50 cent in the mainstream implies that his apparent misogyny is not only accepted but embraced by a large audience. One explanation would be to accept the belief of female sexuality being masochistic, and that the gratification a female gets from the video is that of relating herself to the girls in the video who are enjoying being a sexual object. However, French feminist Luce Irigaray questions the idea the traditional view of female sexuality: †¦ omen in the sexual imaginary of Western culture have always been a male fantasy; hence maschocism is something forced on women by culture, not a quality inherent within them. Thus, women don’t define their own sexuality, desire, or pleasure2. If we bear in mind the amount of competition that is around now in the hip hop industry and the selection of media now readily available, through the wide range of music channel, and the relatively recent development of the ability to watch music on sites such as youtube and yahoo, audience could be said to become more active in the way they choose and thus perceive their media. Taking Irigaray’s perspective, female audiences do not necessarily need to read the text in masochistic way, and this broadening of choice in their media allows them to take an alternate stance on such texts: that of a more active one. If this is the case however, it does not necessarily mean that female audiences reject Amusement Park, only that there is room to interpret the representations in a more ironic way and as I shall discuss later on, the text itself encourages this type of reading. The next issue I shall look at is the extent to which 50 cent is taken as a serious role model by his audiences. His background would imply that he is the stereotype of gangster: his mother gave birth to him at 15, was involved in cocaine dealing, and was murdered at the age of 23. 50 cent himself began dealing in crack/cocaine and taking guns to school. Before the release of his first album with Columbia Records, he survived being shot 9 times, including once in the mouth, which led to him being dropped by the record company. This would seem highly ironic, given that to a large extent the idea of an authentic gangster was what selling rap records in the first place (artists such as Snoop Dogg, The Notorious B. You read "Investigate the ways in which hip hop music appeals to male and female audiences" in category "Papers" I. G and Tupac Shakur had a history of crime and drugs; and the murders of the latter two helped to bring hip hop in to mainstream media). It is interesting to ask whether it was the songs that consumers were buying and continue to do so, (his debut album, get rich or die tryin’ selling 12 million albums worldwide) or the now glamorised image of celebrity gangster which is currently present, despite the fact that he currently lives in an $18,500,000 Mansion. He himself admits to the fact that his image portrayed in his music is separate from him as a person: †¦ all the things I say are good, if you watch what I do. What I say on record is entertainment; but what I’m actually doing with my life and the things I’ve had the opportunity to do is what makes me inspiring3 Although evidently he has achieved a great deal for himself, in the media he rarely expresses himself personal side, and even has made attempts to reinforce his gangster image, and example being: I’ve been in situations where either it was me or somebody else, and I handled my business. 4 (2003) However, in the later interview he does deny any assumptions: †¦ people associate me with gun violence, when I was the one who got shot5 This suggest that Curtis himself does have an expectation that audiences will be able to distinguish between his image portrayed in the media, and the reality of his life, but does little to counteract the negative images. Is he also being naive in thinking that the audience will automatically realise this, and not model his violent and sexist lyrics? There is clearly some sort of awareness in public audiences, both black and white, as shown by findings by the Black Youth Project: Over half of youngsters between the ages of 15 – 25 strongly agree with the statement that â€Å"Rap music videos portray Black women in bad and offensive ways. 6 The huge success of 50 cent however, seems to contradict this, which would seem to imply that audiences are in fact able to separate this misogyny from the rapper himself. However, it could also be argued that this is merely a way of excusing such portrayals. Considering the artist’s earlier works, such as Get in my car containing t he lyrics â€Å"I got no pickup lines / I stay on the grind / I tell the hoes all the time / Bitch get in my car† and the highly pornographic music video for Disco Inferno, it is harder to take such things lightly. A widely quoted statistic is that 70% of hip hop consumers are in fact white. Although it is interesting to note that no accurate source has been cited for this statistic, hip hop is undeniably a prominent part of mainstream white music culture. Before, when the genre was a political move as much as it was a music genre, a chance for black underprivileged youth to voice their concerns for the culture, it was something that both black and white people could understand in relation to their own lives. The current state of hip hop is that we ‘look through the keyhole into a violent, sexy world of â€Å"money, ho’s and clothes†Ã¢â‚¬Ëœ as described by Justin Ross (2007). This may be an accurate description of the way that audiences perceive such videos, given that 50 cent’s music refers to neither the real problems, past or present, of black culture, nor to the life which Curtis leads. It would also account for the general acceptance of these representations, if the audience is distanced from what is shown in the videos: issues of sexism and violence are far less relevant outside black urban society and it is therefore easier for a white consumer to take the videos solely as entertainment. It is also important to remember that while the majority of hip hop artists are black, it is predominantly marketed and controlled by a white industry, as Bakari describes (p46) in which the importance of an authentic representation of black culture is of little importance compared with supplying the public with texts which they will buy in to, as evidently the sex appeal of the videos is an important aspect. The next thing I shall look at is the level of awareness of the sexism in both the video itself, and the audience it is aimed at. There are many shots which suggest that the images in it, and the lyrics, are not entirely sincere. This is evident in the shots of the girl sitting on a bench next to 50 cent. Unlike the rest of the images, she is not highly glamorised, and her actions appear to be a lot more naturalistic than the others. She directly reacts to his lyrics, often looking away smiling, as though amused by what he is saying. The title of the song could also be referring to 50 cent himself as a celebrity figure: that both his image and his songs are merely an â€Å"amusement;† not to be taken as serious. This creates a sense of bathos juxtapositioned against the more professional looking shots, so that the female audience can relate more to the women shown. Although taking up a lot less time in the video than the glamorised ones, it creates a distance between the hyperreality of the rest of the video, and the ordinary more down to earth shots, so audiences see the video more objectively. The shots of the girl lying provocatively on the car bear even less relation to the lyrics than earlier in the video, being more reminiscent of a car commercial than a music video. The car itself is briefly but distinctly focused on, which makes reference to the importance of money and material values which are present in not only video, but the whole hip hop industry. This hints at the suggestion that both the girls and their representations are merely a product of this, and therefore are not in fact serious degradations of the women. In this shot we see a girl, while impressed; rolling her eyes at the artist at the lyrics â€Å"You know it’s no fun without the magic stick†. In this sense the girls are in fact the more active ones in the video, whilst 50 Cent mostly maintains his position as an entertainer. Instead of them covering the whole screen, two similar shots of the same girl are often slid in from either side against a plain black background, sometimes overlapping each other. Whilst in one sense emphasising the importance of the girls’ bodies, it also is highly self aware as product, as by seeing two separate views of one scene, it reminds us that it is a construction. Instead of taking itself too seriously, it makes explicit its intention of providing a sex appeal. A less prominent but important character in the video is the girl dancing acrobatically, and the only girl who is represented by her skill rather her sexuality – the camera barely focuses on her face. On the surface, she seems to represent an entertainer at a fair (the bright flashing lights help to anchor this meaning), but it is possible to decipher alternate readings of her: certain comparisons can be drawn between the actions of 50 Cent and herself. She and he are the first people we see in the video, and she appears immediately after the artist announces himself: â€Å"50† and â€Å"Ferrari F-50†. The setting she is in is almost identical to that of 50 Cent’s. At times her dance moves mirror the lyrics of his, for example at â€Å"You fear heights when I’m high hell yeah I go low†, she can be seen to do exactly this. In another shot she briefly does a boxing punch, followed by a similar view of 50 Cent looking macho. At the lyrics â€Å"yeah it’s like that† she mimes as though saying the words herself. In this sense she is the female counterpart to 50 Cent, and could be said to hold the power, in that she has little direct engagement with the audience, while Curtis has to explicitly put on an act to keep is position as an entertainer. This could allow women to from the perspective of her instead of the rapper, and thus 50 Cent himself becomes the object of the video instead of the subject. As previously discussed, the initial purpose of this media text is to sell 50 Cent’s music, and this is done by providing the audience with representations they are familiar with: a stereotypical ‘gangster’, highly sexed girls, and also to be considered is the artist’s own sex appeal. Firstly, the subject of the song itself is 50 cent inviting girls (the audience) to attend his â€Å"amusement park†, and the lyrics describe the activities available to those who go, thus partially placing him as the object of desire. He is shown later in the song without a shirt on, with lighting focused in such a way that highlights his muscular physique. An important issue is that of whether hip hop should be censored, else voluntarily toned down. In April 2007, a controversial incident occurred, involving Don Imus, the presenter of his radio show, which already had a reputation for its crude humour. In discussing a black female basketball team, he referred to the players as ‘nappy headed hos’. After floods of outraged complaints, his show was permanently removed from air, prompting wide discussion over the standards in the media, often with reference to hip hop. 0 Cent himself was involved in the subsequent discussion, but refused to agree to clean up his lyrics, using a politician involved in adult dating websites to make comparisons between standards in hip hop and that in supposedly higher society. While this may be true to some extent, it firstly does not provide a justification in itself; but also it is debatable as to how much of what he said was his own opinion and how many were prearranged arguments by his manag ers (in the video he can be seen grinning in long pauses after phrases such as â€Å"I personally believe†). On the subject of Master P, who made the decision to stop using sexist and violent lyrics, he replies â€Å"Well Master P doesn’t sell CDs anymore†7. From this, and other interviews where he has put the focus on that of entertainment, one could draw the conclusion that the artist in fact, as Amusement Park suggests, concerned with little other than the money involved in the business. In defence to his own lyrics, 50 Cent has also expressed his irritation of apparent double standards in the media, in reference to Britney Spears’ single ‘Gimme more’8 beginning with the lyrics ‘it’s Britney, bitch’. While it may appear to be merely a sore complaint, it is certainly valid to discuss the treatment of women in other areas of the media, and by women themselves. The music video of the song in question consists of Britney Spears, wearing little more than underwear, dancing round a poll in a seedy setting. Similarly, in ‘Dip it Low’ by Christina Milian, the artist is seen allowing herself to have black paint poured over her semi-clothed body, whilst a group of men stand at the side watching and jeering: the presentation of women apparent in male hip hop videos is not a unique one. In all aspects of the media girls are presented, more than anything, by their sexuality and appearance, which can be found in adverts in women’s magazines, stereotypes in film and television (a notable example being Desperate Housewives), car adverts, drink adverts. Although elevated within the genre, this representation could be described as a reflection of attitudes prevalent in both the media and in society and therefore not so shocking to audiences. Another issue described by an internet blogger9 is that by shutting sexism and violence portrayed in hip hop music, it is shutting off a fundamental way of keeping these issues in the eye of the public. He quotes that the leading killer of African Americans is homicide; and that males are five times more likely to be killed than their white counterparts. These issues will still exist even in the absence of offensive hip hop. While this certainly an interesting point, hip hop paradoxically glorifies the very things which it makes an issue of. While artists like 50 Cent may primarily be driven by selling as many records as possible, he still in one sense continues to represent issues which would otherwise be forgotten, if only in a postmodern way. Therefore, in order for hip hop to serve this purpose, it is essential that audiences neither directly embrace the values shown in the videos, nor take it as purely entertainment, as Amusement Park evidently does allow us to do. However, audiences could be said to be becoming increasingly desensitised to these things, with violent films and video games and the huge availability of pornography through the internet, which would make this reading more difficult to achieve. Whether or not the sexism and violence in hip hop is justified or not, if audiences were to take a more active role in their media, it would simultaneously prevent potential influence from such songs, and also make thorny issues in black society more accessible to deal with. How to cite Investigate the ways in which hip hop music appeals to male and female audiences, Papers

A Streetcar Named Desire Condeming Those Who Treat Others With Harshn Essay Example For Students

A Streetcar Named Desire: Condeming Those Who Treat Others With Harshn Essay ess andCrueltyA Streetcar Named Desire: Condeming Those Who Treat Others With Harshness andCrueltyOne of the main themes expressed by Tennessee Williams in his play, A StreetcarNamed Desire, is to condemn those who display cruelty and harshness in theirtreatment of others, especially those who are weak and vulnerable. Threecharacters who demonstrate these insensitive qualities are Blanche, Mitch, andStanley. Whether the cruelty is deliberate or not, it results in thedestruction of others, both physically and mentally. Blanche Dubois, the central victim of mistreatment in the play, was herself,dealing out her share of insensitivities during her younger days. When Blanchewas 16, she had a very handsome lover named Allan Gray. She was very much inlove with him and decided to marry him. But by total surprise one night,Blanche found her lover in bed with another man. She tried to pretend thatnothing had happened. However, she was unable to hold what she saw inside, andtold Allan I saw, I know, you disgust me( p.96). To Allan, Blanche seemed tobe a person who accepted him for who he was in a society where homosexuals arediscriminated against. What Blanche said completely devastated Allan and hefound no reason to continue living. Although Blanche had no intentions ofhurting Allan, enough damage was done to prompt Allan to shoot himself, his mindand body destroyed. The harsh treatment dealt by Mitch to Blanche near the end of the play isstrikingly similar to Blanches treatment of Allan Gray. Mitch is a friend ofStanleys whom Blanche falls for during her visit to New Orleans. Therelationship between Blanche and Mitch had been developing steadily. Bothcharacters felt the need to settle down in life and both saw the image ofmarriage at the outcome of their relationship. It did seem as though the imagewould become reality, until Stan interfered. Stan filled Mitchs mind withunfavourable stories of Blanches checkered past and the relationship quicklyturned sour. Mitch had not believed Stan at first, but when he receivedconfirmation of the truth to Stans accusations, he became heart-broken andenraged. Mitch goes to confront Blanche personally and accuses her of being aprostitute and lying to him. Mitch also says that Blanche is hiding something,as he has never seen her in broad daylight. He then tears the paper lantern offthe light bulb, representing a tearing away of Blanches shield from realism. Blanche admits to the accusations but reasons that she has changed her ways andnever did lie in her heart. Mitch appears to forgive her as he goes to kissBlanche. But in the midst of the embrace, Mitch blurts out, Youre not cleanenough to bring in the house with my mother (p121) This outrages Blanche, whokicks Mitch out of the house. Just as she was to Allan Gray, Mitch appeared tobe her salvation, but when Mitch exposes her vulnerability, she essentiallybecomes broken down mentally. While Mitch delivers the blow that mentally destroys Blanche, it is Stanley, hercruel brother-in-law who orchestrates Blanches downfall with no remorse. First,he digs up all the negatives from Blanches past and hints to Blanche that heknows stories about her, making Blanche feel scared and insecure. Then Stanleyproceeds to spread the news to Stella and Mitch, Blanches two closest people inthe play; One of whom (Mitch) , turns on her. Then, on Blanches birthday,Stan surprises Blanche with a presentbus tickets back to Laurel. The ticketsimply to Blanche that she has worn out her welcome, and makes her feel extremelyuncomfortable. After the incident with Mitch where Blanche becomes mentally andemotionally battered, Stan comes to inflict more damage to her. Stan, knowingthat Blanche would be making up stories about her supposed lovers (ShepHuntleigh) to salvage her pride, pretend to play along with the charade. Heasks peculiar questions that force Blanche to a point where she could no lo ngerkeep up her act. Then, to deliver the ultimate insult to Blanche, Stanleybrutally rapes her, causing Blanche to go insane, totally destroying her. .u99a3e709ef67325a93d6ca6835d2c448 , .u99a3e709ef67325a93d6ca6835d2c448 .postImageUrl , .u99a3e709ef67325a93d6ca6835d2c448 .centered-text-area { min-height: 80px; position: relative; } .u99a3e709ef67325a93d6ca6835d2c448 , .u99a3e709ef67325a93d6ca6835d2c448:hover , .u99a3e709ef67325a93d6ca6835d2c448:visited , .u99a3e709ef67325a93d6ca6835d2c448:active { border:0!important; } .u99a3e709ef67325a93d6ca6835d2c448 .clearfix:after { content: ""; display: table; clear: both; } .u99a3e709ef67325a93d6ca6835d2c448 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u99a3e709ef67325a93d6ca6835d2c448:active , .u99a3e709ef67325a93d6ca6835d2c448:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u99a3e709ef67325a93d6ca6835d2c448 .centered-text-area { width: 100%; position: relative ; } .u99a3e709ef67325a93d6ca6835d2c448 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u99a3e709ef67325a93d6ca6835d2c448 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u99a3e709ef67325a93d6ca6835d2c448 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u99a3e709ef67325a93d6ca6835d2c448:hover .ctaButton { background-color: #34495E!important; } .u99a3e709ef67325a93d6ca6835d2c448 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u99a3e709ef67325a93d6ca6835d2c448 .u99a3e709ef67325a93d6ca6835d2c448-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u99a3e709ef67325a93d6ca6835d2c448:after { content: ""; display: block; clear: both; } READ: Educational Psychology EssayAs shown, vulnerable people who are victims of vicious and cruel treatment feelincredible pain inside and outside when abused. Their minds are like time bombs,ready to go off when the pain becomes unbearable. Unfortunately, there are toomany insensitive people around who fail to see their cruel nature in treatingpeople. Until things change, society can not be deemed a safe place for thevulnerable and fragile.