Thought Fox

Fox: What do you mean? Starting with an interpretation of â€Å"The Burnt Fox,† and going on to an analysis of the poem, aim to figure out what exactly might be the relation of poem to dream, dream to poem. Refer closely to both, quote, and analyze what you have quoted, in support of your argument. In the year of 1952, Ted Hughes was a second year student at Cambridge University. For the first two years of his schooling he studied English in hopes to become a poet. However during his time there he had a profound experience. For quite some time Hughes was working on a paper over the lasting contributions of Samuel Johnson but had only ever been able to wright one sentence. The night before the paper was due for his English teacher he gave up and went to sleep. That night he had a very graphic and disturbing dream about a fox. In his dream he was still sitting at his desk trying to write his paper. He looks over at the door and a fox face peers. The fox stands about five or six feet of the ground on two legs and is as large as a human. However, one of the more disturbing parts of the fox is that it is burnt and â€Å"smoldering all over as if it just escaped from a furnace† (Rees 2009; 3). The fox walks over to Hughes and puts its paw, which looks like a human hand at this point, on the blank page. He smears blood on the page and says, â€Å"You are killing us†. Hughes studied English in school so he could become a poet or creative writer. However, his studies never seemed to be geared in such a manner. The burnt fox dream here is a cry for help. Hughes seems to be splitting his own self by not being able to do what it is he loves. The strict writing style that’s expected of him is not in his true nature. The fox, his inner self, in the dream is dying because Hughes’ has to stifle or suppress his real identity. The stereotypical archetype of the fox is wit. Wit and knowledge are closely related. Here the fox is clearly burring, representing the destruction of knowledge. Through the further examination of the Thought Fox, the poem he wrote after his dream, we can see that it is very closely related to the dream through deep symbolism. After this dream Hughes changed his study major to anthropology and archeology. This important change in his life sparks this poem. In the first sentence he sets the time at midnight. This word is very powerful. Midnight is a time that’s neither night nor day. It’s a transition period, which is important to this poem as there is a transition being made in the author life. The next line reads something else is alive. I feel like this is playing on something that is distantly known to Hughes. Perhaps it could be the creativity that he knows he possesses but that he has lost somewhere. In the end of the first stanza he talks about the blank page where his fingers move. Here I feel it doesn’t represent anything but, it is more of the literal blank page that he was trying to write his English paper on. At the beginning of the second stanza the poem starts to become not only personally deep but also slightly dark. There are two pieces of symbolism here that invoke a strong emotional response. He see(s) no stars through the window. This is a metaphor for a lack of hope. Stars give off light and light can be easily seen as hope. Hughes is thoroughly crushed by the pressure of the essay he’s been struggling with. The window is the reader’s way of seeing into Hughes’ more personal self and deepest feelings. If we go through the window, at first we can only see the darkness of his loneliness, which he explains throughout the rest of the second stanza. Next we see a fox. Hughes thought it was very important to understand nature if we wanted to understand ourselves. He even wrote a whole series of poems on animals. All of which have extraordinarily spiritual meanings that relate to everyday human life. The image of a fox's nose touches twig, leaf is presented to us. This is a beautiful scene that can only take place in nature. Hughes is trying to reconnect with his spirit animal, the fox, by connecting with nature. He is trying to find his primordial self; his true nature. This true nature is his creativity. Then it’s almost as if he has connected when he expresses that the moment is viewed through the fox’s eyes: two eyes serve a moment that now, and again now, and now. The word snow is seen again for the second time in the beginning of the forth stanza. Here it can be interpreted in two ways. On one hand we can view the fox literally as it sets neat prints into snow as he walks or on the other hand the snow could be seen as the blank page he’s trying to work on. After this entence though, the poem gets even blacker again. Hughes uses a lot of words in the next three lines such as lame, shadow, hollow, lags, and stump. These words all have a negative connotation that come with them. There is an immense amount of struggle and pain that the author is dealing with. However after the fox leads the readers through the forest the pain and evil of the darkness seem to leave. Itâ €™s almost as if we, the readers, have come upon a literal clearing in the fifth stanza. It seems to be viewed through the eye of the fox again with extreme pleasure. Words like greenness and brilliance can be easily categorized as something that is seen in a positive light. There are contrasting feelings in stanza four and five. As Hughes moves form one view to the other we can see the deep spiritual transition from anger and sadness to happiness and relief. It’s almost as the fox has been the guide in the journey to an enlightening experience. From here we can determine that it is not a literal clearing we’ve come to but a clarity in the since of a new state of mind. Hughes has realized that his current studies are crushing him and he knows he has to change. However in the last four lines there is a clear warning that is given by the Burnt Fox. The poem seems as if it were to end in a joyous manner. However, the Burnt Fox sneaks, as foxes often do, into the hole of the head, back into his thoughts and create the since of doom again. There is now the same lack of light from the stars, the same lack of hope. The sharp hot stink of the fox is a strong reminder that he must change his life before he destroys himself. The poem ends with the page is printed. Printing ink on a page is a very permanent action. So permanent that it could symbolize the sealing of one’s fate. If Hughes didn’t change the current suppression of his inner self he could permanently damage himself. Hughes’ work is very symbolic and can be interpreted in many ways. When comparing the Burnt fox to the Thought fox many connections can be made. The readers can clearly see the pain Hughes was hiding. It is very important as we move through our lives that we stay true to our inner nature if we wish to be happy.

Dr. Faustus as a Tragically Flawed Character Essay

It seems impossible to define Dr. Faustus, from Christopher Marlowe’s play â€Å"Doctor Faustus,† as being anything other than tragically flawed. Faustus is not evil, foolish, or rebellious. Faustus’s flawed nature rests solely on his own prideful, overly-ambitious ways. Even so, the question still remains as to whether or not such an all-encompassing flaw should result in the damnation of one’s soul. Faustus is obviously confused as to the nature of religion, but attempting to justify Faustus’s punishment through any sphere other than religion would be improper considering the implications of the play. While Faustus’s punishment is obviously upheld by the Christian religion, his behavior, in a moralistic fashion, suggests that his soul is not deserving of such damnation. During the initial Prologue, the Chorus, reminiscent of earlier Greek tragedies, prepares the reader for the tragic story of Dr. Faustus, a man whose â€Å"swollen and cunning† ways lead to his inevitable downfall (Prologue. 20) . Faustus, who eventually will â€Å"mount above his reach†, is compare to Icarus from Greek mythology who flies too close to the sun and drowns (Prologue. 21). The Chorus tells us that this is most assuredly not a story about â€Å"pomp of proud audacious deed,† but of a man whose ineptitude leads to his eventual fall from grace (Prologue. 4-5). The Prologue serves to begin the story by focusing on Faustus, comparing him to any other tragic hero of Greek literature, and letting the reader know that even though they may sympathize with Faustus position, he is essentially damn for the beginning of the story. Because of the inclusion of a Chorus it the play, Marlowe is reiterating the fact that Faustus should still be considered a tragic hero. Like Achilles, Faustus has a flaw that will lead to his demise, but the damnation of Faustus would be the equivalent of damning great Greek heroes such as Achilles or Hercules. As Faustus’s character is revealed through his initial speeches in the first chapters, his flaws of pride and ambition become apparent. Faustus begins by contemplating the merits of various forms of science. He deems the study of rhetoric, medicine, and religion to all be unworthy subjects for a variety of selfish reason. Even when he decides to pursue a study of magic, he does so in hopes that magic make him â€Å"a mighty god† (1.62). This initial decision is instrumental in much of Faustus’s character development throughout the play. Faustus considers two important alternatives, the study of medicine to help people or the study of religion to learn of God. Faustus decides that neither of these goals is personally profitable for him at that time. His shortsightedness when deciding which subject to study is in direct correlation with his other various displays of pride and selfishness. Shortly after beginning his studies of dark magic, Faustus summons Mephistopheles, one of the demons at the service of Lucifer. Here and many other times throughout the play, Faustus displays signs of guilt and remorse, and even considers repenting of his misdeeds. Because of these various vacillations on the part of Faustus, many times throughout the play two angels, one good and one evil, appear to present arguments as to why Faustus should or should not repent. Even the early arguments that convince Faustus to enter into his pact with the devil are aimed at his ambitious pride, telling him he may one day be king of all Germany. Later in the play, he is convinced to remain in league with the devil because of all the money and riches he could make through his powers. Faustus proves that he is unable to consider the long term ramifications to his decision. Even when his own body revolts against the pact, congealing his blood to prevent his signature, Faustus seems unaware of the negative consequences of his actions. His lack of foresight has confined his logic to considering only the short term gains associated with this pact. In another particular instance, Faustus again shows uncertainty in his convictions toward the devil. This time, the simple arguments presented by his angelic representations are not sufficient to easy Faustus’s mind. In order to relieve his misgivings, the devil and his demons parade images of the Seven Deadly Sins before him. These sins, all representatives of tragic flaws themselves, encourage Faustus, and he delights in this parade. His enjoyment of the sinful display points to a need within Faustus to recognize tragic flaws or sin within others. He is reassured by this display because he sees a common connection with these other various sins, and is able to relate to them. Throughout the play, he continues to build himself up by seeking dramatic flaws in other characters. During a previous discourse with Mephistopheles, Mephistopheles tells Faustus that he is constantly â€Å"tormented with ten thousand hells in being deprived of everlasting bliss,† but Faustus only seems to delight in Mephistopheles admission of weakness (3. 77-80). Instead of recognizing Mephistopheles statement as a warning toward the horrors of Hell, Faustus chastises Mephistopheles for his lack of â€Å"manly fortitude† (3. 85). Faustus’s conversation with Mephistopheles reveals his own blinded nature. Even when presented with the raw, uncensored truth of Hell, Faustus is unable to comprehend the vital information that is being given to him. Faustus is too prideful, and here, as in the parade of sins, he reaffirms his own position by delighting in the infirmities of others. As Faustus wanders, displaying the powers that he has obtained from the devil, his inevitable demise becomes apparent. Initially, Faustus has high hopes of obtaining his lofty goals. He rides through the heavens in chariots drawn by dragons and is even able to confront the pope, but, as his time on earth begins to wane, his performances become less impressive. He has transformed from a hero with a tragic flaw into a comic display of simplicity and waste. Everything about him is rather unimpressive. He is reduced to playing pranks on horse-coursers and performing tricks for royalty. In Vanholt, he appears to be just another rouge or clown. As a response to his own demise, Faustus comments to himself, â€Å"What are thou, Faustus, but a man condemned to die? † (10. 24). While his flaws become more and more apparent throughout the play, the idea that Faustus deserves harsh punishment becomes more ambiguous as the play continues. Many of his tragic qualities seem to be the direct result of his inability to comprehend the true nature of God, as presented through the Christian faith. In his initial consideration of religion, Faustus is unable to focus on forgiveness or salvation, but only sees that all men are condemned to death for their sins. He is constantly reminded by his angel companions that God’s forgiveness is available to him if he only repents, but Faustus finds himself unable to do so. He confuses Mephistopheles statement that Hell is everywhere to mean that â€Å"hell is a fable† and simple a continuation of an earthly existence. Because of his apparent naivety toward religion, Faustus character is able to effectively question the legitimacy of his punishment, even though he has been warned of it consistently throughout the play. It is because of this ambiguity that Faustus is able to remain a sympathetic character. It is apparent from the beginning of the play that Faustus is a tragically flawed character, but, by its end, the reader must decide what becomes of a tragic character whose flaw prevents him from overcoming the need for grace and repentance in his life. Faustus is a character overcome by the expectations of grandness in his life and a pride that he will someday meet these expectations. Because Marlowe places Faustus within the context of a struggle between the acceptance and denial of traditional Christian values, the reader is forced to judge Faustus within the circle of Christian ideology. Faustus denies grace and, through this particular ideology, deserves the punishment of being condemned to Hell, but, in a strictly moralistic fashion, in may seem to many that Faustus has previously found his Hell on earth and is undeserving of an eternal damnation.

Notes – Belonging

English Related Texts Text 1: Text 2: â€Å"My Big Fat Greek Wedding† Text 3: Text 1: What does it convey about belonging? The image conveys the concept of not belonging. It conveys the idea that a sense of not belonging can cause feelings of frustration and confusion. The image also communicates the message that being different physically from what is accepted as the stereotyped norm can influence whether or not one belongs. It conveys the idea that a certain image is valued in our society and that everybody who does not fall into the stereotyped image is or can be socially rejected. Techniques: Salient image: the salient image is the three tall and thin women that appear to be rejecting the lady that is slightly shorter. The fact that the taller women are the dominating aspect of the image reinforces the idea that these types of women are valued with in our society. o Colour: the dominating women are wearing the colour red while the lady that is being rejected is dressed in the colour green. The colour red is represents beauty, power and passion. The fact that the colour red is worn by the dominating women reinforces the idea that these women are valued in our society.The woman that is being socially rejected is wearing the colour green which usually is a symbol of nature. The green implies that she is naturally beautiful. The image however conveys that her natural and inner beauty is rejected and she is looked down upon as her exterior image does not resemble that that is valued and accepted. o Symbolism: the three dominating woman are looking up, with their noses lifted up in the air. This is usually a symbol of superiority. They believe themselves to more significant than the other lady whom they are rejecting.This conveys that they perceive her as worthless, insignificant and inferior. It clearly emphasises the idea they do not accept her. o Text: the written text â€Å"Damn! Should have worn red†¦ † highlights the idea that not belongi ng causes feeling of frustration and confusion. It shows the viewer that she does not comprehend the reason for her rejection as she does not perceive her self as any different. It conveys that she believes that if she had worn red she would have been accepted into the group. Text 2: What does it convey about belonging?This text conveys that one will always feel a sense of belonging to family and culture to some extent regardless of the circumstances because family and culture shape your identity and are always with you were ever you go. It illustrates the idea that family, culture and beliefs all shape ones identity. It also conveys that sometimes, in order for one to belong within a certain group, they must make change to them selves in order to meet the expectations of the other group. Scenes: 1. Opening/ introductory scene 2.Tula meets Ian’s family 3. Ian’s family meets Tula’s family 4. The wedding ceremony. o Scene one: In this scene, we are introduced to T ula, the protagonist of the movie with her father Gus. From the opening line of the movie, it is clear to us that she has not fulfilled the expectations of her family and specifically her father. â€Å"You better get married soon, you look so†¦ old† her father tells her. The atmosphere represents the mood of Tula. It is raining heavily and dark outside, suggesting that she is discontent with her life.The techniques of flash back and voice over allow us to view Tula in her childhood. These collaboratively convey that as a child Tula was not accepted with her peers as she â€Å"[she] knew she was different from the other girls†. Her culture and significant different appearance was a barrier to her belonging with the other girls at school. Tula’s unacceptance had a profound impact on her as we can clearly see that she was envious of the other girls through â€Å"I so badly wanted to be like the popular girls†.The quotes â€Å"way past my expiration dat e† and â€Å"I have no life† emphasise the idea that Tula is not content with her life and suggest that she has no aspirations for the future. o Scene two: In this scene Tula is introduced to her boyfriend’s parents. Her boyfriend Ian is a non Greek that her family disproves of. Previous to this Ian showed Tula that he accepts her despite their cultural differences through â€Å"what’s there to work out? We’re not from different species†.This conveys that he perceives them as equal and does not discriminate against her due to her culture and family. In the scene where Tula meets Ian’s family we see the cultural difference is a major barrier to belonging. The awkwardness in this scene and the silence from both parties indicates that their cultural differences restrict them as it causes a lack of communication and understanding. They are unable to empathise with each other. The lighting is dim which further highlights the awkwardness and Tula’s discomfort. Scene three: in this scene, the difference between the two families is clearly illustrated. The close up of Ian’s parents when they first arrive at Tula’s house clearly conveys their shock, confusion and disturbance. This is due to the clash in their lifestyle and also because they were expecting a â€Å"quiet dinner [to] meet [her] parents† and instead find the whole family roasting meat on a spit in the front yard. The silence from Ian’s parents when Gus introduces his â€Å"family† conveys that they are speechless and further emphasises their shock.Repetitive close-ups of Ian’s family furthermore convey their shock and inability to comprehend some of the Greeks’ actions. At the end of this scene, we see Gus Portokalos’ perception of Ian’s family and his belief that it will not work between him and his daughter due to the clash in lifestyle as his parents they â€Å"look at [them] like [thei r] from the zoo† despite their kind actions towards them. o Scene four: It is during the wedding ceremony that the Miller family and Portokalos family finally accept each other.During this scene we see that Ian’s family are finally enjoying them selves as they no longer have a confused and surprised expression on their face. They have finally reached an understanding and came to the ultimate realisation that despite their cultural differences they are still the same and that Ian and Tula should be together. It is in this scene that we see that everyone belongs as they have bonded due to the love of Ian and Toula. The mid shot of Ian’s mother after Gus’ speech allows us to see her expression and reaction to the speech.We see that she has found humour in his speech and agrees that despite their differences they are still the same. Ian’s father tells Toula that it â€Å"is just a really nice wedding† which contrasts with his reaction to when he first saw the reception. The voice over of Toula at the end of this scene â€Å"my family is big and loud. but they’re my family†¦ and where ever I go, what ever I go they will always be there† conveys that she herself has finally come to accept her family, culture and traditions and she finally feels a sense of belonging towards them.Text 3: What does it convey about belonging? This image conveys the struggle for some to belong. It conveys that sometimes difference can cause unacceptance into some groups which ultimately leads to not belonging. Techniques: o Symbolism: The yellow duckling is the outsider. It is different to the others and thus does not belong. It is literally looking up at the other duckling suggesting that it figuratively looks up to them, envies them and admires them. It shows us they the little yellow duckling is struggling to fit in. Irony: the fact that the yellow ducking is not fitting in with the black duckling is ironic because it is usua lly the yellow ducklings that are the dominant group and the black one is classified as the â€Å"ugly duckling†. This reinforces the idea that being different will cause not belonging with another group. o Colour: The colour green on the other end of the ledge that that the black ducklings are walking on symbolises another side where it is better as the saying goes â€Å"the grass is greener on the other side†. On the other hand, the yellow duckling is stuck on the grey side and is struggling to move up.This conveys that while the dominant group will progress and move forward with their lives the yellow duckling will continuously struggle and be stuck. This conveys that not belonging can affect an individual in a negative way. o Symbolism: the dominant group is above the rejected duckling which symbolises that they are superior and more significant while she is below them. The fact that she is below them conveys inferiority further reinforces the idea that not belongi ng can have negative effects on an individual.

Corporate Governance & Ethics Case Study Example | Topics and Well Written Essays - 3500 words

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Lens Discussion - Research Paper Example The word lens was derived from a Latin word lentil since the shape of lentil has similar attributes to double-convex lens. According to Whitehouse (1999), it is believed that the oldest lens belonged to Ancient Assyria dating back 2700 years ago. Whitehouse also illustrated that the work of David Brewster of making a proposal of starting fires through a magnifying glass that concentrates sunlight, regenerated to evolution of the lens. Other historical records about the lens were retrieved in ancient Greece in a play called The Clouds by Aristophanes by mentioning about the burning glass. This statement referred to the biconvex lenses that were used to produce fire through creating a common focus of the sunrays. The work of Pliny the Elder also expressed the usage of burning glasses in the Roman Empire, especially after providing the descriptions of magnifying effects of the glass that was filled with water. Glick (2005) shows that lenses were widely used in Europe, especially after the invention of spectacle in Italy. This invention created a progressive nature of optical industry to use lenses, where other Western nations expanded the idea including Venice, Florence, Germany, and Netherlands. However, the optical industry created a room for invention of other technological advancements that changed the experimentation algorithms. For example, between 17th and 18th Centuries became a major progress for lens usage after microscope and telescope were invented. This caused the opticians to the draw board and came up with constructive lenses that formed the spherical figures in their surface and varying features of curvature. This led to the production of achromatic lens that is more compounded by Chester Moore Hall in 1733 at England. This led to improvement of experimental operations in biological, physical, and chemical analogies. Currently, lenses are spherical in nature, where both longitudinal

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Rubber Band Model of Communication - Essay Example The first scholar who attempted a communication model is Aristotle. Aristotelian view of communication influenced the perspectives of communication thinkers until the mid twentieth century. In the late 1940s, and through the 1950s and 1960s, a number of new communication models were advanced, most of them preserving the basic themes of the Aristotelian perspective. Later in 1949, Claude Shannon and Warren Weaver published a model that they called the "Mathematical Model of Communication." and later in 1954 he proposed an interactive model. In 1960 Berlo proposed the SMCR model. These models were considered the major linear models of communication. and Becker's Mosaic Model (1968). The others that invited attention of communication experts included the multidimensional models. The major contributions were Functional Model by Ruesch and Bateson (1951) and Transactional Model by Barnlund (1970). All these models contributed only to further the discussions and research of communication and proved different points of the communications process. (Jones & Jones, 1997) The Rubber Band Model of communication, as the term denotes uses the analogy of a rubber band. The elastic property of the rubber band is used to explain the communication process. ... The Rubber Band Model can be explained with the following diagrams. The figures Fig.1 and Fig.2 show the communication process as proposed by the Rubber Band model. Fig.1 shows a stretched rubber band. The black portion is the piece of rubber band and the dotted lines show it in the stretched position. If we consider the piece of rubber band as the message transmitted by the sender the stretched portion explains the transmission of the message. The elastic property of the rubber band can be attributed to the nature of the message, transmission process and the channel. If stretched further, the message will reach a different receiver. It requires a more elastic material (a strong rubber band or a lengthy one) to stretch to a considerable length. The process of communication is similar. If the message has to be reached to a wider audience it has to be powerful, or in other words a mediated communication has to take place which occurs only in mass communication. Similarly the stretched rubber band when released (See Fig.2) gets back to the previous destination, which also explains the feedback. Critique of the Rubber Band model of communication The Rubber Band model is a dynamic model when compared to the linear models of communication as it proves that message can be send to an intended direction. This helps to explain interpersonal communication as well as group communication. The elastic property of the rubber band and its analogy used in the model also explains the mass communication process. The model has significance as it also give explanation for the feedback in communication. The limitation of the model is that it makes the feedback compulsory. Works cited 1. Marsha Jones and Emma