Metamorphosis by Kafka and So Long A Letter by Mariama B

Metamorphosis by Kafka and So Long A Letter by Mariama B In both Metamorphosis by Franz Kafka and So Long A Letter by Mariama B, the there is a big importance of family and friendship. Through the relationship between Gregor Samsa and his family and through the relationship of Modou, Ramatoulaye and Aissatou we can tell that there is a huge importance of family and friendship in both two texts. The Metamorphosis by Franz Kafka is about a man, Gregor Samsa, who is transformed overnight into a vermin. From the beginning, we see that a young, hard working man Gregor has turned into a bug. After his death, it is obvious that Gregor was of importance to his family. His family depended on him for their happiness but yet unappreciated him. So long a letter is about the story of Ramatoulaye Fall. She writes a letter to her lifelong friend Aissatou Ba. The reason for the writing is Ramatoulayes recent widowhood. As she gives her friend the details of her husbands death, she sets off on a journey of remembering the major events in her and Aissatous lives. In Metamorphosis, Gregor was very important to the familys welfare. He was the only working member of the family, and he and his family depended on it his job. Even though he wanted to quit his job, he still had to provide for his family. He felt that his family was too dependent of him. When Gregor wouldnt let anyone into his room because of his transformation, he thought that his family was harassing him because he was in danger of losing his job. After his family found out that Gregor had transformed into an insect, they realized that he was no longer of any use to the family, and he was unappreciated in every way. Gregor was now a problem for he had no function in the family. To his family he was only a bug and not Gregor. For this reason, they simply did not show him any respect. Similarly, in So Long A Letter, Ramatoulaye mentioned how she gave more than received from Modou. This can show how Ramatoulaye was also taken for granted like Gregor. What was lacking in Ramatoulaye and Modous marriage was a strong friendship or foundation between the two, and so eventually both their love and marriage fell apart. They never gave equally in their friendship so there never was that strong foundation. In metamorphosis there was also a communication problem within the family. When Gregor spoke to his mother, she didnt recognize the change in voice suggesting that they didnt speak often. His family could only mention was how useless he was. He was only good when he could provide for the family and so he was never really appreciated for who he was. The fact that he and his family didnt communicate well even before his metamorphosis made it even harder to talk to him when he was in the body of a giant vermin. Gregors parents were the cause of all of this. They totally lost interest in their son and what was going on with his life and were only interested in living their comfortable life. Just like in So Long A Letter, where I think Ramatoulaye and Modou didnt have enough communication. The lack of communication could have caused the failure of the marriage. Aissatou and Ramatoulaye were very good friends, and they had good communication with each other. Maybe the fact that they were friends helped it. The fact that Ramatoulaye and Modou were married could have caused this communication problem. In marriage you can be very different from your spouse, but because you are so united as a couple, it is much more difficult to have different ways of seeing stuff and still staying together. Unlike friends, where they can have totally different ideologies and ways of handling situations, just like Aissatou and Ramatoulaye. So, in a way I think Ramatoulaye and Modou may have been fine being friends and just talking to one another, as opposed to being married. In Metamorphosis, nothing much had changed after Gregors metamorphosis. Gregors family failed to realize that even as a bug, Gregor was still there and that he could understand everything they had to say. Many times he tried to show his loyalty, but still Gregor was not to be accepted for who he was. After some time, his family still hadnt got used to him and despite all of Gregors efforts,  his family had failed to realize that the insect that they had treated so cruelly was actually their son. In So Long A Letter, we can also say that Ramatoulaye, her children, and Aissatou all go through a metamorphosis as well. But in this case, it affected Ramatoulaye, her children, and Aissatou much more than when Gregor turned into a vermin, and the effect it had on Gregors family. Ramatoulayes friendship with Aissatou changed. It was her and Aissatous friendship that kept her going strong. Another thing that pushed her was Ramatoulayes children. Aissatou was there to give her advice, help her, and just to be there for any sort of support. She even gave Ramatoulaye a car which is a very generous thing to do. The fact that both of them gave equally in their friendship unlike Ramatoulaye and Modou is very touching indeed. After Gregors metamorphosis, his family goes through an even bigger metamorphosis than Gregor himself.  Soon after, his relationship between him and his family then starts to deteriorate. Gregors transformation leads to the bigger metamorphosis occurring to his family rather than to himself. One of Gregors family members who go through significant metamorphosis is Gregors sister Grete. Grete is probably the only person that he cared the most about.   After Gregor turned into a bug, Grete seems like the only person in his family that actually cares about him. She helps him keep his room clean and also brings him things to eat twice a day. She also worries what he might like to eat But he would never have been able to guess what his sister, in the goodness of her heart, actually did. To find out his likes and dislikes, she brought him a wide assortment of things.  [1]  Gretes kindness, even when she is afraid of her brothers unpleasant appearance, touches Gregor deepl y. She is the only person that he contacts with. This causes Gregor to feel less alienated than he already is. Her love and care gave him a reason to live, but when she stopped caring it killed him. Grete turned from this loving, caring, and warm sister into this dark, uncaring, and selfish person. As the time starts to pass, Grete practically stops caring about her brother. She starts treating him differently. No longer considering what she can do to give Gregor a special treat, his sister, before running to business every morning and afternoon, hurriedly shoved any old food into Gregors room with her foot.  [2]  Grete is not thinking about Gregor anymore; this makes her uncaring. Shoving things with her foot is an example of her showing him that he is a bug because bugs are usually stomped on with feet. The cleaning up of Gregors room, which she now always did in the evenings, could not be done more hastily  [3]  . Grete now also doesnt care enough to clean Gregors room properly. Streaks of dirt ran along the walls, fluffs of dust and filth lay here and there on the floor.  [4]  The condition of Gregors room can tell the way Grete feels about her brother. Cleaning hastily, can also tell that Grete actually doesnt really care about Gregor and doesnt want anything t o do with him. Grete gets a job to help pay for expenses, and no longer wants takes care Gregor, this shows a selfish side of her. As the time went on, even Grete didnt car anymore Things cant go on like this. Maybe you dont realize it, but I do. I wont pronounce the name of my brother in front of this monster, and so all I say is: we have to try to get rid of it.  [5]  Grete doesnt want to believe that the bug is her brother. She wants to believe that the bug is just a bug that needs to be taken care of. After Gregor died, her mother and father both realised that Grete had grown up and that it was time for her to find a husband. So even though the transformation of Gregor mostly brought upon negative things to the family, he brought some sort of happiness to his family after he died.

The Bride Price Essays -- Literary Analysis, Okonkwo

Throughout the world, there are numerous cultures that practice various customs and traditions. These cultures have often set up guidelines for the people of the society to follow and adhere to. Some societies practice their customs and traditions in a more lenient manner. On the other hand, some societies are very strict with their practices and strive to maintain and preserve their culture by teaching the customs to the people and practicing them frequently. Such is the case in the Nigerian society. The Nigerian people follow specific rules and customs in regards to marriage practices, social status, and superstitions. The marriage custom is one specific aspect of their culture that is strictly enforced for all men and women of the society. The man’s family is supposed to pay the family of the bride a certain amount of money to marry the girl. This custom, along with many others, is demonstrated in the novel, The Bride Price, by Buchi Emecheta, when the main character, a you ng girl named Aku-nna, falls in love with a man named Chike, who comes from a family in which the people were once slaves. Throughout the novel, the customs of Nigerian society are explored while Aku-nna and Chike try or overcome their families’ adversities. Aku-nna and her brother Nna-nndo live in Lagos with their father at the start of the novel. The two siblings have grown up in Nigeria learning the customs and practicing them at a young age. Aku-nna, being the only female in the home takes on the responsibilities of the family much like all the other women in Nigerian society. The women acknowledge the fact that it is their responsibility to do so and comply without arguments. When Aku-nna’s father told her to make dinner, she does so willingly in orde... ...ous† (100). Not only do these superstitions play a role in the Nigerians’ daily lives, but some superstitions relate to the bride price custom as well. It was said, â€Å"if the bride price was not paid, she would never survive the birth of her first child† (168). Okonkwo would still not accept the bride price, no matter how much money was offered because â€Å"he still refused to consent to give his daughter to a slave† (162). When Aku-nna gets pregnant soon after, the Nigerian superstition is up held and she dies while giving birth to her child. Through Aku-nna’s upbringing, relationships, and experiences, the reader is able to gain an understanding of the customs and traditions followed in Nigerian society. The Bride Price by Buchi Emecheta is good demonstration of the many aspects of Nigerian culture such as marriage practices, social status, and superstitions.

Discuss the idea of the film narrator/narration in relation to verbal to visual issues

I will be looking at the different notions of the ‘narrator' in relation to both verbal and visual texts then I will be discussing the importance of montage and mise-en-scene in the construction of a film, otherwise the ‘narration' of a film. I will also examine concepts of the film narrator in relation to the verbal to visual process put forward by theorists and film scholars and use examples from the texts The Camomile Lawn by Mary Wesley (1984), The English Patient by Michael Ondaatje (1992) and Emma by Jane Austen (1816). I will also touch upon ‘focalization' within the context of the narrator. Before I discuss the concept of film narrator, I will briefly touch on the narrator of the literary text so as to realise the fundamental differences between them. In a verbal text, the narrator will fall into one of three basic types; the speaker who uses his own voice, one who assumes the voice/voices of other persons, and not speak in his own voice and one who uses a mixture of his own and other persons voices. Cuddon, 1998: 535) The distinction between the three are very important, where all are evidently still narrators, the speaker who uses his own voice or the first-person narrator is ‘active in the plot' whereby the speaker who do not use his voice, the third-person narrator is ‘outside or above the plot' yet still in the text (extra diegetic). In the verbal text, Emma, the story is told through an omniscient narrative. This narrator has the power to look into the character's psyche as well as manipulate the reader therefore their role as an objective narrator has failed; ‘Harriet certainly was not clever, but she had a sweet, docile, grateful disposition; was totally free from conceit; and only desiring to be guided by any one she looked up to. ‘ (Austen, 1816: 24). Here the narration is from the viewpoint of Emma describing Harriet's personality as she sees it. We do not know of her disposition as anything other than the way Emma prescribes. The problem here is that we get only a biased viewpoint and often you experience the author's intervention too. The third-person narrative in The English Patient is different; the storyteller stands further away from the immediate action. They do not attempt to intervene with the action other than tell it as it is presented; ‘She walks over the paved stones, grass in the cracks. He watches her black-stockinged feet, the thin brown dress. She leans over the balustrade. ‘ (Ondaatje, 1992: 32). In Wesley's The Camomile Lawn, there are constant transitions in focalizers as the novel is multi-voiced and follows the stories of several characters over many decades so the role of the narrator switches between characters often with just a space between paragraphs to separate the transitions. Still, it is easy to grasp and does not really intervene with the flow of the story. When making a movie, the two most important elements that matter are; a, everything that goes in the scene and b, the editing of the scenes. When referring to the scenes and its contents, it is known as mise-en-scene. Translated, it literally means putting-on-stage, and is ‘the arrangement of performers and properties on a stage for a theatrical production or before the camera in a film' (The American Heritage(r) Dictionary of the English Language, Fourth Edition, 2000). This term refers to the staging of the film and the director's control over what appears in the film frame: dicor, direction of the actors, lighting, camera movement, choice of lenses and so on. In order to visualise the verbal text, importance is often placed into mise-en-scene. In Emma, the period in which the drama was set was evidently emphasised through the costumes in which the characters wore. The costumes in Emma depicted each person's social status and personality, traits that were of importance in the verbal text and therefore needed to be narrated in the visual text. Another important aspect in the novel was the abode of certain characters, something else that was significant in the literary discourse. Hartfield and Randalls, the homes of the affluent in the movie were very much larger-than-life, the viewer can almost feel the grandness through the screen and in contrast, the homes of Miss Bates and the peasants Emma and Harriet visited were very humble indeed, the carefully selected interior and costumes of characters tell more than the dialogue. At the start of the film, there is an animated spinning globe on the screen that has images of the main characters from the film on them. It shows Emma and Mr Knightley placed at the top of the globe, in the middle is Mr Elton and at the bottom of the globe is Miss Bates and Miss Taylor. This style of presentation in the movie is in itself a form of narrative whereby the director has decided to, in advance, set the social statuses of the characters before the film even begins. This is because in the film, there is only a voiceover narrative from Emma herself, the third-person narration from the literary discourse that has descriptive information is removed therefore it is necessary to include elements that can help the viewer to construct the story as Emma can not know everything that is happening, she is not omniscient. Writing Emma was basically a tool for Austen to make a mockery of the social snobbery present in the early 19th century and she does this by allowing Emma, an upper-class daughter of a rich man, to let her imagination and daydreams to overcome reason, then finally admit defeat to reality. The music in the background often sounds jovial yet there is an undertone of mockery, as though her character should not be taken seriously. She is introduced in the novel as; ‘Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her. ‘ (Austen, 1816: 7). In the film version, Emma herself could not have narrated this information as it would be inappropriate so therefore costume and behaviour (mise-en-scene) would have to articulate her character instead. In The English Patient, there were certain codes put into the choice of costumes, for instance, the character Katherine always dressed in the colour white, symbolic of purity, yet her character is having an adulterous affair with her husband's friend, perhaps it stressed the irony of her predicament. In the desert scenes, the expanse of barren land swamping the characters shows the loneliness that many of the characters are feeling, including Hana, Caravaggio and Kip. The use of non-vernacular music also creates the distance they are all at from their homeland. The next important aspect of filmmaking is the use of Montage. From the French for ‘assemble', the term refers to the process of cutting, assembling, arranging or editing of shots. In other words, it is ‘a method of putting shots together in such a way that dissimilar materials are juxtaposed to make a statement'. (Pennsylvania State University Website, 2002). The approach to editing was developed by Soviet filmmakers of the 1920s, notably Eisenstein. Continuity editing, or narrative montage is the assembly of shots that results in a smooth flow of narrative in an order making obvious sense in terms of time and place. This style is associated with American films of the studio era and may be referred to as classical cutting or decoupage classique. Emma displays techniques of this principle. Filmmakers of the sixties and seventies often made use of the Collision Principle for jarring transitions from cut to cut and to stress discontinuities in time and space. (Andrew J. Dudley, 1976: 42-71). This use of editing is effective for reflections of time memory, and emotional states, as seen in The English Patient and The Camomile Lawn. The English Patient relies heavily on the reflection of emotional states as Almasy is using his memory to tell us a story and therefore, the transition into his past is often smoothed along with the use of sound effects or montage to help jog his memory such as the thumping of feet on the ground immerged with the beating of drums to dissolve into an external analepsis. The concept of film narrator or narration has been theorised and analysed by many thinkers of the twentieth century. Linguistic ideologies have also been applied to the study of film and I will hereby observe those attempted by Jakob Lothe, Christian Metz and David Bordwell. Jakob Lothe argues in Narrative in Fiction and Film, An Introduction (2000) that the film narrator is ‘the superordinate ‘instance' that presents all the means of communication that film has at its disposal', that they are equated to the third-person narrator in a literary novel and act as the film maker's communicative instrument guiding the viewer's perception of the film. He illustrates his view with a diagram (1990:134-5) by Seymour Chatman (fig. 1) which shows ‘the multiplexity of the cinematic narrator', who is the sum of all these and other variables. The diagram demonstrates it is the viewer who constructs the narrative synthesis. This would link well with the views of film scholar David Bordwell who believes that film has no narrator, that the film narration is the ‘organisation of a set of cues for the construction of a story'. He sees narration as completely central in film but places importance on the viewers response, the perceived not the sender. This set of cues includes an indeterminate number of visual and auditory impressions that the viewer has to construct a story with (Lothe, 2000; 28). Christian Metz realised that film is not a ‘language' but another kind of semiotic system with ‘articulations' of its own. Cinema in relation to verbal language is not direct and is at best partial and complex. He advocated that ‘the analogy is strained at the level of appearance, for filmic signification doesn't at all look like verbal language'. Film image has a natural level of expressivity whereby the world speaks through the images in a normal or somewhat deflect way and it is up to the filmmaker to strengthen and work on these primary expressions if he wants to signify his own meaning. Andrew J. Dudley, 1976: 213-241) In The English Patient, screenwriter and director Anthony Minghella uses the power of sound to aid narration as well as Hollywood's typical narrative in relying heavily on the use of mise-en-scene. The exotic locales presented in the film really set the scene and romantic mood with which the film exudes, in a way, the viewer is almost overwhelmed by the scenery. The cinematography really speaks for itself and eliminates a lot of the narrative that was present in the novel in their attempt to set the place for the reader of the text. In The Camomile Lawn, the change in focalizers is rather subtle. In the literary text, we sense the shifts more consciously whereas with a visual narrative, the viewer is used to following different strands of plot at one go including those of several characters. As well as changes in focalizers, The Camomile Lawn also experiments with shifts in narrative time. It is debatable whether the story is set in present time with flashbacks external analepsis) or set during the war period and ‘flashing forwards'. It is suggested that the whole story was narrated from the viewpoint of Sophie even though she is not the most frequent focalizer throughout the novel but many things that happen often fall into Sophie's perspective and the consequences of other people's actions and how they affect her. In the visual narrative of The Camomile Lawn the film maker attempts to keep as much of Sophie's perspective as much as he can so as to keep in accordance to the intended author's wishes. As with all types of narration, we must consider if they are reliable or unreliable. All narrator's have an artificial authority and we as the reader or viewer ‘must accept [their information] without question if we are to grasp the story that is to follow' (Booth cited in Lothe, 2000: 25). The fundamental rule in any narrative fiction is often to believe the narrator unless the text at some point gives us a signal not to. When this is the case, the narrator becomes unreliable. In The English Patient, a reliable narrator tells the literary text and the film text is shot by an objective camera. This stays in coherence with the original and works well. In Emma, the novel is narrated in third-person but is unreliable as it is told through the perspective of the female protagonist and therefore bias. In the visual narrative, it employs a voiceover by Emma herself and therefore definitely is subjective. In The Camomile Lawn, the verbal discourse is told through a multitude of narrative levels, as well as changes in focalizers, and narrative time/space, the narrative perspective changes from first to third person continuously which is true also for the screen adaptation. In conclusion to my findings, it is true to say that the perceived authors of both verbal and visual texts cannot be compared so because it all depends on the intention of the produced effect. If a filmmaker takes a verbal narrative, he or she may or may not want to transpose all elements of the original narrative but on the other hand has something to aspire to, should they wish to take that path. With the texts I have chosen, that there are a variant of reasons as to why they have been chosen to be visual. The Camomile Lawn, was adapted for a television series therefore it had plenty of time to allow much of the original narrative to be kept in and stayed as close to the original in terms mise-en-scene too. The English Patient was transposed into a Hollywood blockbuster and therefore had no room for multiple storylines to override one another so the subplots were dropped significantly from the literary discourse and emphasis placed on one love story. Emma, on the other hand was more of a period drama with a moral story and was closely contrasted to the original in many aspects all except for the narrative perspective.

Analysis Of Abc s Reality Show The Bachelor - 932 Words

In this year’s 19th iteration of ABC’s reality show The Bachelor, Chris Soules is the lucky man who has the opportunity to pick a potential mate from a group of 30 beautiful women. While we sit back and relax in our living rooms and watch the sappy, scripted love stories unfold, we silently judge the contestants while simultaneously comparing ourselves to them. Do I have a body like that? Am I pretty enough to be worth marrying? While most viewers deniably love to succumb to the cheesy drama of the plotted romance show, many might be oblivious to the fact that the show, even after 19 seasons, continues to preserve archaic gender roles that impede on what should be society’s goal of gender equality. In the first episode of the season, the 30 female candidates exiting their limos, adorned in lavish dresses, heavy makeup, and primped hair. To catch Chris’ eye, the women objectify themselves, and the men, specifically Chris, perpetuate it. 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