Handling Stress Essays - Stress, Social Support, Relaxation

Handling Stress Essays - Stress, Social Support, Relaxation Handling Stress # This essay is about handling the stress of University studies. We will be looking into many ideas and different people?s views on how to handle stress. I will also be giving my own opinions on how I think stress can be controlled or relieved. The first thing we must do is ask ourselves one very important question, ?what is stress WHAT IS STRESS? According to an Australian born physician, Hans Selye (1979), stress is the nonspecific response of the body to any demand made upon it. The body responds in many ways. One is to the loss of blood and the other is to the lack of sleep. Both of these are nonspecific responses, however all demands made on the body evoke generalised, nonspecific responses. For example, they all unable you to concentrate as would normally be expected, they activate one?s sympathetic nervous system, and they also increase the amount of the hormone epinephrine that is being released into your body. When people say they?ve been under going alot of stress they are usually referring to a couple of unpleasant experiences. Now that we have an idea on what stress is the next question we should ask ourselves is ?what is or can cause stress?. CAUSES OF STRESS There are many different things that cause stress. One may be if you have a big term paper due and you want to do your best to impress your seminar leader. Another may be peer or family related. All in all it is things, events, situations, and people that cause stress. It is how we perceive them that will determine whether or not stress will be a result from the encounter. Not only negative situations are the cause of stress. Joy and happiness can also cause stress even though they are positive. In a sense, it is we then who choose our own stressors. Selye noted that with the absence of stress there is death. Current researchers are also discovering that too little stress may be a major cause of depression or boredom. It is therefore up to us to choose the best Handling Stress # stressors and the optimal level of stress. Since we have now begun to understand the definition of stress as well as the causes we now ask ourselves ?what can I do to control my stress CONTROLLING STRESS There have been many studies done on the managements of stress. One group of researchers found out that many university students tended to gain weight their first year away from home. These ?students stated they overate in response to the many life-style changes and varying stresses of the university environment (Journal of College Student Personnel)?. This group of students were placed in stress management sessions. These sessions included overall stress assessment, assertiveness training, time management, exploration of stressful thoughts or belief systems, and life-style and stress reducers. The main focus of these sessions were: a) how to manage stress by using things other than food and b) how to apply stress management principles to the amount of food you take in. The majority of these students found better ways to manage or control their stress by using more healthful outlets, such as walking or taking up a sport. During the last twenty years disease prevention and health promotion have been found to be related to the development of healthy life-style behaviour and the management of stress. The course entitled ? Psychology and the Management of Stress: Theory and Application? (Personnel and Guidance Journal), has been set up to: a) acquaint students with theory and research related to stress management techniques b) to provide guidance and information about diet, physical exercise, and other matters of a healthy life-style and c) to provide an opportunity for students to learn and practice how to apply stress management to their present lives. Each Handling Stress # course is developed around four dimensions. Two of these are, ?the influences of diet, physical exercise, and alcohol, drug, and cigarette use on stress and physical health?, and ?principles related to effective time management?. These courses have been proven to be highly effective. The stages in which the students are taught are as follows: a) the students are asked to

ESL Nonreversible Word Pairs or Examples

ESL Nonreversible Word Pairs or Examples Certain words go together like bread and water. Bread and water is an example of a word pair that is always used in that order. In other words, we dont say water and bread. This type of word pair is called nonreversible. In many ways, they are like collocations - words that usually go together. Students can use this list with examples to learn the most common nonreversible word pairs. Teachers can use this resource in class to help students learn these set phrases. Once you are comfortable with these phrases, continue learning set phrases and collocations. Teachers can explore using set phrases in teaching techniques with the lexical approach. Adam and Eve Walking through this beautiful park makes it seem like we are Adam and Eve.Adam and Eve enjoyed a guilt free life before the big mistake that started it all. Bacon and Eggs I love having bacon and eggs for breakfast.Would you like bacon and eggs this morning? Back and Forth We went back and forth on whether to buy the house or not.The messages went back and forth until a decision was made. Bread and Water Its very hard, but not impossible, to live on bread and water.Many movies show prisoners who only receive bread and water. Bride and Groom The bride and groom are very happy today!Look at the lovely bride and handsome groom. Business and Pleasure Many people say that its not a good idea to mix business and pleasure.Have you ever gone a holiday that mixed business and pleasure? Cause and Effect Cause and effect are not always clear.There are certain linking words which show cause and effect. Cream and Sugar I take cream and sugar in my coffee.Would you like cream and sugar in your tea? Crime and Punishment We have been discussing crime and punishment in English class this month.Crime and Punishment is a famous novel by Dostoyevsky. Cup and Saucer Could you pass me the cup and saucer?Lets have some tea. Could you set the table with cups and saucers? Dead or Alive The criminal is wanted dead or alive.The days of the wild west were famous for notices looking for criminals dead or alive. Dish and Chips I had some fish and chips for dinner yesterday.One of the most famous dishes in England is fish and chips. Fun and Games Life is not all fun and games.Did you think school would be all fun and games? Hammer and Nail Use a hammer and nail to put those two boards together.Grab a hammer and nails and help me with this project. Husband and Wife The husband and wife appeared to be on vacation.Did you see the husband and wife staying in room 203? In and Out I have to go to work. Ill be in and out in a flash.Lets go in and out of the store. Knife and Fork Could you put the knives and forks on the table?I need another knife and fork. Ladies and Gentlemen Ladies and gentlemen, its my pleasure to welcome you tonight.Ladies and gentlemen, Id like to introduce you to Bill Hampton. Law and Order Most people desire law and order in their community.Law and order is one of the prime responsibilities of government. Life or Death Many people seem to go about work as if it were a matter of life or death.I feel like this is a life or death situation. Lock and Key Some parents try to keep their teenagers under lock and key.Our jewelry is kept under lock and key. Lost and Found Look for your coat in the lost and found.Where is the lost and found department? Name and Address Please provide your name and address on this form.Could I have your name and address, please? Pen and Pencil Bring pen and pencil to class on Monday.I always make sure I have pen and pencil by the telephone. Pots and Pans I spent three hours washing the pots and pans.We keep our pots and pans in that cupboard. Profit and Loss The profit and loss report will be out on Friday.Could you go over the profit and loss figures for last quarter? Rain or Shine Ill make sure to come rain or shine.Were having a picnic on Saturday - rain or shine. Read and Write Reading and writing are the two most important skills for this course.How old were you when you learned to read and write? Right and / orWrong Can you tell the difference between right and wrong?He doesnt care if it is right or wrong. Rise and Fall The rise and fall of Rome is fascinating.Some people feel that the rise and fall of this country is already behind us. Salt and Pepper Could you pass the salt and pepper?I like salt and pepper on my eggs. Shirt and Tie Be sure to wear a shirt and tie to the interview.Do I need to wear a shirt and tie? Shoes and Socks You cant get into this restaurant without shoes and socks.Put on your shoes and socks and lets go. Soap and Water Wash your hands with soap and water.Youll find soap and water in the bathroom. Sooner or Later Sooner or later well all know the truth.Ill do it sooner or later. Suit and Tie I wore a suit and tie to the party.Thats a nice suit and tie! Supply and Demand The market system runs on supply and demand.The laws of supply and demand decide a products success or failure. Sweet and Sour I love sweet and sour chicken.Would you like sweet and sour Chinese food tonight? Trial and Error Children learn through trial and error.Most business success occurs through trial and error. Up and / orDown Id like you to vote this procedure up or down?Should we go up or down the stairs? War and Peace Life can be difficult in times of war and peace.War and Peace was written by Tolstoy. Wine and Cheese Lets have some wine and cheese this afternoon.They had wine and cheese at the party.

American and Chinese Manufacturers in the Future Case Study - 2

American and Chinese Manufacturers in the Future - Case Study Example They are helping products move into quality and reduce prices. The American manufacturers can look for ways to reduce their costs so that they make products that are not expensive to the buyer. The manufacturers can cheap raw materials and make quality products. They can react fast to new technologies and make better products.   The American manufacturer can have high levels of secrecy in the production of its products. There should be no exposure of the technology they are working on. They should also release products into the market without staying for long in other countries like China. The Chinese cloners will not have time to make their clones and sell them as the first sellers. The American manufacturers can also work with the Chinese law enforcement groups to catch the cloners.   I do not think that we will all be forced to learn â€Å"Chinese manufacturing† 10 years from now. There will be changes in the manufacturing processes and new rules and manufacturing policies. This means that the world will not only see Chinese manufacturing as the only way to manufacture. The American manufacturing will also try to deal with challenges that cloners bring.   I think the federal government should talk with other governments from countries where counterfeits and cloning are high.

How color influence customer's decisions and behaviors Essay

How color influence customer's decisions and behaviors - Essay Example It will also consider the other alternatives in design for providing a more conducive environment for customers in pubs and cafes. Conflict in bars and pubs is a common occurrence in UK as well as in other parts of the world. Obviously, the main reason is that alcohol removes inhibition and enhances people’s tendency to react freely to situations. No matter how thoughtful and well planned the design is, one cannot hope to completely eradicate aggression in the setting of a bar or pub. On the other hand, one cannot simply ignore the â€Å"influence† of the design of a pub or bar on the â€Å"mood and behaviour of people who spend time in it† (Conflict & Violence in Pubs: Design Issues, 1992 p.3). This is because various elements in the environment in which humans function are known to exercise a high level of influence on their behaviour and determine how they respond to given situations. The design, light, colour or flow patterns of bars and pubs, when coupled with other factors such as drunkenness and noise pollution, can increase the stress levels of patrons and create flash points for in stigating aggression. Research evidence suggests that the design, interior and â€Å"overly energetic dà ©cor – complexity and colour schemes† are causing â€Å"between 15 and 20% of all aggression† in bars and pubs (Conflict & Violence in Pubs: Design Issues, 1992 p.3). Therefore, these factors need to be taken into consideration when the designs of bars and pubs are planned and decided. Thus, apart from an appropriate shape and direction of the building and suitable design, it is significant to choose a sober colour scheme to facilitate a more congenial setting in pubs to reduce the stress levels of drunken customers and to encourage them to conduct peacefully. In the present day, â€Å"client initiated violence† is on the increase, which is identified as a major issue in â€Å"retail trade† including bars and pubs (Prevention and Management

Winter Driving Essay Example for Free

Winter Driving Essay When you have to compare and contrast driving in the winter and driving in the summer there are many things that come to my mind. In the summer time there is no visual distractions. It is most comfortable to drive in the summer with your windows down. For the most part summer driving is safe then winter driving. I personally despise driving in the winter. In the summer time I have visibility. During the winter months it gets darker earlier. During the summer months we have more sunlight through out the day. I love when the sun is out longer. Although driving in the winter is much more scenic with snow on branches, deer on the side of the roads and snowmen that kids made. The scenic view for summer driving is filled with blooming flowers, birds flying, colorful trees and the Long Island sound filled with boats, as I drive down by the shore. I like to take the most scenic routes as I drive in the summer. The visibility in the winter is very poor, if you have to drive in a blizzard. In the summer I barely have a problem with visibility.I like to see clear when I drive. In the summer time it is most comfortable. In the winter time I get too cold when I have my window open. I love to drive around with my windows wide open listening to music. I like to smoke in my car with the window open. Winter driving causes me major anxiety. I am worry free in the summer. I am very nervous in the winter.The worst part about driving in the winter is that I wear many layers of clothes. In the summer I drive around in a tank top and shorts. I like to feel free when I drive. I feel summer driving is when its safest to drive. In the winter you have to worry about slipping and not gripping to the pavement. My tires have full grip on the asphalt in the summer time. I like having traction when I drive. You have to be more alert driving in the winter time with the cars behind you, around you and in front of you,It takes more time to stop. You also have to be alert in the summer, but when you hit your brakes you will come to a complete stop on the dry road. I do not like when my brakes lock up when I tap them in the snow. Most importantly, is the amount of kids that are out that you have to watch out for.An example is kids sleighing down hills into roadways that are not paying attention to the cars. The most that the kids do in the summer, is play ball on the street and they usually have one of the kids watching for cars. I wish I was a kid again. In conclusion summer driving is more forgiving than winter driving. Weather conditions in the winter can render roadways very dangerous, requiring increased driver skill. I enjoy driving but preferably in the summer. In the winter I would not be a good candidate as a designated driver. I would hope that someone else with greater winter driving skills then I, would be selected to do the driving.

death penalty Essay -- essays research papers

Death penalty Is it violation of human rights? Mohammad Towhidul Islam Though the modern world is very sympathetic to the concept of human rights issues, death penalty as a form of capital punishment has still been in practice in the world. During 2001, at least 3048 people were executed in 31 countries as well as at least 5265 people were sentenced to death in 68 countries. It is very interesting to see that some advanced countries, which are pioneer to the protection and promotion of human rights and also very vocal to the human rights situation in the developing world, do impose death penalty, even on children. Death penalty and human rights The Universal Declaration of Human Rights 1948 has incorporated most of the human rights. It has specially enshrined the protection of the right to life in Article 3. However, Article 29 recognises that human rights and fundamental freedoms are subject to limits. Though it didn't specify clearly, it is presumed that by imposing death penalty, right to life may be curtailed in certain circumstances. The death penalty is the only exception that is mentioned in Article 6 of the International Covenant on Civil and Political Rights of 1976. All rights of man stem from one right, his right to life. Man's right is the first cause of all other rights. It is not axiomatic (self-evident) but it's absolute. The right to life, thus rooted in natural and ethical principles and usually inscribed in a country's constitutional and legal framework. In Criminology the word punishment is used to denote compensation and the offenders have to suffer different punishments depending on the aggravating form of offences. Though right to life is ensured and protected by the way of giving punishment to the wrongdoers, the right to life is curtailed when someone's life is executed under death penalty. Origin of death penalty Death penalty as a form of punishment has been used throughout history by different societies. The first death penalty laws came as far as the Eighteen Century BC's in the Code of King Hammaurabi of Babylon, which codified the death penalty for 25 different crimes. The death penalty was also part of the Fourteen Century BC's Hittite Code, the Seventh Century BC's Draconian Code of Athens, which made death penalty for all crimes, and the Fifth Century BC's Roman Law of the Twelve Tablets. Death sent... ...ence. Once an inmate is executed, nothing can be done to make amends if a mistake has been done. Many of the innocent releases from death row came about as a result of factors outside of the justice system. In other cases, DNA testing has exonerated death row inmates. Here, too, the justice system had concluded that these defendants were guilty and deserving of the death penalty. So it can be said that society takes many risks in which innocent lives are lost. Concluding remarks Though we are very far from achieving a worldwide ban on capital punishment, there are certain situations in which the death penalty should be looked upon as a violation of universally accepted international norms. Where the death sentence is imposed on minors, pregnant woman or persons with psychiatric disorder, at odds with internationally recognised norms, it constitutes a human rights violation. Even where a death sentence is carried out in circumstances that are not compatible with internationally accepted procedural norms constitutes a human rights violation. Again, the conditions of detention and the time spent awaiting execution; the death penalty may constitute a violation of human rights.

A comparison between Jean Rhys and Una Marson Essay

Voyage into the Metropolis: Exile in the Works of Jean Rhys and Una Marson. In Jonathan Miller’s 1970 production of Shakespeare’s â€Å"The Tempest† the character of Caliban was cast as black, therefore reigniting the link between the Prospero/Caliban paradigm as the colonizer/colonized. It was not a new idea, indeed Shakespeare himself envisaged the play set on an island in the Antilles and the play would have had great appeal at the time when new territories were being discovered, conquered, plundered and providing seemingly inexhaustible revenue for the colonisers. What is particularly interesting, however, is how powerful the play later becomes for discourse on colonialism. This trope of Caliban is used by George Lamming in â€Å"The Pleasures of Exile† where he likens Prospero in his relationship with Caliban, to the first slave-traders who used physical force and then their culture to subjugate the African and the Carib, overcoming any rebellion with a self righteous determinism. In â€Å"The Pleasures of Exile† Lammi ng sees Caliban as: â€Å"Man and other than man. Caliban is his convert, colonized by language, and excluded by language. It is precisely this gift of language, this attempt at transformation which has brought about the pleasure and the paradox of Caliban’s exile. Exiled from his gods, exiled from his nature, exiled from his own name! Yet Prospero is afraid of Caliban. He is afraid because he knows that his encounter with Caliban is, largely, his encounter with himself.† 1 The Prospero/Caliban paradigm is a very relevant symbol for the colonizer/colonized situation of the West Indies but it nevertheless remains a paternalistic position. Where does that leave women of the Caribbean? It could be argued that the Caribbean woman has been even further marginalized. That in making Caliban the model of the Caribbean man it is therefore providing him with a voice. Yet nowhere in the Tempest is there a female counterpart, rendering the Caribbean woman invisible as well as silent and ignoring an essential part of their historical culture. Another issue raised here, is that Caribbean literature has for many years been male dominated. Just as the colonizer sought to ignore and marginalize their savage ‘Other’ so the Caribbean male has ignored their female counterpart. Opal Palmer Adisa, in exploring this issue, believes that it is â€Å"out of this patriarchal structure, designed to make her an object, part of the landscape to be used and discarded as seen fit by the colonizer, that the Caribbean woman has emerged.†2 It was out of such a ‘patriarchal structure’ that Jean Rhys and Una Marson emerged. The writing of both women revise and expand theme and personae, subverting a colonial and patriarchal culture. Both women â€Å"may exist in different ethnological and ontological realms but they both exist in worlds which have, at one time or another, attempted to censure, silence or ignore the ideals and interests of women†3 Like many of their male Caribbean counterparts to succeed them, their writing was greatly influenced by voyaging into the colonial metropolis and living in exile. In this essay I will discuss the importance of that journey in seeking to find a voice, an identity, and even a language to challenge established notions of Self, gender and race within the colonial structure. But essential to their experience is their struggle. Naipaul recognised, in Rhys, the themes of â€Å"isolation, an absence of society or community, the sense of things falling apart, depende nce, loss†.4 This could also be said of Marson. Jean Rhys was born Ella Gwendoline Rees Williams on 24th August 1890, in Roseau, Dominica to a Creole mother of Scottish descent and a Welsh father who was a doctor. Rhys left Dominica in 1907, aged sixteen and continued her education in a Cambridge girls’ school and then at the Academy of Dramatic Art which she left after two terms. Rhys experienced feelings of alienation and isolation at both these institutions and these feelings were to stay with her for much of her life. Upon pursuing a career as a chorus girl under a variety of names Rhys embarked on an affair with a man twenty years older than herself and which lasted two years. It is broadly accepted that this early period of her London life formed the structure for Voyage In The Dark, and like all of Rhys’s novels, explores homelessness, dislocation, the marginal and the migrant. The character of Anna, like most of her female protagonists exists in the demimonde of city life, living on the wrong side of respecta bility. What Rhys does effectively in this novel is to centralize the marginalized, those subjects â€Å"who belong nowhere, between cultures, between histories.†5 Una Marson was born in rural Jamaica in 1905. Her father was a well respected Baptist minister and as a result of his standing within the community Marson had the opportunity to be educated on a scholarship at Hampton High School, a boarding school for mainly white, middle class girls. After finding employment as a stenographer, Marson went on to edit the ‘Jamaican Critic’, an established literary publication, and from 1928-1921, her own magazine ‘The Cosmopolitan’. Having established herself as a poet, playwright and women’s activist Marson made the decision to travel to Britain. Her achievements in London were impressive; a social activist within the League of Coloured Peoples which led to her taking a post as secretary to the deposed Emperor Haile Selassie and later she was appointed as a BBC commentator. In reality, however, Marson, like Rhys found the voyage into the Metropolis very difficult. Facing blatant racial discrimination like ‘so many West Indian women migrants of the 1950s, Una found herself blocked at every turn. She complained and cried; she felt lonely and humiliated,’. 6 In spite of many literary and social connections she remained an isolated and marginal figure. Her poetry displays the uncertainty of cultural belonging where her language ties her to colonialism yet also provides her with a powerful tool with which to challenge it. In placing Rhys alongside Marson as pioneering female writers, it is important to explore the notion of nationality, of being Caribbean and to question the grounds upon which such ideas are constructed. Both women were writing at the same time, having been born and educated in the British colonies. Both these writers, whose lives span the twentieth century, are situated at the crossroads of the colonial and post-colonial, the modern and post modern, where the threat of fascism and war result in anti colonial struggles and eventual decolonisation across the world. Their voyages from the colonies into the metropolitan centre generate similar experiences. What is clear with both is that by journeying into the metropolis, as women, they occupy a double marginal position within an already marginalized community. Their journey can be seen as an exploration of displacement where, according to Edward W. Said, the intellectual exile exists ‘in a median state, neither completely at one with the new setting nor fully disencumbered of the old, beset with half involvements and half attachments, nostalgic and sentimental at one level, an adept mimic or a secret outcast on the other.’7 Rhys and Marson, having left the Caribbean are asking us to consider what it means to write from the margins. Within their work, both women challenge notions of women’s place within society and women’s place as a colonized subject in the metropolitan centre. The protagonist, Anna Morgan, in Voyage in the Dark, reflects Rhys’s own multi indeterminate, multi conflicted identity. Anna, like Rhys is a white descendent of British colonists and slave traders who occupy a precarious position of being â€Å"inbetween†. Hated by the Blacks for their part in oppressing the slaves and continuing to cling on to that superior social position, they are also regarded by the ‘mother country’ as the last vestiges of a degenerate part of their own history best forgotten. Moreover, 1930s England, still under the shadow of Victorian moral dicta, continued to judge harshly a young woman without wealth, family, social position and with an odd accent. Throughout the novel Anna is identified with characters who are â€Å"usually objectified and silenced in canonical works: the chorus girl, the mannequin, the demimondaine.†8 Much has been made of her reading of Zola’s Nana and indeed there are many parallels between the two characters. Anna, like Nana becomes a prostitute and in the first version of Voyage in the Dark Anna like Nana dies very young. There is of course the obvious anagram of her name but, as Elaine Savory highlights, some interesting revisions by Rhys. Whereas Zola, in Nana, creates a character who brings about the downfall of upper class men not through power but â€Å"with only the unsophisticated currency of youth and raw female sexuality†9 Rhys, in Anna, creates a character who is herself destroyed by men. â€Å"In Rhys’s version the men who use her youth and beauty are for the most part evidently cowardly or downright disreputable: Anna herself begins as naively trusting, passes through a stage of self destructive hopelessness and passivity and ends, in Rhys’s preferred, unpublished version, by dying from a botched abortion.†10 If we are to see Walter Jeffries as the original European, existing in a world viewed certainly by himself as principally ordered and reasonable then Rhys is, through this character, highlighting the degenerate aspect of using power to commodify and even destroy, thereby subverting the colonizer’s position in relation to the colonized. Through the character of Anna, Rhys explores those oppositions of â€Å"Self† and â€Å"Other†, male and female, black and white. Even though she outwardly resembles the white European, enabling her, unlike Marson, to blend visually within London, her association with the Caribbean sets her apart as between black and white cultures and as an exotic â€Å"Other†. This ambiguity of Anna’s position results in â€Å"slippage†. Anna and her family would have been regarded in the West Indies as the white colonizers. In England and in her relationship with Jeffries she becomes the colonized â€Å"Other†. In being read as the colonized subject Anna is continually having to adapt her world view and sense of identity to the perspective being imposed on her. A good example of this is the chorus girls’s renaming her as the â€Å"Hottentot† aligning her more with the black African and demonstrating the homogenizing of the colonized peoples b y the colonizers. This is similar to Spivak’s belief that ‘so intimate a thing as personal and human identity might be determined by the politics of imperialism.’11 Interestingly, â€Å"Hottentot† is the former name for the Nama, a nomadic tribe of Southern Africa. A somewhat apt comparison which reflects Anna’s own nomadic existence as she moves from town to town as a chorus girl and from one bed sit to another. The term â€Å"Hottentot† developed into a derogatory term during the Victorian era and became synonymous firstly with wide hipped, big bottomed African women with oversized genitals and then with the sexuality of a prostitute. Jeffries is fully aware of the implications of the name â€Å"Hottentot†. In response to hearing Anna’s renaming he says, â€Å"I hope you call them something worse back.†12 Elaine Savory makes a strong connection between Anna’s renaming and her relationship with Jeffries, her eventual seducer. Whilst â€Å"not looking at Anna’s body in an obvious way, eventually the transaction between them is understood fully on his side to be a promise of sexual excitement from a white woman whom he perceives as having an extra thrill presumably from association with racist constructions of black females in his culture.†13 Franz Fanon, in his book Black Skin, White Masks perceives these complex colonial relations as being in a state of flux rather than fixed or static. In his introduction to Fanon’s text, Homi Bhabha highlights this point, stating that the ‘familiar alignment of colonial subjects†¦Black/White, Self/Other†¦is disturbed†¦and the traditional grounds of racial identity are dispersed.’14 So it is in the relationship between Jeffries and Anna. In transposing the colonizer’s stereotypical images of a black woman onto Anna he is disrupting and dispersing those ‘traditional grounds of racial identity’. Moreover, Anna is subconsciously enacting a mediated performance, aware of her impact upon him and the implications of her actions, in an attempt to adhere to his preconceptions of her. The relationship cannot be sustained on these fundamentally unstable preconceptions. Anna, both as a female and racial â€Å"Other† is penetrated by Jeffries and with the exchange of money is commodified. Without independent means Anna becomes that purchasable girl who is at the mercy of and eventually becomes dependent upon the upper middle class Jeffries. The relationship between these two characters reflects Rhys’s own location in the world where the West Indies was at the time still a commodity of the British Empire. In another analysis of the colonial stereotype, Homi Bhabha challenges the ‘limiting and traditional reliance of the stereotype as offering, at any one time, a secure point of identification on the part of the individual,’15 in this case Jeffries and Hester. Bhabha does not argue that the colonizer’s stereotyping of the colonized ‘Other’ is as a result of his security in his own identity or conception of himself but more to do with the colonizer’s own identity and authority which is in fact destabilized by contradictory responses to the Other. In order to maintain a powerful position it is important, according to Bhabha, for the colonizer to identify the colonized with the image he has already fixed in his mind. This image can be ambiguous as the colonized subject can be simultaneously familiar under the penetrable gaze of the all seeing, all powerful colonial gaze and be incomprehensible like the ‘inscrutable Oriental’. The coloni zed can be â€Å"both savage†¦and yet the most obedient and dignified of servants†¦; he is the embodiment of rampant sexuality and yet innocent as a child; he is mystical, primitive, simpleminded and yet the most worldly and accomplished liar , and the manipulator of social forces.†16 In short, for Bhabha, the relationship between the colonizer and the colonized is riddled with contradictions and inconsistencies which, when imposed upon the colonized ‘Other’, cause a crisis of identity. So it is with Anna. Jeffries upon first meeting with the very young Anna can see that she is as ‘innocent as a child’ and is ‘most obedient’ sexually, but by her association with the Caribbean and the Hottentot as I have previously explored, she is subsequently attributed with being ‘the embodiment of rampant sexuality’ resulting in his taking of her virginity, abandoning her to prostitution but also leading to as Veronica Clegg observes ‘a loss of temporal referents’17 Anna’s stepmother, Hester, also attempts to impose an identity upon Anna which not only conflicts with Anna’s own sense of identity but is also based around stereotypical perceptions. . Hester, whose ‘voice represents a repressive English colonial law’18 believes that Anna’s father’s troubles resulted from his having lost ‘touch with everybody in England’19 and that these severing of ties with the Imperial motherland is a signal to her that ‘he was failing’,20 losing his identity, reduced to the level of the black inhabitants of the island. This idea of contamination and racial reduction is explored by Paul B. Rich who explains that there was a belief in the early twentieth century that white people in the tropics risked ‘in the absence of continual cultural contacts with their temperate northern culture, being reduced to the level of those black races with whom they had made their â€Å"unnatural home†Ã¢ €˜.21 In Hester’s eyes this apparent loss of identity is also experienced by Anna. She continually criticizes her speech, her relationship with Francine the black servant, and also insinuates degenerative behaviour on the part of her family, particularly Uncle Bo. Hester’s views reflect the growing disapproval in England at that time, of relationships between white people and the black population in the West Indies. Inter-racial relationships were discouraged for fear of contamination of the white ‘Self’. In voicing her disapproval of Anna’s friendship with Francine along with her continual use of the racist and derogatory term â€Å"nigger†, Hester is alluding to the fact that, in her opinion, Anna, especially through her speech, has indeed been contaminated and reduced racially and that Anna’s association with Francine thwarts her attempts to reconnect her with the colonizer’s ‘cultural contacts’. Hester rails that she finds it ‘impossible to get you [Anna] away from the servants. That awful sing-song voice you had! Exactly like a nigger you talked†¦and still do. Exactly like that dreadful girl Francine. When you were jabbering away together in the pantry I never could tell which of you was speaking.’22 Hester’s constant criticism only serves to undermine Anna’s real identity and dislocate her further from the Caribbean world she once inhabited and the alienating London world she is now experiencing. Her accent sets her apart, drifting between two worlds. Anna’s difficulties in negotiating these two worlds is a result of the ‘return of the diasporic’ to the metropolitan centre where ‘the perplexity of the living is most acutely experienced.’23 This can certainly be seen in her response to the weather which, according to Bhabha, invokes ‘the most changeable and imminent signs of national difference’24 The novel opens with; â€Å"It was as if a curtain had fallen, hiding everything I had ever known. It was almost like being born again. The colours were different, the smells different, the feeling things gave you right down inside yourself was different. Not just the difference between heat and cold; light, darkness; purple, grey. But a difference in the way I was frightened and the way I was happy. I didn’t like London at first. I couldn’t get used to the cold.†25 And later upon arriving in England with Hester she describes it as being ‘divided into squares like pocket-handkerchiefs; a small tidy look it had, everywhere fenced off from everywhere else’ 26and then in London where the ‘dark houses all alike frowning down one after another’27 Throughout the novel Anna continually experiences feelings of being enclosed. Many of the bedsits are restricting and box-like. On one occasion she remarks that ‘this damned room’s getting smaller and smaller†¦And about the rows of houses outside gimcrack, rotten-looking and all exactly alike’.28 The many small rooms between which Anna moves emphasize her disempowerment through enclosed spaces. These spaces, in turn, serve as metaphors for the consequences in voyaging into the metropolitan centre. She is at once shut inside these small monotonous rooms and shut out from that world which has sought to colonize her. It is perhaps ironic that the further she mo ves into the centre of the city, ending up as she does on Bird Street, just off Oxford Street , the more she is shut out and marginalized by that imperialist society. Her memories of the West Indies are in sharp contrast to her impressions of England. The images of home are always warm, vivid and exotic, ‘Thinking of the walls of the Old Estate House, still standing, with moss on them. That was the garden. One ruined room for roses, one for orchids, one for ferns. And the honeysuckle all along the steep flight of steps’.29 When comparing the two worlds she remarks to herself that ‘the colours are red, purple, blue , gold, all shades of green. The colours here are black, grey, dim-green, pale blue, the white of people’s faces – like woodlice’. 30 Her memory of home is experienced sensuously as she recalls the sights and smells: â€Å"Market Street smelt of the wind but the narrow street smelt of niggers and wood smoke and salt fishcakes fried in lard’ and the sound of the black women as they call out, â€Å"salt fishcakes, all sweet an’ charmin’, all sweet an’ charmin’.'†31 Anna attempts to convey this richness to Jeffries. His failure to appreciate the beauty she describes merely underlines the differences between the two. He expresses a preference for cold places remarking that ‘The tropics would be altogether too lush’.32 Jeffries’s reaction to the West Indies in fact reflects the colonizer’s view that the ‘ruined room for roses’ and ‘orchids’ portray a disorder, a garden of Eden complete with its implications of moral decay and as Bhabha states, a ‘tropical chaos that was deemed despotic and ungovernable and therefore worthy of the civilizing mission.’33 Anna’s association with this world sets her up, in Walter’s eyes, as a figure representing a secret depravity promising forbidden desires. Anna, like the West Indies is something to be overpowered, enslaved and colonized, where the colonizer seeks to strip their identity and impose their own beliefs and desires. It is significant, therefore, that following this scene Anna loses her virginity to Jeffries and recalls the memory of the mulatto slave girl, Maillotte Boyd, aged 18, whose record Anna once found on ‘an old slave list at Constance’.34 Like Maillotte Boyd, Anna is now merely a commodity and Jeffries has no intention of ever seeing her as an equal. Her purity, in his eyes isn’t worth preserving as he already considers her the contaminated ‘Other’. By his actions he succeeds in maintaining that patriarchal imperialism which relies on institutional forms of racial and national separateness. Anna, as a twentieth century white Creole, is no freer than the nineteenth century mulatto slave. Just as Maillotte Boyd is, as racially mixed, suspended between two races, so Anna as a white Creole is suspended between two cultures, leaving her dislocated. Anna’s voyage into the imperialist metropolis leads to boundaries and codes of behaviour, language and dress being constantly imposed upon her. She is aware for example of the importance of clothes as a means of controlling her social standing and also her standing as a woman. Through her dress Anna almost becomes that elegant white lady, mimicking London’s female high society. For Jeffries, Anna represents the ‘menace of mimicry’, which , according to Bhabha is ‘a difference which is almost nothing but not quite’ and which turns ‘to menace- a difference that is total but not quite.’35 This mimicry serves to empower Anna as it ultimately destabilises the essentialism of colonialist ideology, resulting in Jeffries imposing upon Anna the identity of the West Indian ‘Other’ This in turn leads to feelings of loss, alienation and dislocation, a rejection of being white and a desire to be black. ‘I always wanted to be black. I was happy because Francine was there†¦.Being black is warm and gay, being white is cold and sad.’36 Anna’s association with Hester meant that she ‘hated being white. Being white and getting like Hester, †¦old and sad and everything.’37 Yet the warmth she expresses in her memories of Francine are always tempered by her realisation that Francine disliked her ‘because I [Anna] was white.’38 Her feelings of being between cultures and feeling dislocated are never fully resolved. Anna’s voyage in the dark, reflects Rhys’s own sense of exile and marginality as a white West Indian woman. Teresa O’Connor remarks that ‘Rhys, herself caught between places, cultures, classes and races, never able to identify clearly with one or the other, gives the same marginality to her heroines, so that they reflect the unique experience of dislocation of the white Creole woman.’39 The language used to express feelings of exile and loneliness, destitution and dislocation is both sparse and economic. It is neither decorative nor contrived, devoid of sentiment or without seeking sympathy. In commenting upon an essay written by Rhys discussing gender politics, Gregg writes that ‘It is important to note her [Rhys’s] belief that writing has a subversive potential. Resistance†¦can be carried out through writing that exposes and opposes the political and social arrangements.’40 Helen Carr, in her exploration of Rhys’s language believes that: â€Å"Rhys in her fictions unpicks and mocks the language by which the powerful keep control, while at the same time shifting, bending, re-inventing ways of using language to open up fresh possibilities of being.†41 Una Marson, another Caribbean to voyage into the metropolis, also experienced loneliness, isolation and a struggle with the complexity of identity. Like Rhys, Marson fought with these feelings throughout her life, resulting in long periods of depression. Her belief in women’s need for pride in their cultural heritage established Marson as ‘the earliest female poet of significance to emerge in West Indian literature’.42 She not only ‘challenged received notions of women’s place in society’ but also raised questions about ‘the relationship of the colonized subject to â€Å"the mother country†Ã¢â‚¬â„¢43 There was a considerable amount of poetry emerging out of the West Indies around this time but most of it was dismissed as being ‘not truly West Indian’,44 the reason for this being partly because many of the writers were English but also because many of the styles used by these writers mimicked colonial forms. Many of Marson’s early poetry reflects this mimicry showing a reliance upon the Romantics of the English poetic tradition, particularly Shelley, Wordsworth and Byron. The poem Spring in England reveals this indebtedness to the Romantics, including as it does a stanza where, having observed the arrival of Spring in London, the poet asks: ‘And what are daffodils, daffodils Daffodils that Wordsworth praised?’ I asked. ‘Wait for Spring, Wait for the Spring,’ the birds replied. I waited for Spring, and lo they came, ‘A host of shining daffodils Beside the lake beneath the trees’ (The Moth p6)45 Clearly there are echoes of Wordsworth’s Daffodils throughout the stanza, reflecting the drive by colonialism through education to eradicate the West Indian selfhood. Yet for Marson this harnessing of English culture not only posed few problems but indeed was, I would argue, a necessary step in her voyage of self discovery. As seen with Rhys, mimicry was a subversive threat to colonial ideology, especially through language. Homi Bhabha’s notion of mimicry seeks to explore those ambivalences of such destabilizing colonial and post-colonial exchanges. â€Å"The menace of mimicry is its double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority. †¦The ambivalence of colonial authority repeatedly turns from mimicry – a difference which is almost nothing but not quite – to menace – a difference that is almost total but not quite. And in that other scene of colonial power, where history turns to farce and presence to a ‘part’ can be seen the twin figures of narcissism and paranoia that repeat furiously, uncontrollably.†46 Bhabha’s essay in recognising the power, the play and the dynamics between the colonizer and the colonized offers an alternative to the pessimistic view held by V.S. Naipaul who believed that West Indian culture was doomed to mimicry, unable to create anything ‘original’. Marson’s mimicry of the Romantics could be seen as a preparation to enter the colonizer’s metropolis, and to attempt to assimilate into the colonizer’s world. In making that voyage to the metropolis, Una Marson succeeds in taking that step from ‘the copy’ to the ‘original’. By remaining in Jamaica Marson risked remaining in an environment too rigidly ingrained by colonial prescriptions. Una Marson’s voyage into ‘the heart of the Empire’, however, resulted in intense disappointment. For the first time, Marson experienced open racism and according to Jarrett-McCauley ‘The truth was that Una dreaded going out because people stared at her, men were curious but their gaze insulted her, even small children with short dimpled legs called her â€Å"Nigger†Ã¢â‚¬ ¦She was a black foreigner seen only as strange and unwanted. This was the ‘Fact of Blackness’ which Fanon was to analyse in Black Skins, White Masks(1952), that inescapable, heightening level of consciousness which comes from â€Å"being dissected by white eyes†.’ 47 Unlike Rhys, Marson was finding it impossible to blend visually within London. Consciousness of her colour made Marson conscious of her marginality. This consciousness led her seriously to question the values of the ‘mother country’. Marson’s work moved from mimicry to anti-patriarchal discourse, seen in her poem Politeness where she responds to the William Blake poem Little Black Boy with: They tell us That our skin is black But our hearts are white We tell them That their skin is white But their hearts are black (Tropic Reveries p 44) The poem demonstrates Marson’s growing resentment at being alienated by the colonial power. There is an uncertainty in her desire to both belong and to challenge, echoing Rhys in her sense of cultural unbelonging. Those anti-patriarchal feelings are present once more in her poem Nigger where she communicates the anger she feels at being abused and marginalized as the racial ‘Other’. They call me ‘Nigger’ Those little white urchins, They laughed and shouted As I passed along the street, They flung it at me: ‘Nigger! Nigger! Nigger!’ She retorts to this abuse furiously with: You who feel that you are ‘sprung Of earth’s first blood’, your eyes Are blinded now with arrogance. With ruthlessness you seared My people’s flesh and now you still Would crush their very soul Add fierce insult to vilest injury.48 In its repetition of the shocking term ‘Nigger’, Marson is confronting the white colonialist’s use of the word to exert power over and oppress the colonized. The violence of its use reflects the violence of their shared history where ‘Of those who drove the Negroes / To their death in days of slavery,’ regard ‘Coloured folk as†¦low and base.’49 In highlighting this history of violence, oppression and slavery, Marson is attempting to invert this oppression and dislodge the notion of white supremacy, whilst attempting to negotiate a position from West Indian to African and in doing so, fashion an identity. By writing the poem in the first person singular and moving from ‘They’ to ‘You’ when addressing the white colonizers, Marson succeeds in centralizing herself and reversing the binary system of ‘Self’ and ‘Other’. Nigger marks Marson’s sharpened perspective on issues such as racism and identity. Her voyage into the metropolitan centre triggers those ’emergent identifications and new social movements†¦[being]†¦played out’.50 It was a time in Marson’s life where she was made to feel inadequate, lonely and humiliated but it also roused her to ‘resist the corrosive force of her oppressive world.’51 Nigger reveals this sense of belonging and not belonging felt by Marson, of being part of the empire but never part of the Motherland, yet it simultaneously challenges the very essentialism in which the colonial Self is rooted. Moreover, the hostility she experiences in many ways acknowledges the success of Marson’s performance as a hybrid. Marson’s frustration and anger was compounded by the fact that in being middle class and educated she possibly saw herself as ‘a notch above the poor, black working class women from the old communities in Cardiff, Liverpool and London’52 Marson explores this question of how middle class West Indians negotiate being educated and yet marginalized and even considered inferior in her play London Calling. The play, based on the experiences of colonial students in London charts the story of a group of expatriates who, upon being invited to the house of an aristocratic English family, dress up in outlandish native costume and speak in ‘broken’ English. The play, a comedy, takes a light hearted look at the stereotypical images held by the British, at the same time countering the myth of black inferiority. There is, in the play, a curious twist as the students from Novoko are presented as black versions of the British in their dress and behaviour, ‘mimic men’ and yet they themselves attempt to ‘mimic’ their own folk culture. They are eventually discovered by one of the family, Larkspur, who then proposes marriage to Rita, one of the Novokans. The play ends with Rita declining Larkspur’s proposal in favour of Alton, another Novokan. This rejection of Larkspur places Rita in a powerful position. Rita is no longer the undesirable ‘Other’, she has resisted the oppressive world of the colonialists and placed herself as the centralised ‘Self’. Rita is Marson’s fantasy where the black woman is recognised as beautiful and an equal. Marson’s activities in the League of Coloured Nations gave her purpose, direction and the opportunity to advance her political education whilst introducing her to the Pan – African movement ‘a sort of boomerang from the horrors of slavery and colonialism, to which Una, like many of her generation, was being steadily drawn.’53 Marson’s work around this time reflects a desire to reclaim and restore that ‘Other’ cultural tradition, a difficult task as the Caribbean was not an homogeneous agency and it was not easy to establish a pre-colonial culture. The ethnic mix was large and hybrid making the notion of ‘Caribbeanness’ less easy to define. The Pan-African movement provided links with an alternative body to European colonialism and offered Marson a platform to renegotiate and redefine her idea of ‘Caribbeaness’ and race, an option not offered to Rhys. Having established a sense of being a black person in a white imperialist centre, she now needed to make sense of being a black woman within this paternalistic centre. The poem Little Brown Girl attempts just this, constructing a dialogue of sorts between a white Londoner, whose gender is unclear, and a little brown girl. The poem begins with a series of questions put to the child: Little brown girl Why do you wander alone About the streets Of the great city Of London? Why do you start and wince When white folk stare at you Don’t you think they wonder Why a little brown girl Should roam about their city Their white, white city? (The Moth, p11) The questioning of the little brown girl’s presence in London suggests a linguistic imperialism. It may be construed as the speaker challenging her right to be in the city, establishing her as the nameless, black ‘Other’. Her feeling of difference is emphasized in the repetition of the word ‘white’ on the final line of the second stanza. The third stanza plays out an interesting reversal in notions of blackness. The speaker asks why she has left the ‘little sunlit land / where we sometimes go / to rest and get brown’54 alluding to the desire of white skinned people to tan which for the white colonialist signifies wealth, for the black ‘Other’ being inferior and uneducated. From here there is a subtle shift of speaker and London is seen through the eyes of the little brown girl. Her perception of the city is distinctly unattractive where ‘There are no laughing faces, / people frown if one really laughs’ and: There’s nothing picturesque To be seen in the streets, Nothing but people clad In Coats, Coats, Coats, (The Moth, p11) If the poem began with the strangeness of the brown girl to the white gaze, here it teases out those feelings of alienation felt by the little brown girl at being in such a cold, drab place, so different from her own home. Once more Marson creates a reversal in the stereotype as she seeks to objectify white people observing that ‘the folks are all white -/ White, white, white, / And they all seem the same.’55 In homogenizing the colonizers, the hybridity of the West Indians are then celebrated in the many varied skin tones of ‘black and bronze and brown’ which are themselves homogenized by the label ‘Black’. The vibrancy, colour and friendliness of ‘back home’ where the folks are ‘Parading the city’ wearing ‘Bright attractive bandanas’ contrasts with the previous stanza of the dour images of London. The dialogue is handed back to the white speaker who attempts to establish the origins of the little black girl but succeeds in once more re-establishing the homogeneic white gaze indicated in the speaker’s inability to distinguish between many distinct nations : And from whence are you Little brown girl? I guess Africa, or India, Ah no, from some island In the West Indies But isn’t that India All the same? (The Moth, p13) More than anything the poem conveys that sense of isolation felt by the little brown girl in the city. She never answers the white speaker directly and is positioned in the middle of the poem, again centralizing the colonized. In asking the question ‘Would you like to be white/Little brown girl?’ there is a sense of the colonizer attempting to manipulate and dominate the colonized, to Europeanise, ultimately leading to mimicry. Yet the questioner responds himself with ‘I don’t think you would / For you toss your head / As though you are proud / To be brown’. 56 Marson, here, signals a move away from being a ‘mimic man’ seeking to challenge that whole Eurocentric paternalistic world and centralise the black women, the most marginalized figure in society. The themes central to Little Brown Girl’s themes echo Rhys’s own negative reactions to London seen in the opening page of Voyage in the Dark. Like Rhys, Marson succeeds in capturing that colour and warmth of the West Indies contrasting greatly with the misery of London, experienced by both and which reinforce that racial and national separateness. Those differences prove for both to be irreconcilable, making it impossible for both Rhys and Marson to integrate, leaving both women dislocated from the metropolis. Little Black Girl serves as a useful reminder that many immigrants were women. This encounter between the city and a woman (in Marson’s case, a black woman) echoes Anna’s encounter in Voyage in the Dark albeit as a prostitute. Both walk the streets of the city and as women-as-walkers encounter the metropolis, negotiating its spaces. Denise deCaires Narian suggests that certainly Marson could be considered as a flaneuse.57 Neither Rhys nor Marson, however have the confident panache of the flaneuse and neither fulfil the requirements of flanerie originally set out by Baudelaire. The flaneur, he asserted, saw the ‘crowd as his domain, †¦ His passion and his profession is to merge with the crowd’.58 The flaneur and therefore the flaneuse is engaged in strolling and looking but most importantly merging ‘with the crowd’. For Marson this is impossible as she is a black woman in a white city. Moreover, Baudelaire expands upon the idea of the flaneur as having ‘the ability to be away from home and yet to feel at home anywhere, to be at the centre of the world, and yet to be unseen of the world’.59 Again this is problematic for both Marson and Rhys as their wanderings around the metropolis seek only to reinforce those feelings of ‘Otherness’, isolation and marginality. For Marson these feelings of alienation gained her the reputation of being a ‘true loner who didn’t exactly seek out company’60 leading to a ‘heightened level of bodily consciousness’ which comes from ‘being dissected by white eyes’.61 In her struggle with being marginalized as a black women always at the mercy of the white metropolitan gaze, Marson was always aware of that Europeanised sense of beauty being white. This idea of beauty was so entrenched, even within the black community that they themselves set beauty against the paleness of their own skin. The importance of popularly disseminated images is tackled in Cinema Eyes where a black mother in addressing her daughter attempts to challenge the idea that ‘Europeans still provide the aesthetic reference point’.62 The speaker urges her eighteen year old daughter to avoid the cinema fearing that it might reinforce the idea that white is beautiful causing the girl to lose sight of her own beauty: Come, I will let you go When black beauties Are chosen for the screen; That you may know Your own sweet beauty And not the white loveliness Of others for envy. (The Moth, p88) By growing up with a ‘cinema mind’ the mother has allowed herself to be at the mercy of those tools used by the colonizer to marginalize and indoctrinate, promoting their own superiority. Once again the ‘mimic man’ re-emerges when black women reject their own in seeking an ‘ideal man’. ‘No kinky haired man for me, / No black face, no black children for me.’63 This rather melodramatic narrative within the poem tells of the mother’s ‘fair’ husband shooting her first suitor whom she had initially rejected for being too dark, and then committing suicide. The shooting scene, a re enactment of a gun fight in a western, presents the cinema as a racist and degenerate institution. By the end of the poem, the speaker acknowledges her mistake in rejecting the first lover and finds a sense of self, previously denied by the saturation of cinematic images. In shaking off the colonizer’s indoctrination, which seeks to marginalize her, she addresses the question posed by Franz Fanon which is ‘to what extent authentic love will remain unattainable before one has purged oneself of that feeling of inferiority?’64 Black invisibility in the cinema results in white ideology being forced upon a black body and essentially commodifying it and it is this which Marson seeks to deconstruct. Another poem which tackles the reconstruction of female identity is Black is Fancy, where the speaker compares her reflection in the mirror with a picture ‘Of a beautiful white lady’.65 The mirror serves to reclaim the idea of black as being beautiful and a rediscovery of self: Since Aunt Lisa gave me This nice looking glass I begin to feel proud Of my own self (The Moth, p75) The speaker eventually removes the picture of the white woman suggesting that black worth and beauty can only really exist in the absence of white colonialism. The poem ends in a victory of sorts as she declares that John, her lover has rejected the pale skin in favour of ‘His black ivory girl’.66 Kinky Haired Blues represents Marson’s quest for a more effective and authentic poetic voice in its use of African American speech.. The poem explores the rhythms and musical influences found in Harlem and gathering momentum about this time. Kinky Haired Blues like Cinema Eyes and Black is Fancy criticizes the oppressive beauty regime of white colonialism which seeks to disfigure and marginalize the black woman. The poem opens with the speaker attempting to find a beauty shop: Gwine find a beauty shop Cause I ain’t a belle Gwine find a beauty shop Cause I ain’t a lovely belle. The boys pass me by They say I’s not so swell (The Moth, p91) The speaker seeks to Europeanise her black features in an attempt to make herself more attractive. Male indifference experienced in the metropolis forces the speaker to see herself as an aberration, thrusting her onto the margins of a society which is continually projecting the idea that ‘white ‘is ‘right’. The beauty shop contains all the trappings of the colonizer’s idea of beauty, ‘ironed hair’ and ‘bleached skin’. Yet she is caught between being left to ‘die on de shelf’ 67 if she doesn’t change herself, or eradicating her ethnic features and therefore her inner self if she does. By using blues within the poetry she is able to communicate this misery felt within her, that male perceptions of beauty projected by the colonizers dictate that she must distort her own natural beauty in order to fit in and conform. The poem highlights the struggle Marson experiences in trying to preserve her selfhood against such oppressive cultural forces. Marson defiantly attempts to stand against this patriarchal order. She proudly announces that ‘I like me black face / And me kinky hair.’ Inspite of this brave stand Marson eventually succumbs and admits that she is ‘gwine press me hair / And bleach me skin.’ She, like Rhys can only resist internally to the colonialist’s ideals imposed on them. As writers voyaging into the metropolis both Rhys and Marson share in their writing a pervasive sense of isolation where, from the location of London, their particular voices and concerns are, at the time, not recognised. Both writers, from this isolated position on the periphery of the centre. explore issues of womanhood, race and identity,. Marson’s experiences bring about an acute awareness of her difference and ‘Otherness’ as a Black woman. Her work is a defiant voice against this marginalisation and isolation. She was, as Jarrett MaCauley claims ‘the first Black feminist to speak out against racism and sexism in Britain.’68 She was a pioneer in a growing literary culture which was to become the new postcolonial order. Rhys, by contrast, a white West Indian from Dominica was experiencing a declining white minority status against a growing black population, itself an isolating factor both at home and within the metropolis. Kenneth Ramchard suggests that the work of white West Indian writers is characterized by a sense of embattlement: â€Å"Adapted from Fanon we might use the phrase ‘terrified consciousness’ to suggest the White minority’s sensations of shock and disorientation as a smouldering Black population is released into an awareness of power.†69 It is this ‘terrified consciousness’ which contributes to the struggle experienced by Anna in Voyage in the Dark . Located simultaneously both inside and outside West Indian socio cultural history, her journey to the ‘mother country’ seeks only to exacerbate these feelings of ‘in-betweenness’ and to suffer feelings of dislocation and alienation. Both writers, therefore, in their voyage into the metropolis endure different kinds of anxieties in their sense of ‘unbelonging’ to either or both cultural worlds. Both use their writing to speak for the marginal, the hegemonic, the dispossessed, the colonized silenced female voice situated as they were within the cold, oppressive, hierarchical colonial metropolis attempting to impose an oppressive identity upon the exiled women.    1 George Lamming The Pleasures of Exile (London: Alison, 1960) p15 2 Palmer Adisa De Language Reflect Dem Ethos† in ‘The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars’ ed. By Adele S. Newson and Linda Strong Leek. (New York: Peter Lang 1998 p23) 3 ‘The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars’ ed By Adele S. Newson and Linda Strong-Leek. (New York: Peter Lang 1998 p6) 4 V.S. Naipaul New York Review of Books 1992. Quoted in Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p15 5 Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p. xiv 6 Delia Jarrett-MaCauley The Life of Una Marson (Manchester: Manchester University Press, 1998) p51 7 Edward W. Said Representations of the Intellectual (London: Vintage 1994) p49 8 Molly Hite The Other Side of the Story: Structures and Strategies of Contemporary Feminist Narrative Quoted in Joy Castro ‘Jean Rhys’ in The Review of Contemporary Fiction Vol. 20, 2000. www.highbeam.com/library/doc.3.asp p6.Accessed 1 December 2005. 9 Elaine Savory Jean Rhys p92 10 Elaine Savory Jean Rhys p93 11 Gayatri Spivak ‘Three Women’s Text and a Critique of Imperialism’ in Henry Louis Jr. Gates Race, Writing and Difference (Chicago: University of Chicago Press, 1987) p269 12Jean Rhys Voyage in the Dark (London: Penguin Books 1969) 13 Elaine Savoury Jean Rhys (Cambridge: Cambridge University Press 1998) p 95 14 Homi Bhabha ‘Remembering Fanon’, forward to Franz Fanon ‘s Black Skin, White Masks (London: Pluto, 1986) p ix 15 Homi Bhabha ‘The Other Question’ Location of Culture (London: Routledge 1994)p69 16 Ibid p69 17 Veronica Marie Gregg Jean Rhys’s Historical Imagination: Reading and Writing the Creole (North Carolina: The University of North Carolina Press, 1995) p115 18 Sue Thomas The Worlding of Jean Rhys ( Westport: Greenwood Press 1999) p106 19 Jean Rhys Voyage in the Dark p53 20 Ibid 21 Paul B. Rich Race and Empire in British Politics (Cambridge: Cambridge University Press, 1986) p19 22 Voyage in the Dark p56 23 Ibid p320 24 Homi Bhabha â€Å"DissemInation: Time, Narrative and the margins of the Modern Nation† The Location of Culture p319 25 Voyage in the Dark p7 26 Ibid p15 27 Ibid p16 28 Ibid p26 29 Ibid p45 30 Ibid p47 31 Ibid p7 32 Ibid p46 33 Homi Bhabha The Location of Culture p319 34 Voyage in the Dark p45 35 Homi Bhabha Location of Culture p85 36 Ibid p27 37 Ibid p62 38 Ibid p62 39 Teresa O’Connor The Meaning of the West Indian Experience for Jean Rhys (PhD dissertation, New York University, 1985)cited in Caribbean Woman Writers; Essays from the first International Conference. p19 40 Taken from Rhys’s non fictional analysis of Gender Politics. Veronica Gregg, Jean Rhys’s Historical Imagination p47 41 Helen Carr Jean Rhys, (Plymouth: Northcote House Publishers Ltd, 1996) p 77 42 Lloyd W. Brown, West Indian Poetry (London: Heineman, 1978) p 38 43 Denise deCaires Contemporary Caribbean Women’s Poetry: Making style (London: Routledge, 2002) p 2 44 Ibid p4 45 Una Marson The Moth and the Star, (Kingston, Jamaica: Published by the Author, 1937) p24 46 Homi Bhabha The Location of Culture, (London: Routledge, 1994) pp85-92 47 Delia Jarrett-MaCauley The Life of Una Marson pp 49, 50 48 The Routledge Reader in Caribbean Literature ed. Alison Donnell and Sarah Lawson Welsh (London: Routledge, 1996) p140-141 49 Ibid 50 Homi Bhabha Location of Culture p 320 51 Jarrett-MaCauley The Life of Una Marson p51 52 Ibid p51 53 Ibid p54 54 Una Marson ‘Little Brown Girl’, The Moth and the Star. (Jamaica: The Gleaner. 1937) p11 55 Ibid 56 Ibid p13 57 deCaires Narain puts forward an interesting link between Marson and Sam Selvon’s The Lonely Londoners highlighting external identity in her book Contemporary Caribbean Women’s Poetry p 21 58 Baudelaire The Painter and the Modern Life cited in Keith Tester The Flaneur (New York: Routledge, 1994), p 2 59 Ibid p3 60 Jarrett-MaCauley, p53 61 Ibid p50 62 Laurence A. Brainer An Introduction to West Indian Poetry (Cambridge: CUP, 1998), p154 63 Una Marson ‘Cinema Eyes’ The Moth and the Star. (Jamaica: The Gleaner.1937) p87 64 Franz Fanon Black Skins, White Masks (London: Pluto, 1986), p4 65 Una Marson ‘Black is Fancy’ The Moth and the Star p75 66 Ibid p76 67 Una Marson ‘Kinky Hair Blues’ The Moth and the Star p91 68 Jarret MaCauley pvii 69 Kenneth Ramchard The West Indian Novel and its Background (London: Faber, 1870), p225

Directing the movie called Essay

My name is Ahsan Mojumder . I am directing the movie called â€Å"Romeo Juliet†. My movie is basically written based on William Shakespeare’s mind blowing Romeo and Juliet. As a modern director I think Shakespeare’s Romeo and Juliet is old fashioned. The language, communication system, characters everything has changed according to new era, as a director I am thinking why should the story line up remain the same. We can use the themes from Romeo and Juliet. Under these circumstances decided to make it contemporary upgraded version of Romeo and Juliet brief description of my upgraded story of immortal love is given below: Characters Romeo: 19 years old Vincent: Romeo’s father Mrs. Vincent: Romeo’s mother Juliet: 18 years old Bill: Juliet’s father Mrs. Bill: Juliet’s mother Morcutio: Juliet’s brother and Romeo’s best friend. Britney: Juliet’s friend Charle: Britney’s Father Mrs. Charle: Britney’s mother The story is about a couple of lover, who wanted to get together but the social status was not letting it happen. Vincent is rich merchant. He has massive business. Andrew is his one and only son. Andrew is a university student. He is studying in Computing and business. Morcutio is his best friend in university. Morcutio’s dad Bill is a clerk in an office. Mr. Vincent loves his son and daughter like every dad in this world. But his son and daughter are far away for him because he is always busy in his Business. That’s why he can’t give them enough time. Romeo loves Juliet . Who is his best friend Morcutios’s sister. That’s how they know each other. Both of the families don’t know anything about the relationship between them. But Juliet’s mother starts to understand it nowadays. As days passing by love is becoming more and more dense. They are having a good time. But suddenly something start to happen in their life. Romeo’s mum and dad arranged their son’s marriage with their friend Charle’s daughter named Britney. Romeo and Juliet become resourceless. They can’t think about what to do. Should they run away from the society or they should sucide? They decided to ask Morcutio’s to help them. Morcutio talked with his parents but they said if Romeo’s family agree they haven’t got any problem about this relationship. Now it’s Romeo’s turn to ask his parents. But he hasn’t got enough influence to talk to them. For Juliet sake he decided to tell them the truth. Romeo’s parents said no way because of her dad. Juliet talked with Britney to give them few more times. Britney said she would try her best. Britney did know that they love each other but she can’t help it. Because this is her parent and Romeo’s parents wish. If they said something they said†¦. which can’t be changed. That’s why Britney doesn’t want to talk to them. Juliet’s family is keep saying about the social difference economically. Andrew and Juliet are sitting together on Juliet’s home balcony. They are thinking how to stop this marriage and how to get together. They have decided they will leave this unscrupulous unverified society. They made a plan and went away from them. Their parents informed the police. But police says that they can’t do anything in this case. Because they are young enough to make their own decisions. They gave the same statement to Police. They got married and lived happily ever after†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ From the story I am going to direct the balcony scene where they decided to split up from their families. Each of the character has developed in my story rather than Shakespeare’s Romeo and Juliet. Settings: Location: A simple balcony. Shouldn’t be luxurious to make a difference between Romeo’s home balcony. Than the audience can feel the social difference between two communities. Dress up: contemporary dresses and suits. Background music: Romantic. They both are sitting on chair and facing each other. They are discussing what to do. The script has been attached below- Romeo: â€Å"I decide we are going to go far away from here. We will go somewhere else where nobody will try to split us. We will start a new life together. Do you agree with me love? † Juliet: â€Å"Whatever you say my Romeo. I gave you my heart, my soul, my mind and now you are asking for my opinion! I agree with you my Romeo. † Romeo: â€Å"You have saved me. If you would say no, I would suicide my love. † Juliet: â€Å"Never ever say that what you have just said. You can’t die without me. If you have to tell me I would like to die with you. † Romeo: (Holding her hands as they dance): â€Å"I love holding your hands; may I kiss it? † Juliet: (amused, cautious): â€Å"You are being a little too bold in wanting to kiss me. If you are really a pilgrim, you should greet me only with your hand, as ‘palmers’ do. † Romeo: â€Å"Hey, even holy pilgrim are human, they have got lips. Please let me kiss you. Stand still while I kiss you. † (He kisses her lips) Juliet: (Thrilled and amused at the same time): â€Å"you don’t really need all this artificial argumentation to justify kissing me, you know. Let’s get serious. † As I said my story is a contemporary and upgraded version of William Shakespeare’s â€Å"Romeo and Juliet† I used regular pattern of English as script. William Shakespeare â€Å"Romeo and Juliet was written in 1595. Actually Romeo and Juliet was written as a play . The story is of course about a pair of star crossed lovers. Two teenagers pursue their love for each other despite the fact that their families have been at odds with each other for decades. In Verona (Italy) in the late 1500’s two powerful families the Montague and the Capulet have been feuding with each other for years. But two people from two different communities get together and falled in love. When they realised they are resource less about their love and life they choose a different way to get together. But for a bit misunderstanding they lead their life to death. The script used for Shakespeare’s Romeo and Juliet was basically in a special kind of poetic device called â€Å"Sonnet†. Which was also invented by great William Shakespeare. The main characteristics of this poetic device are- 1. 16 lines 2. Fixed rhymes pattern Italian cities were infamous for their long lasting deadly feuds between prominent families. Think the play was written as a part of his contribution with others to say â€Å"no† against such conflicts. The greatest theme in Romeo and Juliet is Love. As I said it’s a contemporary version of Romeo and Juliet so I tried my best to keep the vital theme of the play. But in this modern society everything has been changing rather than Shakespeare’s era. Such a fact like communication system could change the theme in Romeo and Juliet. I think if Internet would available on that time they might alive until they meet each other. So I have to change the theme slightly as a modern director of Romeo and Juliet. And I also have changed the characters line up in order to give you something different. I haven’t involved any violence in my story because nowadays violence is not a rear, so people don’t want to see any violence between love and lovers. I mentioned earlier about use of language in Shakespeare’s Romeo and Juliet. As you have seen my script, which is written in regular pattern of English, so people can understand it easily and also the people of other countries can enjoy the movie. Ahsan Mojumder English Assignment #4 Name: Ahsan Mojumder Lecturer: Diana May.

3 Common Comma Errors

3 Common Comma Errors 3 Common Comma Errors 3 Common Comma Errors By Mark Nichol The following sample sentences and the discussion that follows each point out three frequently found punctuation errors in which a comma is extraneously inserted or erroneously omitted. 1. â€Å"The giant, blue eyeball that washed up on a Florida beach likely came from a swordfish.† The adjectives giant and blue are noncoordinate, which means they’re not parallel in function. You can say, of course, that an eyeball is giant and that it is blue, but the second test of adjectival coordination, whether the words can gracefully be transposed, does not work; â€Å"the blue giant eyeball† is awkward. Why? A convention in English called the royal order of adjectives assigns specific starting positions to different types of descriptive words, and size precedes color. Therefore, â€Å"blue eyeball† becomes a temporary compound modified by giant, and therefore no intervening punctuation is required: â€Å"The giant blue eyeball that washed up on a Florida beach likely came from a swordfish.† 2. â€Å"Move over vampires, goblins and haunted houses, this kind of Halloween terror aims to shake up even the toughest warriors.† The introductory phrase in this sentence, a form of address to the subject that is increasingly common in lead paragraphs in journalistic contexts (to the point of becoming a tired clichà ©), is just that an introductory phrase. And though short introductory phrases are often inserted at the beginning of a sentence without following punctuation, in this case, â€Å"Move over vampires† is a miscue that readers might read to mean â€Å"proceed on top of bloodsucking beings.† I prefer consistency over inconsistency and recommend always punctuating introductory phrases; whether you follow that advice or not, do it here: â€Å"Move over, vampires, goblins, and haunted houses, this kind of Halloween terror aims to shake up even the toughest warriors.† 3. â€Å"The convention will be delayed until Tuesday because of the threat of the tropical storm Isaac now bearing down on Florida.† There are at least two effective solutions to the problem here, which is that â€Å"angry tropical storm† and Isaac are appositives, which means that one noun or noun phrase refers to the other. As written, without punctuation, the sentence implies that more than one angry tropical storm bearing down on Florida exists at this time, and one is called Isaac. But because only one storm, named Isaac (â€Å"one storm† and â€Å"named Isaac† are in apposition), is bearing down on Florida, the interchangeable noun and noun phrase are set off with an appositive comma: â€Å"The convention will be delayed until Tuesday because of the threat of Isaac, the tropical storm now bearing down on Florida.† Another option is to refer to Isaac with the modifying phrase â€Å"tropical storm† and follow the wording with a descriptive phrase, set off by a comma, that serves an appositive function: â€Å"The convention will be delayed until Tuesday because of the threat of the tropical storm Isaac, now bearing down on Florida.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Punctuation category, check our popular posts, or choose a related post below:Writing Prompts 101What's a Male Mistress?Passed vs Past

Charlemagne and the Battle of Roncevaux Pass

Charlemagne and the Battle of Roncevaux Pass Conflict: The Battle of Roncevaux Pass was part of Charlemagnes Iberian campaign of 778. Date: The Basque ambush at Roncevaux Pass is believed to have taken place on August 15, 778. Armies Commanders: Franks CharlemagneUnknown (large army) Basques Unknown (possibly Lupo II of Gascony)Unknown (guerilla raiding party) Battle Summary: Following a meeting of his court at Paderborn in 777, Charlemagne was enticed into invading northern Spain by Sulaiman Ibn Yakzan Ibn al-Arabi, wali of Barcelona and Girona. This was further encouraged by al-Arabis promise that the Upper March of Al Andalus would surrender quickly the Frankish army. Advancing south, Charlemagne entered Spain with two armies, one moving through the Pyrenees and another to the east passing through Catalonia. Traveling with the western army, Charlemagne quickly captured Pamplona and then proceeded on to the Upper March of Al Andalus capital, Zaragoza. Charlemagne arrived at Zaragoza expecting to find the citys governor, Hussain Ibn Yahya al Ansari, friendly to the Frankish cause. This proved not to be case as al Ansari refused to yield the city. Facing a hostile city and not finding the country to be as hospitable as al-Arabi had promised, Charlemagne entered into negotiations with al Ansari. In return for the Franks departure, Charlemagne was given a large sum of gold as well as several prisoners. While not ideal, this solution was acceptable as news had reached Charlemagne that Saxony was in revolt and he was needed to the north. Retracing its steps, Charlemagnes army marched back to Pamplona. While there, Charlemagne ordered the citys walls pulled down to prevent it from being used as a base for attacking his empire. This, along with his harsh treatment of the Basque people, turned the local inhabitants against him. On the evening of Saturday August 15, 778, while marching through Roncevaux Pass in the Pyrenees a large guerilla force of Basques sprung an ambush on the Frankish rearguard. Using their knowledge of the terrain, they decimated the Franks, plundered the baggage trains, and captured much of the gold received at Zaragoza. The soldiers of the rearguard fought valiantly, allowing the remainder of the army to escape. Among the casualties were several of Charlemagnes most important knights including Egginhard (Mayor of the Palace), Anselmus (Palatine Count), and Roland (Prefect of the March of Brittany). Aftermath Impact: Though defeated in 778, Charlemagnes armies returned to Spain in the 780s and fought there until his death, slowly extending Frankish control south. From the captured territory, Charlemagne created the Marca Hispanica to serve as a buffer province between his empire and the Muslims to the south. The Battle of Roncevaux Pass is also remembered as the inspiration for one of the oldest known works of French literature, the Song of Roland.

Homework Case Study Example | Topics and Well Written Essays - 500 words - 1

Homework - Case Study Example Apart from the time element, a firm must clearly define the prospects of the Information Security Officer and determine whether a worker is capable of filling the role (Putvinski 1). A firm is only as strong and tough as its weakest link, and when the organization works with third-party contributors their information security collapse can become the organization’s issue. Organizations should ensure that they document which vendors get confidential information, in addition to how this information, is taken care of when in the position of the vendor (Putvinski 1). The lack of authoritarian vendor guidelines could raise the risk of releasing a client’s private information. Documents do not storm out of the organization on their own. Having strict rules regarding who can physically access the offices, as well as how they gain entry, might decrease the possibility that an unauthorized person is present illegally to take information (Putvinski 1). The next step is to make sure that an organization’s documents how physical information is kept and destroyed. The issues discussed in student 1’s paper slightly resemble the findings in my paper. Student one talked about security issues with regards to protecting information systems through incorporating security policies. Such a topic is extremely wide in the IT field, and I feel that the student could have explained further as to the types of policies that could be implemented in order to secure our information systems. The second student’s paper was extremely educative. The student focused on the diverse fields of the security best practices touching over every security part that information systems involve. The paper also mentions some of the issues that I discussed in my paper such as physical security, vendor management and information security officers. Such a paper would be extremely helpful to someone who, in

Theory of Culture Care Diversity and Universality Essay

Theory of Culture Care Diversity and Universality - Essay Example A CT scan may also reveal how much of the colon is inflamed. 2) The second differential diagnosis is Crohn’s Disease. The data that supports this diagnosis includes bloody diarrhea, weight loss, fatigue, insidious onset, arthritis (painful knee joints), rash (erythema nodosum), fever, and abdominal pain or tenderness. Also, the onset age is between 15 and 25; males are more likely to develop the disease than females, and people are put more at risk if there is family history of the disease. The lab/diagnostic tests I will need to rule in or out Crohn’s Disease are CT scan, to look for thickening of the colon; CBC, for anemia; pANCA, as ASCA in Crohn’s may differentiate from UC; biopsy; and an IBD serology 7 panel. 3) The third differential diagnosis is infectious colitis/diarrhea/gastroenteritis. The data that supports this diagnosis includes bloody diarrhea, weight loss, anorexia, dehydration, pale skin, abdominal pain or cramps, fever, elevated WBC in stool, an emia, and hyperactive bowel sounds. This disorder is common in all ages, but especially in individuals who have a long history of stomach problems or have tender arthritis. The lab/diagnostic tests I will need to rule in or out infectious colitis/diarrhea/gastroenteritis are testing stools for WBC/leukocytosis; Ova + parasite to exclude amebiasis; toxin assay to rule out c diff; cultures to rule out salmonella, shigella, e.coli and campylobacter; and urinalysis, BUN, specific gravity, and electrolytes. 4) The fourth differential diagnosis is Ischemic colitis. The data that supports this diagnosis includes bloody diarrhea, abdominal pain LLQ tenderness, elevated WBC, and anemia. Ischemic... Theory of Culture Care Diversity and Universality Patients often expect slow delivery of service. They have a lack of confidence that providers will really help, especially if the patient is poor. For this reason, patients may feel less confident about U.S. providers who are Latino. Physicians in Mexico are revered: â€Å"What is said is done, no questions asked.† Questions are not asked for fear of insulting the provider. This includes questions about the patient’s prognosis. Patients from Mexico and many underdeveloped countries are accustomed to providers who wear white coats. American providers who dress casually may have to prove themselves more. There are exceptions to this. Uninsured and underinsured Latino patients are in survival mode. Maintaining the most basic needs, such as affording food and paying for housing, take over their everyday lives. Most of these people are close to becoming homeless and some are already homeless. As such, preventive care is viewed as a luxury, something that only the rich can afford. This attitude is only strengthened by previous experiences in Latin American countries, where treatment was almost nonexistent due to a major lack of financial resources. For most individuals, healthcare in Latin America was unaffordable and unattainable, and most experience the same problem in the U.S. Latinos in the United States are without health insurance. Even though there are a large amount of preventive services available at free or reduced costs, patients and providers do not always know about these services.