The Importance of Names in The Crucible by Arthur Miller Essay

The Importance of Names in The Crucible by Arthur MillerWhat is the importance of label?In this essay I volition be trying to answer the questionWhat is the importance of names. Based on the play The Crucible.Briefly I will explain what happened in the play. In Salem village, Massachusetts, in 1692, which hysteria swept the area? Salem village was a puritan society, you either loved divinity fudge and did no wrong or you lived with a blackened name.A group of young girls were prepare dancing naked in a forest. Two of the girls therefore fell unconscious for a few days. Some of the residents of Salem village said it was sirencraft, from then onwards madness struck in Salem village. Hundreds of flock were arrested because they were said to have done work for the devil. The play then goes on to focus on two people named John and Elizabeth Proctor, who were accused and it shows how they reacted throughout the witch hysteria.To set the scene, Betty is aged ten. She was one of the girls that fell unconscious in the forest. Reverend Parris is her father and Abigail Williams is her cousin, they are both very upset about Betty. Abigail was also found in the forest with Betty.Parris is obviously upset and he starts to question Abigail.Your name is entirely white, is it not. he asks her,Abigail answersThere be no blush about my name.already names are being questioned whether they are white or black?When witchcraft was cried in Salem village, Massachusetts, Abi...

Drug Abuse :: Substance Abuse Essays

Drug abuse takes a toll on society that can only be partially measured. maculation we are able to estimate the number of drug-related crimes that occur each year, we can never determine fully the extent to which the quality of life in the Statess neighborhoods has been diminished by drug-related criminal behavior. With the exception of drug-related homicides, which have declined in recent years, drug-related crime is continuing at a strong and steady pace. legion(predicate) Drug-Related Arrests Occur Each Year. In 1994, state and local law enforcement agencies made an estimated 1.14 million arrests for drug law violations. The largest portionage of these arrests were for drug possession (75.1 portion).45 Arrestees Frequently testify Positive for Recent Drug Use. The National Institute of Justice Drug Use Forecasting (DUF) program calculates the percentage of arrested individuals whose urine indicates drug use. In 1995, DUF data collected from male arrestees in twenty-three cit ies showed that the percentage testing positive for any drug ranged from 51 percent to 83 percent. Female arrestees ranged from 41 percent to 84 percent. Among males, arrestees charged with drug possession or sale were most likely to test positive for drug use. Among females, arrestees charged with prostitution, drug possession or sale were most likely to test positive for drug use. Both males and females arrested for robbery, burglary, and stealing vehicles had high positive rates.46 Drug Offenders Crowd the Nations Prisons and Jails. At midyear 1996, there were 93,167 inmates in federal prisons, 1,019,281 in state prisons, and 518,492 in jails.47 In 1994, 59.5 percent of federal prisoners were drug offenders48 as were 22.3 percent of the inmates in state prisons.49 The change magnitude in drug offenders accounts for nearly three quarters of the total growth in federal prison inmates since 1980. Most drug offenders are imprisoned for possessing more(prenominal) drugs than possibl y could be consumed by one individual distributing drugs or committing serious crimes related to drug sales. In 1995, for example, only 4,040 people were sentenced in federal courts for marijuana-related charges 89.1 percent of those offenders were facing trafficking charges.50 Inmates in Federal and State Prisons were often under the Influence of Drugs when they Committed Offenses. A 1991 survey of federal and state prisons, found that drug offenders, burglars, and robbers in state prisons were the most likely to answer for being under the influence of drugs while committing crimes. Inmates in state prisons who had been convicted of homicide, assault, and public order offenses were least likely to report being under the influence of drugs.

Gender Equity in Math and Science Essay -- Essays Papers

Gender Equity in Math and Science From the research I have read while there is a disagreement on when and how much of a gender gap exists in math and science, there is definitely an integrity issue that needs addressing. There seems to be an abundance of information about equity issues and as a future teacher I tincture that it is important to examine these issues. If gender equity issues exist in todays classrooms why do they and what can be done to help correct it. Everything Ive read so far states that a gender gap exists in science, while opinions about math vary. I found a paper on the Internet from the matter Center for Education Statistics called Trends In Educational Equity of Girls & Women. Using information from NAEP this source states that between 1973 and 1994 academic achievement of females in math was about qualified to males (NCES, 2000). The NCES report states that females and males take similarly challenging academic courses (2000). Baker (2001) however writes that research shows that there is a slight female superiority in wide-eyed school and middle school and a moderate male superiority in high school in math and science. Baker (2001) researched gender equity in gifted elementary students in grades 4 and 6. After his study he concluded that gender had a significant effect on the writ of execution of high performing students in grades 4 and 6 (Baker, p.134). Baker reported a slight female superiority in relation to performance in the area of math computation which is consistent with other studies he has read, but Baker found that males were superior in the understanding of math concepts and applications which is inconsistent with precedent findings (2001). From reading our textbook the... .... Science Education, 84, 180-192. Kahle, J., and Lakes, M. (1983). The Myth of Equality in Science Classrooms. Journal of Research in Science Teaching, 20, 131-140. National Center for Education Statistics . (2000). Trends in Educational Equity of Girls & Women. Retrieved March 16, 2001 on the World Wide Web http//nces.gov/pubsearch/pubsinfo.asp?pud=2000030. Sadker, M., Sadker, D., and Stulberg, M. (1993, March). Fair and Square? Creating a Nonsexist Classroom. Instructor, 44-46, 67-68. Sanders, J. (1997). Teacher Education and Gender Equity. (Eric scroll No. ED408277). World Wide Web http//ericir.syr.edu/plweb-cgi/obtain.pl. Retrieved March 16, 2001. Reys, R., Lindquist, M. Lambdin, D., Smith, N., and Suydam, M. (2001). Helping Children Learn Mathematics. New York John Wiley & Sons, Inc.

Mega Farms :: essays research papers

Mega Farms Effects On WaterWater pollution has been an increasing problem over the last few age. Pollution itself is when a substance or energy is introduced into the soil, air, or water in a concentrate. Pollution comes in many forms agricultural, urban runoff, industrial, sedimentary, animal wastes, and leeching from lendfills/septic systems just to name a few. These pollutants are very detrimental to the environment. Whether they are alone or combined with another form of pollution they are very harmful. Over the last hundred years the problems with pollution have been increasing with time. This is due to both the increase in human population, and the increases in technology we have made as a society. If we be after on having our resources here for many years to come we are going to have to make some drastic changes in the way we treat the earth, and these changes leave have to start with our pollutants. (Jones,1993,pp.4-15)Agricultural pollution is a very big contributor to water pollution. Problems we see with agriculture are applications of fertilizers, insecticides, and pesticides. We have made grand improvements in the types of chemicals we are using, as to how environmentally friendly they are. In 1985 the amount of fertilizer added to Americas fields was 11.5 million tons. Not only do these chemicals leech in to the soil, but they are also swept off the soils by rain and wind. When these fertilizers reach the water there is a sudden windfall in plant growth. When the plants die, bacteria that need oxygen to persist eat their bodies. This starts to deplete the amount of oxygen in the water for other fish and animals to live and breath, and they end up dying. Besides the chemical contamination on the farm there are major problems with animal wastes. (Jones,1993,pp.39-60)Over the last 30 or so years there has been an increased demand for food. Foods like pork, chicken, turkey, and beef. With the demand for meats, there is also an increased deman d for grains to feed these animals. So more land is needed to grow the feed, less space is available for the feedlots. More and more of these feedlots have been popping up over the landscape. And the amounts of animals crammed into the small spaces are also increasing. thither can be as few as 50 to as many as 7 million in a single confinement.

emily dickinson :: essays research papers

One of Americas greatest poets, Emily Dickinson, wrote more than 1,700 short lyric verses, of which only 7 were published in her lifetime. Dickinson was an obsessively private author and withdrew herself from social contact at the age of 23 and devoted herself into writing. Dickinsons personal life, writing career, personal beliefs, and personal trials are perceived throughout her poems that shape todays redbrick poetry. Dickinsons work has had a considerable influence on modern poetry. Today, Dickinsons work has contributed her reputation as one of the most innovative poets of the 19-century American literature.           Emily Elizabeth Dickinson was born in Amherst on December 10, 1830, the second child of Edward and Emily Dickinson. The Dickinsons were an important family in Amherst. Her father was an orthodox Calvinist, a lawyer and treasurer of Amherst College, and he also served in Congress. As a parent, her father was known to be sho rt tempered and harsh. "..and Father, too busy with his Briefs to notice what I do-He buys me many Books-but begs me not to read them-because he fears they joggle the Mind"(Eliot 452). However, when her father died in 1874, Emily was deeply distressed. A year later, her mother became diagnosed with paralysis and became sick for the rest of her life. Mrs. Dickinson died in November 1882.      Emily attended school at Amherst Academy , studying Latin, French, history, rhetoric, botany, geology, and mental philosophy. She then attended Mount Holyoke Female Seminary at South Hadley where she engaged more in the tangible study of history, chemistry, Latin, physiology, and position grammar. Her official education became deprived because of her constant illness and poor health. Her life was lived entirely in a small New England circle, in which Amherst was the center. Emily did not research she saw what could be seen from her window, from her garden, from next door, and sometimes from the church. She chose to live this way and this way took over and became the rest of her life.

emily dickinson :: essays research papers

One of Americas greatest poets, Emily Dickinson, wrote more than 1,700 short lyric verses, of which only 7 were published in her lifetime. Dickinson was an obsessively private source and withdrew herself from social contact at the age of 23 and devoted herself into writing. Dickinsons personal life, writing career, personal beliefs, and personal trials are perceived throughout her poems that shape todays modern-day poetry. Dickinsons work has had a considerable influence on modern poetry. Today, Dickinsons work has contributed her reputation as one of the most innovative poets of the 19-century American literature.           Emily Elizabeth Dickinson was born in Amherst on December 10, 1830, the second child of Edward and Emily Dickinson. The Dickinsons were an important family in Amherst. Her father was an orthodox Calvinist, a lawyer and treasurer of Amherst College, and he also served in Congress. As a parent, her father was known to be s hort tempered and harsh. "..and Father, too busy with his Briefs to notice what I do-He buys me many Books-but begs me not to read them-because he fears they joggle the Mind"(Eliot 452). However, when her father died in 1874, Emily was deeply distressed. A year later, her mother became diagnosed with paralysis and became sick for the rest of her life. Mrs. Dickinson died in November 1882.      Emily attended school at Amherst Academy , studying Latin, French, history, rhetoric, botany, geology, and mental philosophy. She then attended Mount Holyoke Female Seminary at South Hadley where she engaged more in the tangible study of history, chemistry, Latin, physiology, and slope grammar. Her official education became deprived because of her constant illness and poor health. Her life was lived entirely in a small New England circle, in which Amherst was the center. Emily did not explore she saw what could be seen from her window, from her garden, from next d oor, and sometimes from the church. She chose to live this way and this way took over and became the rest of her life.

Different Cultural Practices in the Philippines

Christille Lindy Joyce D. Caluyo BMLS II-A 1) Different cultural practices in the Philippines which could affect our health. Herbalaryo/Arbolaryo/Witch-Doctors Filipinos believe that some diseasees are ca utilize by evil spirits that enter the body which are cast by Manga ga mud. Manga ga mud casts spells on citizenry if they are avaricious or disliked. They take personal items such as, clothing, a brush (to obtain a piece of hair), pictures, jewelry, etc. It is also done by food poisoning. These people who became sick / cursed ask help from herbalaryo/arbolaryo. They are also called witch-doctors. The herbalaryo whitethorn treat Manga ga mud by gathering unmarried individuals, and a grasp of rice. This treatment involves a night of ritual sprinkling of rice, dining and dancing to Filipino music. After the night of festivities, everyone exit say a Filipino orison for the person who has been cursed. They believed that this treatment would remove the curse from the affected person. Halaman (Medicinal Herbs & Plants) Filipinos also believe in the healing effects of nature. Medicinal herbs & plants like ginger, garlic, and chives are used to treat different sickness. godliness Filipinos believe that religion is closely tied to health.Younger Filipino gives importance to prayer. Filipinos are religious people that they entrust their health to their faith. supplication also has a role in the understanding of health. Regardless of how religious each age category, there is a consistent belief that graven image is usher in at work in times of illness. In the case of terminal or serious illness, Filipino accepts the situation in a sense that it is Gods will. Superstitious Beliefs Many of Filipinos believe on superstitious things such as if you comb your hair at the night, someone will die or eating twin bananas will helmyou conceive a twin. These beliefs are not scientifically proven and can only be back up by the word of our ancestors. Maybe these thi ngs occur because of coincidence, just like when someone died because he is ill then they blame it for combing their hair and the word open up all over the nation. 2) Different religious practices that can affect our health. Religious beliefs cause patients to forego needed medical care, refuse life-saving procedures, and stop necessary medicinechoosing faith instead of medicine. Religion can cause people to be judgmental and lead to alienation or exclusion of those not playing by the rules. If physical healing does not come immediately, the person may be disappointed and disheartened and claims that the prayer was not answered and that God does not care, and worse that the illness was sent by an angry, vengeful God as a punishment. Religion may become so rigid and inflexible that it becomes excessively restricting and limiting. Religion may encourage magical thinking as people pray for and expect physical healing. Jehovahs Witnesses may refuse life-saving blood products, and som e Christian Scientists may subdue seeing Healthcare Provider because they rely on prayer instead. Patients may stop their medications after attending a healing service in order to demonstrate their faith. People believe that being spiritually healthy could lead you to a healthy body. People would pray always and avoid being problematic. Sources http//www. hawcc. hawaii. edu/nursing/tradfil2. htm http//www. spirit-health. org/resources_detail. asp? q=12 http//www. esipa. org/happening/documents/Culture_Health_Report. pdf

Achieving Individuation: A Jungian Archetypal Analysis Of ‘Snow White’ And ‘Cinderella’

Fairy narrations atomic number 18 successionless stories. They ar an integral part of pleasing-hearted tradition. It arose thousands of years ago from a wide variety of tiny boshs. They were wide propagate throughout the world and continue in our stimulate day, though the older classs and limit have transformd to reflect new realities. They were origin altogethery handed from unity generation to the under manpowerti nonpargonild by news reporttelling. The oral tradition of figmenttelling altogetherowed separately teller to make adaptations that pertained to reliable condition, or to add different deterrent mannikins depending on the audience.The most common world-beater fibs were non in the primary place indite for clawren. It is verbalise that they were told by women, and were often more(prenominal)(prenominal) inventive and nastier, than the tales scratch put into print. As simplistic, imaginative oral tales that contained sorcerous and miraculous e lements, it was origin anyy related to the then belief systems, values, rites and experiences of pagan mess. Then it underwent many transformations. It shaped and was re-shaped by the inter deed of orality and print and early(a) technological innovations alike(p) film, radio and so.Yet, either mutants of queen tale have deep, symbolic meanings that shed turn away in the culture that originated the tale. Also, there were lots of similarities in these tales. These similarities be those in the meaning conveyed, through certain exemplars (the recurrent patterns) in almost every story. In a nutshell, one raft say that tabby tales changed with the cultural needs, demands and ideologies. The symbols and models have re main(prenominal)ed virtu on the solidy the akin in all versions, though hassock tales changed over sentence to adapt to the society.LITERATURE REVIEW at that place have been lots of studies and research on egg-producing(prenominal) monarch tales. Perhaps, J ack Zipes is presently the most popular act in the field of hassock tale studies. Jack Zipes, in When Dreams Come True, discusses the history of fairyland tales, fairy tales from different countries, and the Grimm Br another(prenominal)s collections. Zipes focuses on the role the literary fairy tale has assumed in the civilizing put to work by im twining values, norms and aesthetic tastes to children and adults. Bruno Bettelheim, a child psychologist, looked at the mental meaning of fairy tales for children. In his book The Uses of Enchantment, Bettelheim explained the symbols appoint in the classic reversal white story and construe the morals found in the fairy tale. He wrote the book to help the audience to bring forth fully aw atomic number 18 of the grandness of fairy tales. N. J. Girardot discusses on myths and fairy tales in his article Initiation and Meaning in the Tale of ascorbic acid clean. He shows the underlying structure of the tale of S this instant purene ss and relates it to different bods of a girls maturation.METHODOLOGYThis project go away look at the archetypes found in mingled versions of fairy tales- literary and digital. diametrical sources are used to gather the versatile versions of popular fairy tales, especially speed of light etiolate and Cinderella. Concentrating on the archetypes, the paper willing explore on how the theory of embodied un apprised mind(p) is related to fairy tales and how it works in the versions till date. Through an analysis, it intends to show that the theory of incarnate un aware is valid for all writings of all time, with the archetypes in them.Recently, there have been lots of studies and research on fairy tales. Around the world, there is an enhanced interest in fairy tale studies, which has now become one of the most popular research topics in various large universities. This research, relating fairy tales and archetypes, is quite signifi shtupt if we look into the modern or coe taneous literature. Many of the modern fiction include fairy tale elements as swell as archetypal elements in them. thereof, the relevance if this study of fairy tales and archetypes lies in almost every branch if literature.2. FAIRY TALES AND THE COLLECTIVE UNCONSCIOUSFairy tale is one of the oldest literary genres. It is a genre of folk literature, representing mythology, folk wisdom, moral lessons and entertainment. They present the mixer norms of gentlemans gentleman behavior. Fairy tales are a type of short stories that typically feature such fairy tale causas, as elves, fairies, goblins, dwarfs, giants, trolls or gnomes, and often similarly magic and spells. However, wholly a thin number of fairy tales refer to fairies. Fairy tales for kids whitethorn, nevertheless, be distinguishedfrom other types of folk narratives such as ballads and legends and explicitly moral tales, including beast fables. Fairy tales are common in oral as well as in literary form. The history of fairy tales is very nasty to trace accurately because only the literary forms idler survive in a more or less exact original form. As the transmittance of folk tales was particularly oral, many local variants of the tales appeared. Each of them reflected the social and cultural conditions of the story tellers and listeners, and in like manner their expectations and ideals.Such a variability and modification of the main storyline is one of the characteristics of the fairy tale genre. In certain parts of the world, in which cultures creatures such as demons, wizards and witches were perceived as real, fairy tales may have evolved into legends. Unlike legends and epics, however, fairy tales usually contain only superficial references to religious practices and unfeigned places, events and citizenry. They often take place once upon a time and non in actual specified time setting. Fairy tales fall into the basic genre of the oral folk literature.The term oral folk lore represents various kinds of orally genetical literature in the form of narration or verse. It includes folk wisdoms, sayings and proverbs, myths, legends and, fairy tales. Even if we know that many ancient texts similar to our fairy tales existed, the particular take a leak fairy tale was first gear used by the French writer Madame dAulnoy, who named her stories contes de fee(a fairy tale) on the outset of eighteenth century. A fairy tale is said to be an epic narration that tells a simple, fictional story which may show a resemblance with myth. there are various approaches to the classification of the fairy tale genre. Some are base on their motives, some on their similarities in storylines, characters, linguistic features and content. General classification of fairy tales is based on the similarity of storylines and differentiates into three main classes of talesMagic fairy tales, which are characterized as stories with some occurrence of a magic thing or enchantment.Animal fairy tales , where Animals represent people and have human qualities.Legendary fairy tales, where biblical characters can buoy appear.So, as per the above classification, both(prenominal) Cinderella and atomic number 6 blanched belong to the category of magic fairy tales. Fairy tales of various cultures show different features. They penetrate into other genres as myths or legends, and may accept features of fables, etc. Thus, the classification of fairy tales is broad and not so easy.2. 1. bill OF FAIRY TALESa) Oral fairy tales A fairy tale represents very popular form of folk narration. Since it was handed from one generation to the next by storytelling, fairy tales changed a bit every time it was told.The teller modifies the storyline and characters to interest his audience. The modifications designed for specific audience are usual in the total history of every narration. Such an adaptation of a story guarantees its further circulation because the story is kept current and interestin g. Also, more plots and additional motives can be added and this will influence the consequent choice of characters. The early history of fairy tales and myths were handed down through generations in the oral tradition by peasants, story tellers, dancers, in feast around the festival fire, or by the various leaders.As tribes wondered around or voyaged to other lands, their tales spread and were shared. Tribes intermarried and, eventually, women passed on what they had known. Although cultures were different, some(prenominal) was the same in the boilers suit experience throughout the mortal world- life, death, love, joy, hate, strife, survival and the cycles of nature. They could all relate to each others stories, having very similar themes. Through the centuries, tales, gradually, were tamed down, became more fanciful and noble so as to fit a modern, cultured society.The history of fairy tales, myths and legends dates back to ancient India, Persia, Egypt as well as some of the Gre ek and Roman mythology. versatile versions of these legends and myths already existed in the old world of Europe and America. Eventually, they were written down and evolved into the so called fairy tales. It is impossible to separate out the changes and variations occurred to fairy tales, and follow their history. In other words, one cannot trace a fairy tale to the place or the culture of its origin certainly. Although a fairy tale can be recorded, in the moment of its record the narration becomes invariable.The oral transmission of tales does not stabilize by its recording, but the narration develops further. Thus, more and more variants of one fairy tale have been created. b) Literary fairy tales Fairy tales were, originally, not written for children, but for adults. They were not suitable for children at all, in fact, with questionable content and much cruelty and violence. As they were passed down through the centuries, they have been rewritten for the younger generations. Or ally transmitted stories attracted attention of collectors of folk production within Europe in the ordinal century.The first European collectors of folk tales were the Italian authors Giovanni Francesco Straparola and G. Basile with collections of tales The Facetious Nights and Neapolitan Tales. Charles Perrault, a French collector of seventeenth century, collected common French folktales in convey Goose Tales. Perraults tales included The Cinderella Story, The Sleeping Beauty, The Bluebeard, etc. He transcribed eleven fairy tales overall, most of which are very popular today. On the turn of the eighteenth and nineteenth century, the Brothers Grimm collected the German folktales.Their first work was published in 1812. It contained tales in more than ten German original dialects. Their first edition contained a record of a Cinderella story, which was told to them by a young French charwoman named Marie Hassentug. This fairy tale and some others were omitted in the southward edi tion, because the Brothers Grimm considered them French and not originally German. Literary and language changes were also do in the second edition of the fairy tales in 1815 to make the tales more acceptable to the readers. Yet, both of these editions became an inspiration for the next collectors of folk tales.The name fairy tales came long before the time of Brothers Grimm. Madame dAulnoy of France was the first to use the term, introducing it to her friends at their parties. They were told to and meant for adults. She used the phrase fairy tale in French as contes de fee, and had her writings published. The word fee referred to a woman of magic feerie referred to illusion. As use of these words spread, they came to be known as faerie or fairy in English public spea force countries. The term fairy tales first appeared in Oxford Dictionary in 1749.In the 18th century, the writings of Jean Marie Le Prince de Beaumont (also in France), became popular, especially since her stories w ere written more for children. She was one of the first to do so. Particularly wide spread was her Beauty and the Beast. Around the same time frame as the Brothers Grimm in the nineteenth century, Hans Christian Anderson was pile up and publishing his fairy tales in Denmark. He is known as the father of modern fairy tales. His stories such as Thumbelina, The Snow White, The Little Mermaid, The Ugly Duckling, spread far and wide.Again, they had a certain amount of conflict and sadness, very understandable to the common folk of the time. Many of the fairy tales were not about fairies. They included other creatures like trolls, goblins, elves, dwarfs, giants, gnomes, and also talking beasts such as dragons, unicorns, centaurs, and phoenix birds. There was somehow a knowing that the world beyond the veil was vast and rich, though no human eye ever saw it. So, all fairy tales happened once upon a time and not in actual specified setting.2. 2 ARCHETYPES AND THE COLLECTIVE UNCONSCIOUSA lo t of modern theory on what makes a good story is based on the work of Carl. G. Jung and Joseph Campbell, both of whom were fascinated with mythology and religion. The great psychologist and philosopher, Carl Gustav Jung, influenced the mythological criticism greatly. He believed that there exists a general un advised. This idea indicates that every individual has access to a shared set of images, called archetypes, common to all people. The universal un conscious(p) was expressed in art, literature and myth and Jungian literary criticism focused specifically on the analysis of archetypes in literature and written mythology.Much of the literary characters that we are most familiar with from legends, fairy tales and mythology are causas of what Jung would classify as archetypes. According to Jungs notion of the headland, the human intelligence can be divided into 2- the conscious part and the unconscious part. The unconscious part of the mind covers all the life experience, know ledge, education and social training. It contains aspects of any aptitude acquired during the life. The s go through is later brought into practice consciously, with the awareness of its reason and consequence.The personal unconscious layer of the mind covers acquired life experience and behavior, of which reasons and origin cannot be easily identified. An example of unconscious experience is fear of a dog. The person is aware of his or her fear because of previous attack. If a dog attacks a small child, and it forgets it, the experience is hold in and becomes a part of the unconscious. The child then feels uneasy with dogs for the rest of his life, without knowing the reason. Carl Jung believed that beneath these twain layers of the conscious and the unconscious, there lies another layer which he called the collective unconscious.In developing his theory of racial memory and archetypes, Jung asserted that beneath the conscious and unconscious layers of mind is a primeval, collec tive unconscious shared in the psychic inheritance of all members of the human family. As Jung himself explains in The Structure and Dynamics of the Psyche, If it were possible to personify the unconscious, we magnate think of it as a collective human being combining the characteristics of both the sexes, transcending youth and age, birth and death, and from having at its command a human experience of one or two million years, practically immortal.If such a being existed, it would be exalted over all temporal change the present would mean neither more nor less to it than any year in the hundredth millennium before Christ it would have lived countless times over again the life of the individual, the family, the tribe, and the nation, and it would cause a living sense of the rhythm of developing, flowering and decay. (349-50) Thus, the collective unconscious covers the experience of whole humankind, acquired during millions of years of the human evolution. Jung described the conten t of the collective unconscious more explicitly.He claims that there are behavioral patterns (that are collective) in every human mind. Just as certain instincts are inherited by the lower Animals (for example, the instinct of the baby chicken to run from a hawks tracing), so more complex psychic predispositions are inherited by human beings. Jung says that mind is not born as a tabula-rasa a clean slate. Like the body, it has its pre-established individual definiteness namely, forms of behavior. They become manifest in the ever-recurring patterns of psychic functions.He refers to the manifestations as archetypes or motifs or primordial images. Thus, Jung presented the notion of an archetype- a symbolic demonstration of the collective behavioral patterns in every human mind. These archetypes can be found only in the humans unconscious and people consciously do not know that they follow a general pattern of behavior. (Jung) This theory suggests that all people have all the possible archetypes in the unconscious part of the mind. The adequate archetype activates and controls our behavior according to various life situations.Jung detected an cozy relationship between dreams, myths and art in that all three serves as media through which archetypes become accessible to consciousness. In other words, myths are the means by which archetypes, essentially unconscious forms, become manifest and articulate to the conscious mind. The context of character, situation and places can provide a space for a particular archetype to occur. The universal unconscious was expressed in art, literature and myth, and Jungian literary criticism focused specifically on analysis of archetypes in literature and written mythology.A Jungian literary may simply evaluate the incumbranceiveness as a particular archetype in a novel. While reading literature in Jungian literary criticism, the central character is viewed as real, darn most other characters are seen as symbolic delegations of a spects of the heros unconscious self. The characters all stand for parts of the protagonists unconscious desires or parts of the unconscious which the character has yet to access.2. 3 JUNGS THEORY OF INDIVIDUATIONAccording to Carl Gustav Jung, the name and address of all humans is to achieve a state where the unconscious is known and integrated into the conscious mind.In other words, the unconscious aim of all people is to become their own self. This process is called individuation. Individuation is the final stage of the human development that represents the union of the matured individual identity with one of the unconscious archetypes. It is a process that can take the whole life, but it can also be achieved through a particular life situation. Individuation is a reconciliation of a man with his real self, which has to be consciously accepted and requires extra courage and honesty.The theory of individuation is related to those archetypes designated as the iniquity, fibre and the Anima/animosity. The hind end, the Persona, and the Anima/ animosity are the structural components of the wit that human beings have inherited. We encounter these archetypes throughout the myths and the literatures. Here, the Anima/ bad blood, the Shadow, and the Persona are projected, respectively, in the character of the heroine, the villain and the hero. The Shadow is the darker side of our conscious self, the inferior and less pleasing aspects of the Personality, which we wish to suppress.The most common variant of the archetype, when projected, is the Devil. In Jungs words, the Devil represents the dangerous aspect of the unrecognized dark fractional of the Personality. Shadow contains all the oppose tendencies the individual wishes to deny, including our Animal instincts, as well as our undeveloped positive and negative qualities. Its contents include those tendencies, desires and memories that are rejected by the individual and are contrary to the social standards and ideals. The Persona is the appearance we present to the world.It is the character we assume and that which we relate to others. The Persona includes our social roles, the kind of clothes we choose to wear and our individual styles of expressing ourselves. The term Persona comes from the Latin, meaning mask or false-face, as in the mask worn by an prole on a stage through which he speaks. Jung, in discussing this social mask, explains that, to acheive psychological maturity, the individual must have a flexible, viable Persona that can be brought into harmonious relationship with the other components of his/her psychic make-up.He states, furthermore, that a Persona that is too artificial and rigid results in such symptoms of neurotic disturbance as irritability and melancholy. The Anima/animosity is perhaps the most complex of Jungs archetypes. It is the complement of the Persona. The Anima and Animus are the unconscious or true inner self of an individual, as opposed to the Persona or outer aspect of the personality. The Anima is for males and the Animus is for females. It can be identified as the totality of the unconscious feminine psychological qualities that a male possess or the mannish psychological qualities possessed by the female.The Anima manifests itself by appearing as figures in dreams as well as by influencing a mans interaction with women and his attitudes towards them, and vice-versa for females and the Animus. The Anima functions as the primary mediator between unconscious and conscious. It is oriented primarily towards inner process, just as the Persona is oriented to the outer. In this project, two of the most popular fairy tales have been selected- Cinderella and Snow White. Both the fairy tales will be analyzed and interpreted based on the Jungian psychology.Indicating that both the fairy tales are actually a psychological process, I will try to reveal the archetypes in the stories and show how Snow White and Cinderella goes through the process of individuation to achieve their true self. Also, by analyzing both fairy tales from this perspective, I will try to reveal the similarity of archetypes in these several(prenominal)ly created fairy tales.3. ARCHETYPES IN SNOW WHITESnow White is a magic fairy tale. It is the story in which a child is ill-used by an adult. Adult anxieties and jealousies cause the adult in the story to act against the children, who are being the objects of adult jealousy.Snow White is a classic example of a fairy tale with many characteristic fairy tale elements. There are magical elements, a fictional setting, and characters with supernatural kings, a heroine, a happy ending and themes of adult anxieties. Snow White goes through changes from a girl to a woman by the end of the story. In almost every version of Snow White these elements exists. The most popular and current version of Snow White is Disneys 1937 photo Snow White and the Seven Dwarfs. The Disney movie is very similar to the ol dest known copy of the tale, the Grimm Brothers 1857 version of Little Snow White.The Grimms collected the fairy tales that they printed from oral tales. The probable inauguration of the story of Snow White exists in an oral tale. There are many other versions of Snow White, mostly found in Italy and all similar to the Grimm Brothers version. While some of the details of the story may have been changed to fit each culture, the same themes exist in each story, though each version was severally created. In other words, the story of Snow White can be found with little variations all over the world.So, it is a fairy tale which has a lot of meanings for many people and, like myth, continues to fascinate.3. 1 SNOW WHITE A BRIEF HISTORYAlthough the most famous version of the tale today is Disneys classic Animated film Snow White and the Seven dwarfs, it has existed in many versions in the centuries preceding Disney. The Grimm Brothers collected the tale from the two sisters- Jeannette and Amalie Hassenpflug- who lived in the town of Cassel. The tale was well-known before the Grimms collection however and appeared with little variation from Ireland to Asia Minor to Central Africa.The earliest version of the tale can be found in Giambattista Basiles Pentameron. It is believed that Basiles literary version influenced the versions which followed. Disney based his film on the Grimms version of the tale. Disney actually changed some aspects of the tale which had been edited out in the previous versions intended for children, especially the Queens demand that Snow Whites heart be delivered to her as produce of the childs death. In 2012, a Hollywood film Snow White and the Huntsman based on this tale was released by the Universal Studio.3. 2 SNOW WHITE AN ARCHETYPAL ANALYSISThe tale of Snow white is a very simple one but it still holds much for us that clay deeply buried within its simplicity. Perhaps it was invented to show us something of ourselves and perhaps these sim ple stories are, as C. G. Jung considers myth to be, the unconscious expressions of ourselves. Like dreams, fairy tales including Snow White and Cinderella, appears to be a product of the human unconscious, that offer a vision that is complementary to the prevailing conscious view. exclusively instead of a dream that functions from the individual psyche, the fairy tale seems to function from an entire culture. It is effectively a collective fantasy. As it is told and retold, elements of the story added by the individual teller fall away, while the more universal theme remain. So it becomes valid for the group of people in general. In this analysis of Little Snow White (as recorded by the Grimm Brothers), I will assume that the whole story describes a state of young feminine psyche. All the images in the story will be seen as aspects of a feminine.Based on Jungian literary criticism, the central character, Snow White, is viewed as real while the other characters (evil step- overprote ct, the huntsman, the seven dwarfs, and the Prince) are seen as symbolic representations of the various aspects of the heroines unconscious self. These characters all stand for parts of the unconscious which the heroine will eventually access. The story starts out with a Queen sitting alone by a windowpane in mid-winter. While sewing, a needle pricks her finger and three drops of blood falls on the white snow.Gazing at the drops of blood, the Queen wishes for a girl who is as white as snow, with b deficiency hair and cheeks as red as rose. The insistence on whiteness of the girl implies that darker, shadowy aspects are not wished for by the biological have. They are missing in her child, although the black of the hair hints at deep darkness. Snow White- the name alone sets the stage and the theme the story will be about the heroines- or a female psyches- confrontation with and integration of Shadow aspects. The Queens reflection, Jung considers, is a masculine singularity within t he feminine.The Animus often uses the silent image to illustrate a painteror as a cinema-operatoror owner of a witness gallery. Snow Whites mother gazed thoughtfully on the image and places her future offspring into its structure by visualizing her future childs attributes. We can find a pure feminine act of imagination as well as Jungs masculine trait of a mother imaging her daughters nature prior to birth. At the start of the story, Snow White or the female psyche is far from complete, as she is both innocent and immature. Also, she lacks a caring mother figure within.In the first paragraph of the fairy tale, we read how the Queen died at the birth of her child and after her death, the king took another wife. This is the only time when Snow Whites father is mentioned. He is an indolent father because he utterly fails to protect his child from the murderous hands of his new wife. The absent one in a persons life or the one that is least mentioned, the father, has an enormous port ion to the whole tale. Snow White starts out with an almost non-existent father figure or Animus and at this stage the mother is dead.This state of the psyche is tragic. It lacks a caring mother image and a father who cannot stand up for her. Doing nothing is the most expressive form of violence, because the very act of non-doing prevents its cure. Here, the king does not offer any guidance or suggestions on his daughters life. He does not even attempt to control the raging forces within her personified as the wicked step-mother. In other words, he does nothing against the opposite raging or the Shadow. Thus, the father is like a weak Animus in the unconscious.The counter balance to the weak Animus is an inflated negative feminine Shadow which is totally unconscious and seems to possess a peculiar wisdom of its own in the form of the evil stepmother Queen. As we explore through the story, there is a growth of the primal female in the form of wicked stepmother Queen. This overriding Shadow tries to dislodge the egotism- the center of consciousness and one of the major archetypes of the personality. The egotism provides a sense of consistency and direction in our lives.It tends to oppose whatever energy threaten this fragile consistency of consciousness and tries to convince us that we must always consciously plan and analyze our experience. The Ego within Snow White is infantile in development and immense. Thus, it is not a surprise that the Shadow is seek to dislodge the Ego. Here, the stepmother Queen is like the Shadow archetype within the unconscious. In many fairy tales, there are two mother figures one is totally and absolutely good while the other is just as uniquely dark, sinister or evil.Our tale shows a split in the mother archetype in the feminine psyche. The wicked Queen is envious of Snow White because the young girl is becoming very beautiful, and, eventually, more beautiful than the Queen herself. Jealousy and envy between a mother and daug hter are problematical topics in our society. Our understanding of motherhood heavily emphasizes a completely selfless, self-sacrificing mother. We label that as the positive pole of the mother archetype. We simply cannot accept that a mother could possibly be envious and jealous of her daughter.Only a wicked stepmother is capable of such unnatural impulses. As said before, the Ego within Snow White is actually under-developed. The Ego began its own development when Snow White was seven years old. It was then we find terrors expressed by the stepmother Queen. This terror can also accommodate jealousy, a lack of love for the child within, which then becomes hateful and murderous that she would have been ready to tear her heart out of her body. (Grimm) This is the first phase of Snow Whites life- from birth to pre-adolescence.During the first phase of her life, Snow White lives in her parental castle literally as well as psychologically. A threatening stepmothers increasingly malevo lent energy (suitable image for a powerful negative mother archetype) propels the heroine into the next phase- the transitional phase. During the transitional phase, the young girl is being prepared for her life as an adult, as a married Queen. In order for her to understand fully all aspects of life, she is dropped into the woods, at a distance of seven mountains away from the castle. She lives in a different, secret world.Now, the transitional stage involves the first glimmer of awareness on the part of Ego. It is considered a threat by the Shadow figure in her psyche- the wicked stepmother. So, the first state of male awareness emerges- the huntsman who will do no harm, but will not protect her either. This is a transit stage for Snow White as she finds herself wandering in the wilderness of the wood abandoned by adults. The Shadow within, the Queen, is out to destroy Snow White (the Shadow is difficult to integrate into the Ego) and has hired the services of the huntsman as the killer.Thus enters the second male figure in the tale. The hunter is otiose to kill Snow White, as he is taken by her beauty and innocent pleas, and instead tells her to run. (Grimm) It is suggested that the huntsman is an unconscious representation of the father since he is first taken by the Queens command and then succumbs to the child. Nevertheless, he is not as violent as the first in that he does do something and he refuses to harm her, but also fails to protect her, letting her go into unknown dangers in the woods. At least, he deceives the Shadow figure and takes back the heart of a deer as a pretense.The Ego at this stage is under the spell of unknown forces within and is restricted in freedom, being confused from normal life (Jung) where she continues hiding in the woods It is forced to run away from the normal life by the Shadow which is yet unknown. Snow White now wanders through the dark, deep forest and, finally, meets the seven dwarfs. This marks the beginning of the third phase in Snow Whites life. It is a more matured stage. Here, Snow White meets the common man- the seven dwarfs. N. J. Girardot calls this as the liminal period in his article Initiation and Meaning in the Tale of Snow White.In many tales the dwarfs are malevolent and destructive beings, but as in this case, they can also be the creative agents of growth and rebirth. Indeed, in this story, the dwarfs can be taken as the divine ancestors, teachers, refiners, guardians, or helpers necessary for a successful initiation. (Girardot, 290) Snow White stays with them and keeps house for the first time and thus, in a way, she starts to get word the lore of adult life that will be expected of her. The dwarfs teach her adult tasks, such as change and cooking.They work all day and expect everyone to do so. Thus, Snow White enters a tentative agreement based on mutual help. The dwarfs warn her against the stepmother Queen. Girardot says that they are like protective agents in the pass age of Snow Whites life. (Girardot, 291). The dwarfs are helpful and also a positive force. Carl Jung thought of the dwarfs as a representation of the natural wisdom. They are clarifications of teachers and foster parents. At this point, in her process of individuation, Snow White is introduced to the masculine creative energy (Buchholtz, 9).Her past understanding of the masculine was limited to an absentee father and an encounter with the huntsman. In other words, Snow White did not really have an encounter with the Animus yet. Now, she meets the Animus in the form of many which is undifferentiated. The Animus also embodies helpful figure as the dwarfs proved to be, and thus starts the Egos road back to recovery (Jung). Here, the Animus is the helper who brings the Ego out of its forced, restricted life and, thus, Snow White is once again on her way to success, to achieve individuation.In this stage, the Shadow becomes aware of the bud Ego. Thus, it takes up a disguise. While she i s living with the dwarfs, Snow White is tempted thrice by her stepmother who disguises herself as an old woman selling lace, comb and apples, respectively. As the dwarfs might be said to represent the creative and positive dimensions of the chaotic condition, the stepmother now directly embodies the negative and destructive dimension of death and decay (Girardot, 291). The life with the dwarfs has made Snow White more responsible and also free to be herself again.Thus, the Ego is not under any restrains and begins to develop. The Shadow, the negative aspect, is warned (by the mirror) against this development of the Ego. The stepmother first attempts to kill Snow White with poisoned laces (Grimm). Being tempted by the beautiful laces, Snow White lets her disguised stepmother into the dwarfs house. She is now an adolescent tempted by beauty and this temptation leads her to near death. The second time, Snow White is tempted by the comb which also results in her almost death.The dwarfs manage to keep up Snow White both the times, but could not save her the third time when she was tempted by the apples. Snow White fails to listen to the dwarfs thrice. Therefore, in the third phase, what we see is a conflict between the Ego and the Shadow. As said before, the Shadow is trying to somehow dislodge the Ego and, in the third attempt, it succeeds. Also, the Ego was actually succumbing to the negative energy of the Shadow. In this state, Sow White is unable to get in touch with her feelings. The split (between the Ego and the Shadow) within herself becomes evident.She is actually witnessing the hatred expressed by her own negative mother. Here, the Shadow is actually trying to overthrow the Ego and gain control over the female psyche. The Ego, here, is hiding herself and, thereby, grows slowly, making up for the lack of Animus in the psyche. For Snow Whites personal growth, her transcendence is dependent on the process of building up the inadequate masculine father throu gh the help of the dwarfs. In a gist, we can say that in the third phase the Ego is more matured and is on its way to achieve individuation.It is frequently restrained by the Shadow within the unconscious. Nevertheless, it develops with the help of Animus which it lacked in the first two phases. The fourth and the final phase is when Snow White falls down almost dead and is, later, saved by the Prince. The dwarfs had found Snow White, who had eaten the poisonous apple, dead and they decide to place her in a glass coffin. Later, a Prince is given the coffin by the dwarfs who blessing him. The Prince comes into her world only when Snow White is unconscious. Now the Ego is in a comatose stage which is a special kind of sleep.In this state, the Shadow halt to attack the Ego and does not try to control it. The Ego now has a chance to return to life and at the same time associate with the Animus (the Prince). Thus, in the tale, Snow White is married to the Prince. United in marriage, they return to put the villainous character, the Shadow, in her proper place. In the fourth phase, the Ego recognizes the Shadow, overthrows it and unites with the Animus, thereby, finding its true self. For the first time in the story, the wicked stepmother is invited by the Ego. She joins in with what Snow White is doing.Here, the Shadow is recognized. This is the final process where the Shadow is invited by the Ego to integrate with it. Snow White had suffered so much in her life. She was robbed of her rights as a Princess she was not allowed to live a normal life. Despite this, she does not show any sort of rage or grief. As Jung says, this can happen only when the Prince or the Animus has established itself in the feminine psyche. Thus the wicked Queen, who was invited to the wedding of Snow White and the Prince, was forced to put on the red-hot shoes, and dance until she dropped down dead. (Grimm).The wedding is victorious place at the same time when the Shadow is defeated. This indicates the unifying of the feminine and the masculine, and also the death of the Shadow within the unconscious. The Ego unites with the Animus, thereby, attaining the true self. The Ego is completely developed now. Therefore, the fourth phase is symbol of the completion of individuation.4. ARCHETYPES IN CINDERELLACinderella is one of the most popular stories in the world. Like almost every fairy tale, the true origin of the story is unknown. There are various versions of Cinderella, originated from various countries and cultures.Yet, the themes of the stories are similar in all versions. Every version of Cinderella centers on a kind, young girl who is tortured and step by her own family, after her mothers death. Her father is either absent or neglectful, depending on the version of the story. The girl is helped by someone to blessedness over her family and achieve a wealthy marriage. Like Snow White, Cinderella is also a magic fairy tale. It consists of many fairy tale ele ments. There are magical elements, opposing characters, a heroine, a happy ending and themes of adult anxieties. Cinderella goesthrough changes from a girl to a woman by the end of the story. In almost every version, these elements exist. Currently, the most popular version of Cinderella is that of the Disneys Film in 1950. This film is based on the version by the Grimm Brothers. They had collected their version of Cinderella from oral tales. There are also many other versions of the tale found in many parts of the world. The Charles Perraults version is also quite famous. While some of the details of the story may have been changed to fit each culture, the same themes exist in each story, though each was one by one created.Thus, born centuries ago, the fairy tale still continues to live and fascinate people.4. 1 CINDERELLA A BRIEF HISTORYThe story of Cinderella had been around the world long before the Disney or Grimm version. It is said that there are over a hundred versions of t his fairy tale. The story was first recorded by Tuan Cheng-shih of China in the middle of the 19th century. Long before he recorded the tale in writing, the people of his day probably knew oral telling of it. In this version, however, Yeh-shin, the heroine, is helped by a magical fish, and not a fairy Godmother.In 1697, Charles Perrault recorded Cinderella, or The Glass Slipper in his collection Tales of Mother Goose. This version included the fairy Godmother. Also, in the end, Cinderella finds husbands for her stepsisters. During the 19th century, the Grimm Brothers from Germany changed many elements in this tale and it was called Aschenputtel or Ash Girl. In modern times, the tale of Cinderella has inspired countless picture books, musicals, novels, etc. It is the 12th light feature film in the Disney Animated feature canon. It was released in 1950.4. 2 CINDERELLA AN ARCHETYPAL INTERPRETATIONWe usually take the story of Cinderella, like other fairy tales, for the touch on purpo se of entertainment. But it is interesting to know that this is a wise story infused with different meanings and symbols. Perhaps, it shows something of us as Carl Jung considers myth to be unconscious expression of ourselves. As mentioned about Snow White, Cinderella, too, seems to be like a product of human unconscious and offers a vision that is quite opposed to the prevailing conscious view. In this analysis of Cinderella (as recorded by Charles Perrault), I will assume that the whole storydescribes a state of immature feminine psyche. All the images in the story will be seen as aspects of a feminine. Based on Jungian literary criticism, the central character, Cinderella, is viewed as real while the other characters (stepmother, stepsister, father, fairy Godmother, the Prince, etc. ) are seen as symbolic representations of the various aspects of the heroines unconscious self. These characters all stand for parts of the unconscious which the heroine will eventually access. The st ory begins by describing the soil of the fairy tale.We come to know that after the death of the heroines mother, her father took in another wife who had a daughter. The stepmother and stepsister were the proudest and the haughtiest that were ever seen (Perrault, 1889). They did not like Cinderella, nor did they tolerate her good nature. The initial part of the story shows Cinderellas way of life after her fathers death. The introduction presents obvious facts known to Cinderella. For her, this represents the conscious. The main contrast between the conscious and the unconscious is represented by the known and the unknown situations.By the death of the father, there is a threesome in the story- the stepmother, stepsister and Cinderella. This indicates an sketchy cycle. Only when we reach number four will the cycle be complete. Cinderella, the stepmother, the stepsister and, eventually, the Prince is one example of a quaternary. At the start of the story, Cinderella or the female ps yche is far from complete. She is very innocent, naive and immature. This immature female psyche lacks a caring mother figure within. In the first part of the story, we learn that the father took in another wife and he was completely dominated by her.We notice that this is the only time Cinderellas father is mentioned in the story. He is an indolent father because he fails to save his daughter from the torturing hands of his wife. The father is an absent-one in Cinderellas life. Yet, he does a great contribution to the whole story. The female psyche starts out with an almost non-existent father figure or Animus and, at this stage, the mother is dead. This state of the psyche is tragic. It lacks a caring mother image and a father who cannot stand up for her. Doing nothing is the most expressive form of violence.The father does not offer any guidance in his daughters life. He does not even attempt to control the raging forces within her, personified as the cruel stepmother. He does no thing against the Shadow within the female psyche. In other words, the father represents a weak Animus in the psyche. As mentioned before, after the death of the father, a women-threesome is formed. The stepmother is a total negative character. She represents the negative power of the psyche. The stepsister, although being a passive character in the tale, also is connected with the mother and intensifies her negative power.Cinderella is the only positive power of the psyche in the threesome. From the beginning of the story, we notice that the Shadow s dominant in the female psyche. It has a control over the Animus and is, at the same time, trying to overthrow the Ego, which is young and under-developed. The stepmother, representing the Shadow archetype, is jealous of the young girl for her beauty, kindness and good nature. Thus, she is an active wrecker. The woman-threesome represents the principals of the womans psyche, the essential self of women. Every woman is born with this ess ential self.Cinderella, the positive character in the threesome, is the real essence of the womans self. According to Jung, the features of the dark side of the womans understanding are expressed by instability, anger or hatred. The beginning of the story shows an unbalanced psyche. There is a dominance of the Shadow and a lack of the Animus in this psyche. The Animus is the mans power of the psyche it is a masculine principle that appears in the womans psyche. Typical attributes of the Animus are, for example, rationality, power, action or reasonableness.The Animus and the Self complement each other. Finally, in the harmonized psyche, they are integrated into one another, thereby achieving individuation. Cinderella is passive in the beginning of the story. She suffers a lot but does not protest against the atrocities towards her. She simply waits for her destiny to get better. At this stage, the Self, the essence of the womans psyche, is suppressed under the dominance of the Shado w in the unconscious. Also, in the stage Cinderella does not have any friends. She is not sharing her grief with anyone until the fairy Godmother appears.The fairy Godmother appears when Cinderella was alone in the house, her stepmother and stepsister having left-hand(a) for the royal party at the kings palace. The Godmother is the only friend Cinderella has, who compensates her love, friendship and the feeling of loneliness. Jung describes the fairy as the soul-mate and the incarnation of inspiration and spiritual fulfillments. The fairy Godmother comes to Cinderella from some unknown place. This symbolizes the unconscious. Now, Cinderella shares all her sorrows, wishes and grieves with her, and, finally, finds relief in a friend.This relief was very essential for her existence. The fairy Godmother from her unconscious is her own thought, her desire and hope for the change of the current situation. Talking with the fairy, Cinderella pursues her hope for a better life. Here, the Eg o is trying to find a way for its integration with the Animus, in the absence of the Shadow. The Shadow finds Cinderella as a threat and hence, does not allow her to attend the royal party. Our heroine is left alone at home when, for the first time, she speaks out her wish. Thus, at this stage, there is a first glimmer of awareness on the part of Cinderella.She is considered a threat by the Shadow figure in her psyche. The Ego is restricted in freedom. It is alienated from normal life (Jung). It continues to hide in the house and is forced to retreat from the normal life it wishes to live. The appearance of the Godmother meant the revelation of Cinderellas wishes. Later, the fairy disappears. This means that her hopes are revealed and must be suppressed. It must be hidden deep in the unconscious. Hence the fairy god mother disappears, never to return in the story. But her magic and magical powers do not disappear completely.It remains with Cinderella till she wears the glass slipper s and turns into beautiful Princess. Cinderella is blessed by the fairy Godmother. She is enchanted, gets new, beautiful dress, jewels, and a pair of glass slippers. This magic symbolizes her taking on a social mask. She presents herself the way she wants to be seen by other people. Here, the archetype of Persona has come to the fore. The Persona is the character we assume and that which we relate to others. It includes our social roles, the kind of clothes we choose to wear and our individual styles of expressing ourselves.Jung explains that Persona is important to achieve psychological maturity. The moment of the Cinderellas ending to attend the royal party indicates the rise of Animus in the psyche. She uses the magical powers enchanted upon her and this stands for the rebirth of Animus, the mans psyche in her mind. Even though she stays a passive victim under the pressure of the external circumstances, on the level of conscious, Cinderella struggles with it. She is aware of her desires and the power to reach them. This awareness of the inner power is the first sight of the Animus.The Animus principle represents straightness, rationality, power and action (Jung). Cinderella is warned by her godmother to return from the party before the clock strikes 12. During the party, as soon as the clock strikes 12, Cinderella runs away from the palace. Jungian scholars interpret this as the test of the power of the Animus in Cinderella. She does not have any experience with the way the Animus behaves as she has never been exposed to it. She has never tried to be straight or follow her aims, rather submitting to the negative forces, without protest.She wants to listen to the Animus, but she is afraid of the peoples reaction to her new attitude to life (her Persona). Although she believes that she deserves to be there, she runs away, frightened that she would be recognized. Thus, the twelve-O-clock striking and Cinderellas run away can be interpreted as the female psych es defense mechanism. She is, once again, trying to hide herself and hop out from the risk of exposing her true self. On her way home, Cinderella loses her glass slippers. A psychological explanation is that a slipper or a shoe symbolizes the persons attitude to the particular situation.Here, Cinderella loses her attitude to the mans principle (Animus) and retires into the unconscious, again suppressed. She failed the test of power, and is not able to encourage herself to fulfill her true desires. At this point, new characters appear in the story- the kings men who go around the country to find the Princess. This represents a link that is important for the further movement of the story. After Cinderella left her slippers behind, the kings men found it and brought it to the Prince. The Prince proclaimed, by sound of trumpet, that he would marry her whose foot the slipper would just fit (Perrault).He employed few men to find out the Princess. Thus, they began to try it on every young lady in the country and, eventually, find Cinderella. These men, who are employed by the Prince, may represent the part of Cinderellas mind, which has an impact on her self-evaluation. She is trying to regain her strength. She concludes that she wants to raise her social status. This implies that she is taking a positive attitude towards the newly-found Animus in her psyche. She is trying to integrate with it. When the Princes proclamation is made, the stepsister burst out laughing and began to banter her.She tried to stop Cinderella from trying the glass slippers. This implies that the Shadow and the Anima (the female power) are still more dominant in the psyche. Cinderella does not try the slipper on outright. The womans principle in her discourages her from trying to change her attitude towards life. These are the defense mechanisms in her psyche. It symbolizes her doubts- whether she would be accepted in this new attitude whether she would be hurt again. The men were ordered to let everyone try the glass slippers. Hence, Cinderella was obliged to try it.In a sense, she was taking her slippers back. The decision to try the slippers symbolizes the rise of the Animus. As it was mentioned before, a shoe (or slipper) represents the attitude towards life. Cinderella took her shoe back which means that she was again overtaken by the attitude of the Animus. Cinderella has to become conscious of her power first, to change her terrible circumstances. When she realizes her powers, the Shadow loses its dominance in her psyche and the Animus takes over the power. This was the final test of the power of the Animus and she succeeds.The moment Cinderella wears the shoes, she is change into a beautiful Princess. This symbolizes the moment of victory of the Animus. Our heroine has taken the attitude to the Animus principle. She has accepted the Animus in the unconscious and is accepted by the society, too. By transforming into a Princess, Cinderella intensifies her new li fe attitude. Also, the Prince and his men symbolize protection so that the Shadow does not once again dominate the psyche. The story ends with Cinderellas union with the Prince. The Prince represents the Animus.Thus, finally, the Ego is united with the Animus to form the true self. The evil characters in the story are not mentioned again. This indicates the death of the negative power in the psyche. The female psyche is now completely developed and, therefore, the process of individuation is complete.CONCLUSIONIn this project, I have tried to show how the theory of collective unconscious propounded by Carl. G. Jung is working in fairy tales, taking the examples of Snow White and the Seven Dwarfs (Grimm) and Cinderella (Perrault).I have tried to outline the various archetypes in both the stories. Though these stories have changed over time to adapt to the society, the archetypes have remained the same. I have done a psychological analysis on both Snow White and Cinderella. With a loo k into its history, it is shown that these stories were independently created in different parts of the world. They are from different cultures, tribes or nations. Yet, there are a lot of similarities between these stories. Both stories are of the development of an immature female psyche.It is concerned with the psychological process of individuation. Through an archetypal interpretation of both these fairy tales, it is concluded that individuation was successfully achieved. Also, the fairy tales describe the importance of the Animus archetype in the womans psyche. Both our heroines, Snow White and Cinderella, in their respective stories are unable to understand what is useful from the conscious and had little idea of their own dark side, at the beginning of the story. The Ego in these female psyches is not aware of the existing, dominant Shadow.Then, as it develops, there are conflicts between the Ego and the Shadow. The Ego undergoes many stages in this stage as it gathers knowled ge from the depths of the unconscious. In the end of both the stories, the Ego finds a way to escape from the clutches of the negative energy. Thus, it triumphs over the Shadow by integrating itself with the Animus. Thereby, both the heroines achieve individuation. In other words, the development of the female psyche is complete. From a psychological perspective we can say that both the heroines undergo similar emotions and personal experiences.Both are hated and tortured by their stepmothers they start out without an Animus and lack an image of a loving mother. Both wish to be free from the clutches of the Shadow. Finally, through struggles, sufferings and conflicts, they find their Princes, thus, uniting with the Animus. The behavior and motives of the female psyche is also quite similar. Thus this psychological analysis clearly shows that there exists a similarity of archetypes that appear in these fairy tales which were created by independent cultures. This psychological analysi s is not only applicable to fairy tales but also to the contemporary literature.Questions would arise as to what is its relevance in the present day literature and what effect does it have on children and adults. We can find the answer if we observe and compare the experience of children and adults engaging in fairy tales. As Walter Odajynk, in his article The first Interpretation of Fairy Tales Bluebeard, argues, through archetypal interpretation, the psyche is engaged. While reading a fairy tale or any serious literature, an adult, with his/her matured intellect, may either interpret it in relation to a precise theory, personal identification or, ideally, an archetypal interpretation.However, a child does not have the context for critical theory, or the developed Ego for complex identification. In other words, a child does not have a mature intellect. The fairy tale serves as a method of emotional and psychological instruction. A child would be able to recognize the difference b etween good and evil, positive and negative, masculine and feminine, which are certain concepts propagated in all the fairy tales, with the help of archetypes. Thus, for the child, a fairy tale is like an early education in archetypal structures.This education begins with simple representations that are depicted in cartoon form, such as Pokemon and many Disney films, and then extends to more complex fantasy genre, such as the wizard tales of irritate work (J. K. Rowling), Twilight (Stephanie Meyer), Lord of the Rings (J. R. R. Tolkien), etc. These days, children are more familiar with the Disney Films and not with the Grimm Brothers and Charles Perrault. Disney has obviously taken the archetypes represented in the fairy tales. The various archetypes appear in the Disney films, Harry Potter, Lord of the Rings and many other modern fictions.Observing the plot of these fictions, we would find the common archetypes- the righteous warrior, the villain who must be overcome, the humble b irth and the prophesied journey of the hero. Disneys heroines are all pure, beautiful, innocent and sweet, whereas heroes are all noble, heroic and are on some quest or adventurous journey. In the Disney Fairy Tale Films, the fairy Godmother, like the one who gets Cinderella ready for the Ball, serves as the archetype of Wise Old Woman/Man. This archetype serves the purpose of being the mentor (helper). In Lord of the Rings, it is Gandalf who is like the archetype of Wise Old Man.In Harry Potter, it is Albus Dumbledore. Also, Hermione Granger (Harry Potters friend) is an Anima. In Lord of the Rings, we find Sam as Frodos Anima, though they are both males. Speaking of the Shadow archetypes, the famous villains nicely personify the Shadow. So, Lord Voldemort and the Deatheaters are the Shadow in Harry Potter. The villain is what the hero could become if he fails in his quest. This fact is repeated several times in the Harry Potter series. Harry, who has equal powers as Voldemort, is i nvited many times to join him as a Deatheaters.Likewise, the evil Queen in Disneys Snow White is corrupted by the Shadow quality of envy, placing her in stark contrast to Snow Whites purity and beauty while Cinderellas wicked stepmother could be said to represent a contrast to Cinderellas gentle kindness and ability to take joy in small things. Thus, we can conclude that even in modern fiction, the archetypes do work to express the collective unconscious. This project focused mainly on fairy tales, rather than modern fiction because, as Marie von Franz says, fairy tales are the purest and simplest expression of collective unconscious psychic process.Therefore, their value for the scientific investigation of the unconscious exceeds that of all other materials. Fairy tales allow the unconscious to be observed more specifically. The characters in fairy tales represent archetypes, not human being, and thus, the unconscious is more easily accessible. In other words, the unconscious elem ents become more conscious in fairy tales. In conclusion, we can say that the archetypal nature of fairy tales make them likable to children and adults, and transcend cultural boundaries.The theory of collective unconscious is not limited to a certain culture, place or nation. It is valid in comparison of independently created stories of all times, be it ancient or modern. We must not miss to notice that in stories, the archetypes are always fragmented into individual characters, but in real life, each of us carries qualities of each archetype in us. If not, we would not be able to relate the characters and archetypes, and accept them. You have an Anima or Animus. Likewise, you have a Shadow and a wise part that knows the best answer. It is just that you must learn to listen to it.

Madame Bovary And The Death Of Ivan Ilych Essay

What is the nature of composition? Gustave Flauberts Madame Bovary and Leo Tolstoys The demise of Ivan Ilych portray not only a glimpse of what parts nature is, scarcely also in so doing provide a criticism of it. Both acidifys look into the vivification of volume who inadequacy more out of manner, and yet ironic every sound(predicate)y what they desire only adds shallowness and not mean to their existence. Whereas Flauberts Madam Bovary shows the depressing end of a cleaning lady consumed by passions, Tolstoy pays hope with a dying mans last days where he gets an epiphany of what the nature of man should be.Emma is Madame Bovary, a childly woman who lived in her world of romantic fantasy. She came from the country and read romantic novels when she was in the convent, and believed in earnest that recognize and marriage impart make her happy. But after marrying a simple-minded and incompetent doctor Charles, she grows disillusioned as she sinks in the routine activitie s of daily life. She wanted romance, passion, excitement, and although her husband loves her and adores her, she wanted more.She wanted the latest trends in expression and she felt that she was born unjustly to a lower class than was supposed to be for her, the aristocrat. But Emma does nothing to earn the admiration or the respect of the people she admired she can copy their outward mannerism and clothes, but she does not have the refinement or the manners to be truly aristocratic. She merely believes in her fantasy world where the aristocrats live in luxury and a life of excitement. She was ambitious, but did not have any means to acquire her material cravings but for using her beauty and body.She gets into extramarital affairs because she finds her married life dull, even when she gives birth to a daughter. She does not light upon cargon of her daughter because she wanted a boy, and instead romps off with Rodolphe Boulanger, and does not c atomic number 18 what other people sa y. She is oftenmultiplication indiscreet and cares not of her reputation or her husbands. Emma is self-centered and she had a backbone of entitlement and superiority which had no basis but drove her to act without a thought to the consequences of her actions.She is, in a way, evermore likening herself to playing a grapheme that sparks her imagination at the moment a young woman being married to a foreign doctor, a middle class with a portentouss spirit, a bored wife having an affair, a lover, a woman of rich tastes. She could not accept that her legitimateity was the norm and that her fantasies were exaggerated, dramatic ideals. When she was young she wanted the same romance she read in her romantic novels. When she became exposed to the high society at the ball she wanted to become like them.When she power saw the histrionic opera Lucia de Lammemoor she adopts the character and like her commits felo-de-se. She drove herself to debt by buying expensive items which she sometim es gave as gifts to her lovers even when she had no means of paying for these in the premier(prenominal) place. She signed promissory notes even when she did not understand them because the merchant Lheureux played with her fantasy that she was meant for the finest things in life. When her first lover leaves her, she is distraught and falls gravely ill.With her due south affair she acts as the man, covering the costs for the affair and taking charge of where, when, and how they will meet. Her debts pile up as she purchases more and more to fill the goggle hole in her being. She believed she needed passion and excitement, but it seems that what she really needed was purpose and direction, for her life held no importee. Her innocent tendency towards romance is transformed into teeming blown moral corruption as she was un qualified to hold herself together and keep her urges and desires under control.Emma is not productive, she has no desire to improve herself or her skills, and she does not nurture her relationships with her husband, her daughter, not even with her lovers. She just saw them as means of escape from her dull life, and when they fall short of her expectations she just drops them. When the consequences of her actions finally catch up on her and her world becomes smaller and smaller, she decides to play a role that of a tragic heroine and kills herself with swallowing arsenic.She could not face up to the trouble that she has caused and decides to escape rather than take responsibility as she could not imagine a life of poverty and shame although her whole life she was never wealthy and she lived a scandalous life with her known affairs. Up until then she saw her life differently believed she had wealth, pride and breeding because that was what she wanted, but sadly these did not bring her the happiness she sought. Emma had a estimable life but was not able to appreciate it with her preoccupation with the things she did not have.By focusing her energies on her fantasies of wealth and romance she failed to live her life to the fullest, and for the to the highest degree part it could be said that she was living in a dream and when she woke to find herself in the gravity of her real life situation, she killed herself to escape, but there was no going back to her fantasy world, and no redemption as even after her death her husband discovers her infidelity which kills him and her daughter sent off to work on a cotton mill.In her, we see the nature of man as ruled by emotions, desires and appetites, without caution or control, without compassion to others. Emma was not able to see and recognize the humanity in her, all the time she was acting out, even her motherly functions, her martyr facade. She never truly enjoyed life because she never saw anything and anyone beyond their appearances, and never learned to appreciate the little things that make life worthwhile.The theme of life and death is also examined in Leo Tolstoys Th e Death of Ivan Ilych, where he uses the characters to critique the artificial life that people live in society characterized by materialism and shallowness. Tolstoy puts forward a picture of society with great honesty and insight case-by-cases do not behave as individualistics but rather aspire to be like everybody else, trying to live a go under life as appropriated by norms, striving to have a comfortable life accentuated with material wealth even if their spiritual life and human relationships are dry and empty.With his narrative, Tolstoy then poses the question of what is important in life, how life should be led, and ultimately, how important life is and how people take it for granted by deluding themselves into believing they are exempt from death. Most of the characters in the story are portrayed as materialistic social climbers, who equated material wealth and position in society as determinants of success and happiness. Ivan, his wife and daughter, his supposed friends , all troubled themselves with appearances they were preoccupied with proper decorum and attires, of looking well off, of having power over others.But these are all temporal, for these things do not really matter in the face of death. Ivan finds out that what is important is living ones life according to ones own vindication, not blindly following trends in society which results in a shallow, routine, meaningless life. He belatedly understood that empathy and recognizing the individual as an individual with thoughts and emotions rather than as subjects with mere faces is what mattered in life, that to live humanly is what gives life its meaning.Only Gerasim and his son are the ones in the story that have empathy and humanity in them in Gerasim it is made obvious by his understanding that everybody, regardless of position or appearance, are all equal, with the same fate waiting for them in the end, in particular when he said, We shall all of us die, so why should I grudge a little trouble? . The son, on the other hand, is the only one in Ivan household who showed any feelings for his dying father he took his fathers hand and kissed it while crying. This can be taken as the boy was young he was still innocent and not yet tainted with the demands of society.Ivan himself was dissatisfied with the boy because he behaved differently from him, his wife and daughter, but in his last days it was his son who showed him that there is a human soul in the world who regarded his life important. Also, this depiction of the innocence in childhood is mirrored in Ivans experiences the only times he felt truly alive was when he was a boy, before he went to Law School. Being assimilated into society, he found that he trapped himself into a prison of standards, and lived a largely artificial life. Tolstoy showed that an artificial life is characterized by materialism and social climbing.At the beginning of the story, we find Ivan d.o.a. but his friends were chiefly concerned with the position that he will be vacating, the promotions and heightens in the workplace and what they have to gain from it, all the while denying to themselves that they too will end up like Ivan sooner or later, that they will die eventually. They act as though they could live forever and concern themselves with the trivial universal things. Even in his wake, his friends put a show of grievance because it was what was required of friends, but were more interested in playing bridge.They did not see the inevitableness of death and suffering, of the hollowness of their lives. Peter Ivanovich, Ivans perceived closest friend, somehow felt disturbed and concerned, but rushed to quell these feelings because he reasoned he was alive and Ivan dead and there should be no reason to hinder their spending the evening agreeably. When he was still alive, Ivan himself saw how he had lived superficially in the way his doctors treated him, as though he was some subject whose sentence they hold in their hands, his life holding no real importance or meaning to the doctors.What mattered to the doctors was their perception of themselves that they feel important and significant by virtue of their occupation that is what gave them satisfaction and purpose. Ivan himself acted the same way many times in his life with the accused brought before him he reduced them to facts on paper and did not see them as individuals, he got married for it was expected of a man of his station and chose a bride not out of love or devotion but out of the social status it will benefit him.In the end, the story teaches that material wealth and position in society are not what matters. In the face of death, one looks back at the quality of life that he has led, and the most precious times would be the ones he felt most alive, when he was free and himself. The Death of Ivan Ilych and Madame Bovary teach us the nature of man as susceptible to fantasies of the happiness that wealth and material possessio ns can bring, but in reality these are more likely to corrupt us than give us real happiness.The nature of man is that of desire desire to achieve in all aspects of life, and in this man should always apply himself to make himself a better person. However, desire for achievement is different from greed. Achievement should not only be limited to the professional and material aspects of life, but more importantly to the relationships with others. The meaning and purpose of life is not about the material achievement but how well one lived his life. Mans nature reflects that of his society, and society that of man, as the individual is part of the whole and the whole consists of its parts.Both protagonists were deeply influenced by their time and what was regarded as important then. They have let others dictate, influence and take advantage of them, and by not taking responsibility d control over their lives they eventually found themselves in situations they did not dream of. This cou ld have only come up to those who did not examine their actions and the kind of life they lead. Emma and Ivan believed that wealth and material things can bring happiness, but they both ended up dead although here the stories protagonists differ.Whereas Emma chooses suicide to escape her suffering, Ivan comes to terms with his death and accepts it. Although Emmas final act was of her own decision, we cannot say that she was finally taking things in her hands as before that she was always feeling hindered and trapped by her circumstances. She did not have a realization of what brought down her downfall, even in her final days she did not know what held meaning and not. Her suicide, like all her actions before, was an attempt at escaping reality, and this time she succeeded.Emma was not able to redeem herself, nor was she able to see what would make her life happy, but Ivan was changed and in his last days was able to make sense of his suffering. Tolstoy showed that no matter how sul len or materialistic a man behaved and lived, there is still hope for him to change as long as he lives. That mans innate nature is towards living an authentic life, towards goodness, and that even if society is corrupt and superficial, pure love and humanity also exists, and it is always within us, and also in our capacity, to choose what kind of life to lead.

Art Imitates Life; Life Imitates Art Essay

Super Columbine Massacre RPG (SCMRPG) is a case of art imitates life. Danny Ledonne simulate his game after the infamous Columbine tragedy. He drawd characters and situations which are very similar to those that transpired on that fateful day. The question is, up to what extent does art dent and lay over imitating life? Are there any boundaries that should not be crossed? Are there any rules that should not be broken? These were whatsoever of the questions that Ledonne has been trying to answer regarding his game.He was criticized for being morally insensitive towards the feelings of those who were involved in Columbine. In this case, with regards to moral grounds, should a filmmaker or developer cease to create anything inspired by actual events? According to the one of the posts in Ledonnes website, SCMRPG is one of the most important games in gaming history. It has discussed a significant wakening that no matter what anyone had done, in reference to the quote we should have checked their rooms voiced by one of the gunmens parents there is nothing that could stop Harris and Klebold in their plan.It also showed how things started for the two boys and this sociological way of settleing Harris and Klebold through SCMRPG might be a first step towards acceptance of video games as a legitimate medium for the expression of serious thoughts. SCMRPG also comprehensively dealt with the psychological profiles of both Harris and Klebold, which no one had ever done before (www. columbinegame. com). It has been said that the actions of Harris and Klebold were brought just about by watching violent video games, which is an example of life imitates art.The pattern of execution and the detailed plan of going about the killing were blamed on the detailed video games as well as the music these boys listened to. But up to what extent can we blame art for the actions of a spectator? As Ledonne answered this question in relation the Dawson College shooting incident, he em phasized that merely playing a game that looks archaic does not encourage someone identical Kimveer to go out and kill. In fact the game was devoid of all the gory details that gamers would typically want. Games do have effect on teenagedr violence but its not the only one to blame for it.The columbine massacre was a disaster waiting to happen. It just so happened that the 2 kids who committed the atrocious act were playing video games and that their favorite band was Marilyn Manson. The increasing incident of kids committing suicide due to bullying is alarming. As a make do mechanism for these 2 kids they wanted to hurt those people who hurt them but as kids, they made a very uncool decision and very bad planning that they hurt other people as well. Klebold and Harris lost their direction in life and were not appropriately guided on how to overcome teenage emotions much(prenominal) as inadequacy and inferiority complex.Conclusion Super Columbine Massacre RPG was created to g ive gamers a feel of what Eric Harris and Dylan Klebold felt, with the intent of preventing another Harris or Klebold. However, piteous aside artistic expression and the intent to save potential Harris or Klebold through human contact, looking at the game as an avid devotee of computer games there is not much to see actually. The 16-bit image that moves up and down and jumps from time to time gets a little bit boring. Nonetheless, the conversation surrounded by Klebold and Harris are a must-read.Ledonne had thoroughly researched the game that 80 percent of the dialogues were taken from Harris and Klebolds own writings. The sounds used are a bit better than symmetrical midi since it utilizes popular music which could actually make the thinking moments of the characters very effective. Too many literature have been written about the reasons why Harris and Klebold created such mayhem, but too little had been said about how these two boys were as much as a victim like those people they gunned down in Columbine.Almost as always, issues were being discussed in forums, articles were being published and documentaries were being aired. But, one media form that hasnt been utilized till now was the gaming world. Ledonne wanted to change that by turning the silly world of gaming into a platform of more serious topics. He did so by creating SCMRPG. Ledonne on an converse by the Washington back said that he would not create another game. SCMRPG was created with the intent of generating discussion and presenting a unique perspective on the events of Columbine.This may not be the future of gaming, but it is a step towards the future of how games will be treated and viewed in our cultureas artful, meaningful objects which represent the thoughts, ideas, dreams and nightmares of a unique creator (http//alt-games. com/? p=28). With regards to the objective of the game, I believe that it has amassed the intended attention and created an awareness regarding video games and violence. Ledonne had successfully generated a forum where families and love ones of the Columbine incident could air their grievances (even though at the expense of the game).Works CitedCrecente, Brian (September 20, 2006). Columbine RPG Creator Talks about Dawson Shooting. Kotaku. http//www. kotaku. com/gaming/danny-ledonne/feature-columbine-rpg-creator-talks-about-dawson-shooting-201829. php. Retrieved on declination 8, 2008. Dugan, Patrick (March 13, 2007). Soapbox Why You Owe the Columbine RPG (page 2). Gamasutra. http//www. gamasutra. com/features/20070313/dugan_02. shtml. Retrieved on May 8. , 2009. Holmes, T. J. Betty Nguyen (November 7, 2007). Transcripts CNN Sunday Morning. CNN. http//edition. cnn. com/TRANSCRIPTS/0711/11/sm. 01.html. Retrieved on May 8, 2009. Stuart, Keith (January 11, 2007). Gamesblog Sorry, Boris, these blasted gizmos are here to perch. The Guardian p. 3. Retrieved May 8, 2009. Thompson, Clive (January 15, 2007). I, Columbine Killer. Wired. http//ww w. wired. com/gaming/gamingreviews/commentary/games/2007/01/72491? currentPage=all. Retrieved on May 8, 2009. Vargas, Jose Antonio (May 20, 2006). Shock, Anger Over Columbine Video Game. The Washington Post p. C6. http//www. washingtonpost. com/wp-dyn/content/article/2006/05/19/AR2006051901979. html. Retrieved on May 8,2009

Love at the Cornhusk

Love at the Cornhusk Aida Rivera Ford Tinang stopped before the Senoras entre and adjusted the babys cap. The dogs that came to bark at the gate were strange dogs, big-mouthed animals with a sense of superiority. They stuck their heads through the hogfence, lolling their tongues and straining. Suddenly, from the gumamela row, a comminuted black mongrel emerged and slithitherd through the fence with ease. It came to her, head down and body quivering. Bantay. Ay, Bantay she exclaimed as the bitty dog laid its paws upon her shirt to sniff the baby on her arm.The baby was afraid and cried. The big animals barked with displeasure. Tito, the young master, had seen her and was calling to his start. Ma, its Tinang. Ma, Ma, its Tinang. He came test down to unmortgaged the gate. Aba, you are so tall now, Tito. He smiled his girls smile as he stood by, warding the dogs make. Tinang passed quickly up the veranda steps lined with ferns and many-colored bougainville. On landing, she pa used to wipe her shoes carefully. About her, the Senoras white and lavender butterfly orchids fluttered delicately in the sunshine.She noniced though that the purple waling-waling that had erstwhile been her task to shade from the hot sun with banana leaves and to water with mixture of charcoal and eggs and water was non in bloom. Is no one finishing the waling-waling now? Tinang asked. It will die. Oh, the maid will come to cover the orchids later. The Senora called from inside. Tinang, let me see your baby. Is it a boy? Yes, Ma, Tito shouted from downstairs. And the ears are huge What do you expect, replied his m some other the father is a Bagobo. Even Tinang looks like a Bagobo now. Tinang laughed and felt warmness for her former mistress and the boy Tito.She sat self-consciously on the black narra sofa, for the world-class time a visitor. Her eyes clouded. The sight of the Senoras flaccidly plump figure, swathed in a loose waist-less housedress that came down to her a nkles, and the faint scent of agua de colonia blended with kitchen spice, seemed to her the subject matter of the comfortable world, and she sighed thinking of the long walk home through the mud, the babys legs straddled to her waist, and Inggo, her husband, waiting for her, his body stinking of tuba and sweat, squatting on the floor, dress exclusively in his foul belowgarments. Ano, Tinang, is it not a good thing to be married? the Senora asked, pitying Tinang because her dress gave way at the placket and pressed at her swollen breasts. It was, as a matter of fact, a dress she had given Tinang a long time ago. It is hard, Senora, very hard. Better that I were operative here again. There the Senora said. Didnt I tell you what it would be like, huh? . . . that you would be a slave to your husband and that you would work a baby eternally strapped to you. Are you not pregnant again? Tinang squirmed at the Senoras directness but admitted she was. Hala You will have a dozen befor e long. The Senora got up. Come, I will give you almost dresses and an old blanket that you can cut into things for the baby. They went into a cluttered room which looked like a huge clo clip and as the Senora sorted out virtually clothes, Tinang asked, How is Senor? Ay, he is always losing his temper over the tractor drivers. It is not the way it was when Amado was here. You remember what a good driver he was. The tractors were always kept in working condition. But now . . . I wonder why he left all of a sudden. He said he would be at peace(p) for only two days . . . . I dont know, Tinang said. The baby began to cry.Tinang shushed him with irritation. Oy, Tinang, come to the kitchen your Bagobito is hungry. For the next hour, Tinang sat in the kitchen with an odd feeling she watched the girl who was now in possession of the kitchen work around with a handkerchief clutched I one hand. She had lipstick on too, Tinang noted. the girl looked at her briefly but did not smile. She set down a can of evaporated milk for the baby and served her coffee and cake. The Senora drank coffee with her and lectured about keeping the babys stomach bound and training it to hobble by itself so she could work.Finally, Tinang brought up, haltingly, with phrases like if it will not offend you and if you are not too busy the purpose of her visitwhich was to ask Senora to be a madrina in baptism. The Senora haveily assented and said she would provide the baptismal clothes and the fee for the priest. It was time to go. When are you coming again, Tinang? the Senore asked as Tinang got the baby ready. Dont sink the bundle of clothes and . . . oh, Tinang, you better stop by the drugstore. They asked me once whether you were still with us. You have a letter there nd I was going to open it to see if there was bad news but I thought you would be coming. A letter Tinangs heart beat violently. Somebody is absolutely I know somebody is dead, she thought. She crossed herself and af terward thanking the Senora profusely, she hurried down. The dogs came forward and Tito had to restrain them. Bring me some young corn next time, Tinang, he called after her. Tinang waited a while at the drugstore which was also the post office of the barrio. Finally, the man turned to her Mrs. , do you want medicine for your baby or for yourself? No, I came for my letter.I was told I have a letter. And what is your name, Mrs.? He drawled. Constantina Tirol. The man pulled a box and slowly went through the pile of envelopes most of which were scribbled in pencil, Tirol, Tirol, Tirol. . . . He finally pulled out a letter and handed it to her. She stared at the unfamiliar scrawl. It was not from her sister and she could think of no one else who could write to her. Santa Maria, she thought maybe something has happened to my sister. Do you want me to read it for you? No, no. She hurried from the drugstore, crushed that he should think her illiterate.With the baby on one arm and t he bundle of clothes on the other and the letter clutched in her hand she found herself walking toward home. The rains had made a deep slough of the clay road and Tinang followed the prints left by the men and the carabaos that had gone before her to keep from sinking mud up to her knees. She was deep in the road before she became conscious of her shoes. In horror, she saw that they were coated with thick, black clay. Gingerly, she pulled off one shoe after the other with the hand still clutching to the letter.When she had tied the shoes together with the laces and had slung them on an arm, the baby, the bundle, and the letter were all smeared with mud. There must be a place to put the baby down, she thought, desperate now about the letter. She walked on until she spotted a corner of a field where cornhusks were scattered under a kamansi tree. She shoved together a pile of husks with her foot and laid the baby down upon it. With a sigh, she drew the letter from the envelope. She sta red at the letter which was written in English. My dearest Tinay, Hello, how is life getting along? Are you still in good condition?As for myself, the same as usual. But youre far-off from my side. It is not easy to be far from our lover. Tinay, do you still love me? I hope your kind and generous heart will never fade. someday or somehow Ill be there again to fit our promise. Many weeks and months have elapsed. Still I remember our bygone days. Especially when I was suffering with the heat of the tractor under the heat of the sun. I was always in despair until I imagine your personal appearance coming forward object the sweetest smile that enabled me to view the distant horizon. Tinay, I could not return because I found that my mother was very ill.That is why I was not able to scoot you as a partner of life. Please respond to my missive at once so that I know whether you still love me or not. I hope you did not love anybody except myself. I think I am going beyond the limit of y our leisure hours, so I pie-eyed with best wishes to you, my friends Gonding, Sefarin, Bondio, etc. Yours forever, Amado P. S. My mother died last month. Address your letter Mr. Amado Galauran Binalunan, Cotabato It was Tinangs first love letter. A flush spread over her face and crept into her body. She read the letter again. It is not easy to be far from our lover. . . I imagine your personal appearance coming forward. . . . Someday, somehow Ill be there to fulfill our promise. . . . Tinang was intoxicated. She pressed herself against the kamansi tree. My lover is true to me. He never meant to desert me. Amado, she thought. Amado. And she cried, remembering the young girl she was less than two years ago when she would take provender to Senor in the field and the laborers would eye her furtively. She thought herself above them for she was always neat and clean in her hometown, before she went away to work, she had gone to school and had reached sixth grade.Her skin, too, was not a s dark as those of the girls who worked in the fields weeding around the clumps of abaca. Her lower lip jutted out disdainfully when the farm hands spoke to her with many praise words. She laughed when a Bagobo with two hectares of land asked her to marry him. It was only Amado, the tractor driver, who could look at her and make her lower her eyes. He was very dark and wore filthy and torn clothes on the farm but on Saturdays when he came up to the house for his weeks salary, his hair was slicked down and he would be get dressed as well as Mr. Jacinto, the schoolteacher.Once he told her he would study in the city night-schools and take up mechanical engineering someday. He had not said much more to her but one afternoon when she was bidden to take some bolts and tools to him in the field, a great excitement came over her. The shadows moved fitfully in the bamboo groves she passed and the cool November air edged into her nostrils sharply. He stood unmoving beside the tractor with t ools and parts scattered on the ground around him. His eyes were a black glistening as he watched her draw near. When she held out the bolts, he seized her wrist and said Come, pulling her to the screen of trees beyond.She resisted but his arms were strong. He embraced her roughly and awkwardly, and she trembled and gasped and clung to him. . . . A little green snake slithered languidly into the tall grass a few yards from the kamansi tree. Tinang started violently and remembered her child. It lay motionless on the mat of husk. With a shriek she grabbed it wildly and hugged it close. The baby awoke from its sleep and cries lustily. Ave Maria Santisima. Do not punish me, she prayed, searching the babys skin for marks. Among the cornhusks, the letter fell unnoticed.