Gender Norms & Racial Bias in the Study of the Modern “History” Essay

History is the study of the past, specifically how it relates to humans. It is an umbrella term that relates to past events as well as the memory, discovery, collection, organization, presentation, and interpretation of information about these events. Scholars who write about history are called historians. Events occurring prior to written record are considered prehistory. History can also refer to the academic discipline which uses a narrative to examine and analyse a sequence of past events, and objectively determine the patterns of cause and effect that determine them. Historians sometimes debate the nature of history and its usefulness by discussing the study of the discipline as an end in itself and as a way of providing â€Å"perspective† on the problems of the present. Stories common to a particular culture, but not supported by external sources are usually classified as cultural heritage or legends, because they do not support the â€Å"disinterested investigationâ₠¬  required of the discipline of history. Herodotus, a 5th-century BC Greek historian is considered within the Western tradition to be the â€Å"father of history†, and, along with his contemporary Thucydides, helped form the foundations for the modern study of human history. Their work continues to be read today and the divide between the culture-focused Herodotus and the military-focused Thucydides remains a point of contention or approach in modern historical writing. In the Eastern tradition, a state chronicle the Spring and Autumn Annals was known to be compiled from as early as 722 BC although only 2nd century BC texts survived. Ancient influences have helped spawn variant interpretations of the nature of history which have evolved over the centuries and continue to change today. The modern study of history is wide-ranging, and includes the study of specific regions and the study of certain topical or thematical elements of historical investigation. Often history is taught as part of primary and secondary educat ion, and the academic study of history is a major discipline in University studies. Etymology Ancient Greek á ¼ ±ÃÆ'Ï„Î ¿Ã ÃŽ ¯ÃŽ ± means â€Å"inquiry†,†knowledge from inquiry†, or â€Å"judge†. It was in that sense that Aristotle used the word in his . The ancestor word is attested early on in Homeric Hymns, Heraclitus, the Athenian ephebes’ oath, and in Boiotic inscriptions . The word entered the English language in 1390 with the meaning of â€Å"relation of incidents, story†. In Middle English,  the meaning was â€Å"story† in general. The restriction to the meaning â€Å"record of past events† arose in the late 15th century. It was still in the Greek sense that Francis Bacon used the term in the late 16th century, when he wrote about â€Å"Natural History†. For him, historia was â€Å"the knowledge of objects determined by space and time†, that sort of knowledge provided by memory . In an expression of the linguistic synthetic vs. analytic/isolating dichotomy, English like Chinese now designate s separate words for human history and storytelling in general. In modern German, French, and most Germanic and Romance languages, which are solidly synthetic and highly inflected, the same word is still used to mean both â€Å"history† and â€Å"story†. The adjective historical is attested from 1661, and historic from 1669. Historian in the sense of a â€Å"researcher of history† is attested from 1531. In all European languages, the substantive â€Å"history† is still used to mean both â€Å"what happened with men†, and â€Å"the scholarly study of the happened†, the latter sense sometimes distinguished with a capital letter, â€Å"History†, or the word historiography. The modern discipline of history is dedicated to the institutional production of this discourse. All events that are remembered and preserved in some authentic form constitute the historical record. The task of historical discourse is to identify the sources which can most usefully contribute to the production of accurate accounts of past. Therefore, the constitution of the historian’s archive is a result of circumscribing a more general archive by invalidating the usage of certain texts and documents . The study of history ha s sometimes been classified as part of the humanities and at other times as part of the social sciences. It can also be seen as a bridge between those two broad areas, incorporating methodologies from both. Some individual historians strongly support one or the other classification. In the 20th century, French historian Fernand Braudel revolutionized the study of history, by using such outside disciplines as economics, anthropology, and geography in the study of global history. Traditionally, historians have recorded events of the past, either in writing or by passing on an oral tradition, and have attempted to answer historical questions through the study of written documents and oral accounts. From the beginning, historians have also used such sources as monuments, inscriptions, and pictures. In general, the sources of historical knowledge can be separated into three categories: what is written, what is  said, and what is physically preserved, and historians often consult all three. But writing is the marker that separates history from what comes before. Archaeology is a discipline that is especially helpful in dealing with buried sites and objects, which, once unearthed, contribute to the study of history. But archaeology rarely stands alone. It uses narrative sources to complement its discoveries. However, archaeology is constituted by a range of methodologies and approaches which are independent from history; that is to say, archaeology does not â€Å"fill the gaps† within textual sources. Indeed, â€Å"historical archaeology† is a specific branch of archaeology, often contrasting its conclusions against those of contemporary textual sources. For example, Mark Leone, the excavator and interpreter of historical Annapolis, Maryland, USA; has sought to understand the contradiction between textual documents and the material record, demonstrating the possession of slaves and the inequalities of wealth apparent via the study of the total historical environment, despite the ideology of â€Å"liberty† inherent in written documents at this time. There are varieties of ways in which history can be organized, including chronologically, culturally, territorially, and thematically. These divisions are not mutually exclusive, and significant overlaps are often present, as in â€Å"The International Women’s Movement in an Age of Transition, 1830–1975.† It is possible for historians to concern themselves with both the very specific and the very gener al, although the modern trend has been toward specialization. The area called Big History resists this specialization, and searches for universal patterns or trends. History has often been studied with some practical or theoretical aim, but also may be studied out of simple intellectual curiosity. History and prehistory The history of the world is the memory of the past experience of Homo sapiens around the world, as that experience has been preserved, largely in written records. By â€Å"prehistory†, historians mean the recovery of knowledge of the past in an area where no written records exist, or where the writing of a culture is not understood. By studying painting, drawings, carvings, and other artifacts, some information can be recovered even in the absence of a written record. Since the 20th century, the study of prehistory is considered essential to avoid history’s implicit exclusion of certain  civilizations, such as those of Sub-Saharan Africa and pre-Columbian America. Historians in the West have been criticized for focusing disproportionately on the Western world. In 1961, British historian E. H. Carr wrote: This definition includes within the scope of history the strong interests of peoples, such as Australian Aboriginals and New Zealand MÄ ori in the past, and the ora l records maintained and transmitted to succeeding generations, even before their contact with European civilization. Historiography Historiography has a number of related meanings. Firstly, it can refer to how history has been produced: the story of the development of methodology and practices. Secondly, it can refer to what has been produced: a specific body of historical writing . Thirdly, it may refer to why history is produced: the Philosophy of history. As a meta-level analysis of descriptions of the past, this third conception can relate to the first two in that the analysis usually focuses on the narratives, interpretations, worldview, use of evidence, or method of presentation of other historians. Professional historians also debate the question of whether history can be taught as a single coherent narrative or a series of competing narratives. Philosophy of history Philosophy of history is a branch of philosophy concerning the eventual significance, if any, of human history. Furthermore, it speculates as to a possible teleological end to its development—that is, it asks if there is a design, purpose, directive principle, or finality in the processes of human history. Philosophy of history should not be confused with historiography, which is the study of history as an academic discipline, and thus concerns its methods and practices, and its development as a discipline over time. Nor should philosophy of history be confused with the history of philosophy, which is the study of the development of philosophical ideas through time. Historical methods Cultural history Cultural history replaced social history as the dominant form in the 1980s and 1990s. It typically combines the approaches of anthropology and history  to look at language, popular cultural traditions and cultural interpretations of historical experience. It examines the records and narrative descriptions of past knowledge, customs, and arts of a group of people. How peoples constructed their memory of the past is a major topic. Cultural history includes the study of art in society as well is the study of images and human visual production. Diplomatic history Diplomatic history, sometimes referred to as â€Å"Rankin History† in honor of Leopold von Ranke, focuses on politics, politicians and other high rulers and views them as being the driving force of continuity and change in history. This type of political history is the study of the conduct of international relations between states or across state boundaries over time. This is the most common form of history and is often the classical and popular belief of what history should be. Economic history Although economic history has been well established since the late 19th century, in recent years academic studies have shifted more and more toward economics departments and away from traditional history departments. Environmental history Environmental history is a new field that emerged in the 1980s to look at the history of the environment, especially in the long run, and the impact of human activities upon it. World history World history is the study of major civilizations over the last 3000 years or so. World history is primarily a teaching field, rather than a research field. It gained popularity in the United States, Japan and other countries after the 1980s with the realization that students need a broader exposure to the world as globalization proceeds. It has led to highly controversial interpretations by Oswald Spengler and Arnold J. Toynbee, among others. The World History Association publishes the Journal of World History every quarter since 1990. The H-World discussion list serves as a network of communication among practitioners of world history, with discussions among scholars, announcements, syllabi, bibliographies and book reviews. People’s history A people’s history is a type of historical work which attempts to account for historical events from the perspective of common people. A people’s history is the history of the world that is the story of mass movements and of the outsiders. Individuals or groups not included in the past in other type of writing about history are the primary focus, which includes the disenfranchised, the oppressed, the poor, the nonconformists, and the otherwise forgotten people. This history also usually focuses on events occurring in the fullness of time, or when an overwhelming wave of smaller events cause certain developments to occur. Histomomity Histornomity is a historical study of human progress or individual personal characteristics, by using statistics to analyze references to eminent persons, their statements, behavior and discoveries in relatively neutral texts. Gender history Gender history is a sub-field of History and Gender studies, which looks at the past from the perspective of gender. It is in many ways, an outgrowth of women’s history. Despite its relatively short life, Gender History has had a rather significant effect on the general study of history. Since the 1960s, when the initially small field first achieved a measure of acceptance, it has gone through a number of different phases, each with its own challenges and outcomes. Although some of the changes to the study of history have been quite obvious, such as increased numbers of books on famous women or simply the admission of greater numbers of women into the historical profession, other influences are more subtle. Public history Public history describes the broad range of activities undertaken by people with some training in the discipline of history who are generally working outside of specialized academic settings. Public history practice has quite deep roots in the areas of historic preservation, archival science, oral history, museum curatorship, and other related fields. The term itself began to be used in the U.S. and Canada in the late 1970s, and the field has become increasingly professionalized since that time. Some of the most common settings for public history are museums, historic homes and historic sites, parks, battlefields, archives, film and television companies, and all  levels of government. Historians Professional and amateur historians discover, collect, organize, and present information about past events. In lists of historians, historians can be grouped by order of the historical period in which they were writing, which is not necessarily the same as the period in which they specialized. Chroniclers and analysts, though they are not historians in the true sense, are also frequently included. The judgments of history Since the 20th century, Western historians have disavowed the aspiration to provide the â€Å"judgments of history.† The goals of historical judgments or interpretations are separate to those of legal judgments, which need to be formulated quickly after the events and be final. A related issue to that of the judgments of history is that of collective memory. Pseudo-history Pseudo-history is a term applied to texts which purport to be historical in nature but which depart from standard historiographical conventions in a way which undermines their conclusions. Closely, related to deceptive historical revisionism. Works which draw controversial conclusions from new, speculative, or disputed historical evidence, particularly in the fields of national, political, military, and religious affairs, are often rejected as pseudo-history. Teaching history From the origins of national school systems in the 19th century, the teaching of history to promote national sentiment has been a high priority. In the United States after World War I, a strong movement emerged at the university level to teach courses in Western Civilization, so as to give students a common heritage with Europe. In the U.S. after 1980 attention increasingly moved toward teaching world history or requiring students to take courses in non-western cultures, to prepare students for life in a globalized economy. At the university level, historians debate the question of whether history belongs more to social science or to the humanities. Many view the field from both perspectives. The teaching of history in French schools was influenced by the Nouvelle histoire as disseminated after the 1960s by Cahiers pedagogies and Inveiglement and other journals for teachers. Also  influential was the Institute national de recherchà © et de documentation pedagogue. Joseph Leif, the Inspector-general of teacher training, said pupils children should learn about historians’ approaches as well as facts and dates. Louis Franà §ois, Dean of the History/Geography group in the Inspectorate of National Education advised that teachers should provide historic documents and promote â€Å"active methods† which would give pupils â€Å"the immense happiness of discovery.† Proponents said it was a reaction against the memorization of names and dates that characterized teaching and left the students bored. Traditionalists protested loudly it was a postmodern innovation that threatened to leave the youth ignorant of French patriotism and national identity. In most countries history textbook are tools to foster nationalism and patriotism, and give students the official line about national enemies. In many countries history textbooks are sponsored by the national government and are written to put the national heritage in the most favorable light. For example, in Japan, mention of the Nanking Massacre has been removed from textbooks and the entire World War II is given cursory treatment. Other countries have complained. It was standard policy in communist countries to present only a rigid Marxist historiography. Academic historians have often fought against the politicization of the textbooks, sometimes with success. In 21st-century Germany, the history curriculum is controlled by the 16 states, and is characterized not by super-patriotism but rather by an â€Å"almost pacifistic and deliberately unpatriotic undertone† and reflects â€Å"principles formulated by international organizations such as UNESCO or the Council of Europe, thus oriented towards human rights, democracy and peace.† The result is that â€Å"German textbooks usually downplay national pride and ambitions and aim to develop an understanding of citizenship centered on democracy, progress, human rights, peace, tolerance and European.†

Power of One

Chapter One Summary On his Granpa's farm in the province of Natal in South Africa, an unnamed blonde infant is suckled by his black Zulu nanny. She sings to him of warriors and women washing at the baboons' water hole. At five, the little boy's mother has a nervous breakdown and he is sent to an Afrikaans boarding school. He is the youngest student by two years, and is hated because he is the only English-speaker in the school, which makes him a â€Å"rooinek† (Afrikaans for â€Å"redneck,† a derogatory term for the British, inherited from the Boer War).Two eleven-year-olds put the little boy to trial – he is made to kneel naked in the shower, where he says a prayer to his Zulu nanny instead of to God. The Judge, along with his â€Å"council of war†, pee on the boy. The little boy has never seen a shower before – his nanny always washed him in a tin tub. The matron of the hostel, simply called â€Å"Mevrou† (â€Å"Missus† in Afrikaans) , smells the pee on the boy and drags him to the showers. She switches on the cold faucet, but the boy thinks that she too must be peeing on him. The Judge asks the boy why he wets his bed. The boy cannot answer.The Judge pulls down the boy's pants, and the kids all look and laugh at his â€Å"hatless snake† – his circumcised penis. They all chant â€Å"pisskop† (â€Å"pisshead†), which becomes his nickname. The Judge now displays his own large, uncircumcised penis. The little boy manages to whittle the tortures down to one hour a day. His bedwetting still lingers, however, causing him shame and misery. Mevrou examines his bed every morning and sends him to wash the rubber sheet until his hands reek of the carbolic soap. The boy learns that he needs to adopt a camouflage in order to cope. As part of this camouflage, he resolves never to cry.This decision infuriates the Judge. The boy gains some respect from the other kids for holding the school record for the largest number of beatings, yet they continue to ostracize and torment him verbally and physically. At the end of the first term, the boy's district doctor and the flyhalf for the Northern Transvaal rugby team, Dr. Henny Boshoff, picks him up to drive him home to his Granpa, and nanny on the farm. The Judge, impressed by this grand exit from the school, promises the boy better treatment after the holidays. Dr. Henny tells the boy that his mother is recovering from her reakdown, but is not ready to return home yet. It is late summer, and on the farm, the black women spend their days singing as they gather cotton. Nanny prays for Inkosi-Inkosikazi, the great black medicine man, to visit them to solve the little boy's bedwetting problem. Inkosi-Inkosikazi eventually arrives in a black Buick. The women gather gifts of food for him, among them being some â€Å"kaffir chickens,† not quite dead. One of the chickens reminds the boy of his Granpa. The only difference rests in the eyes: the cock has beady eyes whereas the boy's Granpa has eyes â€Å"intended for gazing over soft English landscapes. The boy's Granpa despises Shangaan people (one of the black tribes of South Africa), but he respects the Zulu medicine man, Inkosi-Inkosikazi, who once cured his gallstones. Inkosi-Inkosikazi is considered the last of the sons of the famous Zulu king, Dingaan, who fought off both British and Boers (Afrikaners). The boy's Granpa welcomes him to the farm. Inkosi-Inkosikazi orders the black women to let the chickens loose and catch them a second time. Then he uses â€Å"low-grade magic† to put them to sleep. He beckons the boy to sit with him on the â€Å"indaba† (meeting) mat – a great honor, since only chiefs are allowed to sit on these mats.Inkosi-Inkosikazi now summons Nanny to tell the boy's bedwetting story in Shangaan. Nanny brings the women to tears with her impressive elocutionary skills. Dee and Dum, the twin kitchen maids, are dazzled by Nanny's story. But Inkosi-Inkosikazi simply scratches his backside and orders â€Å"kaffir beer. † That night Nanny hugs Peekay, telling him he has brought honor on her by allowing her to show that a Zulu woman can rival Shangaans in tale-telling. The following day Inkosi-Inkosikazi's magic Ox shinbones tell him to visit the boy in his dreams. In his dreams, the boy must leap over three waterfalls and cross ten stones of a river.Inkosi-Inkosikazi puts the boy to sleep and speaks him through the dream landscape, calling him the â€Å"little warrior of the king. † Then he wakes the boy and tells him that he can always find him in the â€Å"night country. † Inkosi-Inkosikazi now teaches the boy his magic chicken trick and gives him one of the chickens – the one that looks like his Granpa – on which to practice. The boy names the chicken Granpa Chook. Analysis The novel opens with the startling image of a blonde boy being suckled by a black wet nur se. We are immediately confronted with the issue of race, and more specifically of idiosyncratic racial relationships.The voice narrating-that of the protagonist Peekay-is critical of any racial intolerance it encounters. A reflection on Afrikaners' hatred for the English, spawned during the time of the Boer War, ushers in the description of five-year-old Peekay's arrival at boarding school. As the narrator explains, the Boer War (1899–1902) was fought between the Boers (the Afrikaans-speakers of South Africa) and the British (the English- speakers of South Africa) for full possession of the country. Both Boers and British believed themselves to be the rightful inheritors of South Africa.It witnessed the first concentration camps in the world—the British confined the Boers to these concentration camps, where twenty-six thousand men, women, and children died. The derogatory Afrikaans term â€Å"rooinek† (redneck)-used to describe the British-was coined at the tim e of the war since the necks of the British burnt crimson under the hot African sun. By introducing the historical conflict between the two â€Å"white tribes† of South Africa, Peekay reminds readers that racial tension goes beyond difference in skin color-in his words, it enters the â€Å"bloodstream,† and extends to all kinds of cultural and ideological differences.He subtly critiques this inherited â€Å"hatred,† which the descriptions of his torture at the hands of the boarding school boys serve to illustrate. Peekay's adult voice uses hyperbole, or exaggeration, to describe the torture sessions the Judge and his â€Å"council of war† forced upon his five-year-old self. The military and legal metaphors that Peekay uses seem apt when one considers the extreme violence exercised upon the boy-he is urinated on, caned, and severely beaten. Moreover, many of the terms-such as â€Å"standing trial† and â€Å"passing sentence†-are the boys' own invention.We are required to compare the cruel imagination of the boarding school boys with the imagination Peekay discovers at the end of the novel through Inkosi-Inkosikazi. While the narrator keeps an ironic distance between himself and the younger self he is narrating (demonstrated by the narrator's sophisticated vocabulary such as â€Å"stentorian† and â€Å"carbolic†), he often portrays events through five-year-old eyes. He introduces the theme of the difficulty of defining death by providing us with young Peekay's thoughts on the topic: â€Å"I wasn't quite sure what death was.I knew it was something that happened on the farm in the slaughterhouse to pigs†¦ The squeal from the pigs was so awful that I knew it wasn't much of an experience, even for pigs. † The latter quotation also reveals the narrator's sense of humor-throughout the novel, the narrator finely balances tragedy and comedy, suggesting that laughing is sometimes the only way of coping w ith adversity. Chapter Two Summary The holidays end. The little boy's bedwetting problem is solved, but he remains concerned about his â€Å"hatless snake,† even though he recalls that Inkosi-Inkosikazi assured him they shared that anatomical trait.Nanny packs the boy's bags, and includes a red sweater that his mother sent from â€Å"the nervous breakdown place. † They drive in Granpa's Model A Ford truck with Mrs. Vorster, the neighboring widow. The boy, his nanny, and Granpa Chook travel in the back. Nanny is going to town in order to send money to her family in Zululand since there has been a drought. They arrive at the boarding school early, so the boy and Granpa Chook perch in the boy's secret mango tree. Later, the boy leaves Granpa Chook in a clearing in a citrus orchard while he visits Mevrou—he reports that he no longer has a bedwetting problem.Mevrou answers that her â€Å"sjambok† (caning stick) will be lonely. On returning to the clearing, the boy watches Granpa Chook fight a grass snake. The chicken wins, biting off and eating the snake's head. The boy hangs this second â€Å"hatless snake† from a branch near his dormitory window. That night the other kids return. The Judge and his â€Å"jury† beat the boy up for comparing the Judge's new arm tattoo to a â€Å"kaffir† woman's face tattoos. The Judge boasts that his tattoo is a swastika, the symbol of Adolf Hitler. He tells the boy that Adolf Hitler is going to help the Afrikaners exterminate the English.All the boys swear death to all Englishmen in South Africa. Afterwards, the little boys try to figure out who Hitler is. Danie Coetzee, the little boys' spokesman, guesses that it is the new headmaster. That night the little boy experiences â€Å"the loneliest moment that had ever been. â€Å"The next morning, Granpa Chook wakes everyone up with his cock-a-doodle-doing on the boy's windowsill. When Mevrou enters, she notices the â€Å"chicken shit † on the boy's bed and canes him. She wants to butcher Granpa Chook, but when the chicken kills two cockroaches in her defense, she gives him the position of â€Å"cleaner of creepy-crawlies† in the kitchen.Months pass. The boy–still only known to us as â€Å"Pisskop†Ã¢â‚¬â€œbecomes the Judge's servant. In class, Pisskop quickly learns to read Afrikaans and becomes the best in his class in all subjects, even though he is the other boys' junior by two years. In addition to English and Afrikaans, he also speaks the African languages of Zulu and Shangaan fluently. However, aware that his intelligence may be detrimental to his safety, he pretends not to be as clever as he actually is. World War II arrives. A new headmaster comes.The old headmaster, who has a drinking problem, leaves, but only after announcing the â€Å"good news† that Hitler will save the Afrikaners and destroy the English. The Judge warns Pisskop that he will be the first of their pris oners of war. In class, Pisskop's ear gets mauled when the new teacher, Miss du Plessis, hits him for pretending not to know the twelve times table. Then she faints. Another teacher, Mr. Stoffel throws Pisskop against a wall and blames him for killing the teacher. When Pisskop wakes up, he is relieved to find that Dr. Henny is looking after him.Mevrou makes Pisskop lie to Dr. Henny and say that he fell out of a tree. Miss du Plessis has a nervous breakdown and a new teacher, Mrs. Gerber, arrives. Pisskop believes that he has caused both his mother's and Miss du Plessis' breakdowns. Analysis Chapter Two explains the title of the book and introduces us to the novel's main theme: the importance of independence. The five-year-old Pisskop has already learned the necessity of developing an independent spirit within himself. His experiences show him that he cannot rely on anyone at the boarding school; he must nourish this power on his own.Adaptation, or survival through camouflage, is as important as independence for survival. The boy, whose constant consideration of how to cope with his difficult life makes the novel's style approach a kind of stream-of-consciousness, believes that he must camouflage his brilliant mind. He asks himself questions such as â€Å"How could you go wrong with a friend like [Granpa Chook] at your side? † He also occasionally uses the imperative voice, as though counseling himself: â€Å"†¦adapt, blend, become part of the landscape, develop a camouflage,†¦try in every way to be an Afrikaner. In some senses, the author keeps the boy camouflaged from us as well. For example, we are implicated in referring to him as â€Å"Pisskop† or â€Å"rooinek† since we have no other name for him. The notion of naming-as- identifying becomes a vital issue in this novel, where white people do not distinguish between black peoples, but instead clump them all together under the derogatory term â€Å"kaffirs. † Naming so meone else is a powerful tool for establishing identity–as a bedwetter, an English-speaker, or a black person.With the continuation from Chapter 1 of the little boy's education, the novel begins to suggest that its genre is that of the â€Å"bildungsroman†-a novel which follows a protagonist from early childhood to maturity. The fact that the novel is narrated by the protagonist-as-adult from some safe point in the future confirms this genre. The narrator tells the events as he perceived them through his five-year-old eyes, but at the same time gives glimpses of his mature perspective on the events. For example, there is wry irony in the description of how the little boys agree that the new headmaster must be Adolf Hitler.The narrator does not contradict the boys' view, but allows the reader to chuckle at the misunderstandings of young minds. The protagonist already begins to stand out, however; in spite of his naivete, his observations are often uncannily accurate. We are by no means to mock the boy, but rather to marvel at his resilience in this tough world. The narrator confronts the reader with the nastiness of the situation through vivid, immediate story-telling through an abundance of dialogue. The language is often shocking or crude-at one point the five-year-old Pisskop exclaims to himself, â€Å"What a shit of a day already! At other times, however, Pisskop does not possess enough vocabulary to describe the experiences with which he is confronted-for example, he refers to the mental institution simply as â€Å"the nervous breakdown place. † Chapter Three Summary The Judge and his jury interrogate the boy about why his names are â€Å"Pisskop† and â€Å"rooinek. † The Judge pulls down the boy's pajama pants and tells him he is an English â€Å"rooinek† because his â€Å"snake has no hat. † Boers, in contrast, have hats on their snakes. The boy's punishment is to march around the playground every day, co unting backwards from five thousand.However, he actually spends this time doing the Judge's homework in his head. The boy helps the Judge with his homework, reasoning that if the Judge passes the school exams, the boy will no longer have to deal with him. He manages to convince the Judge to allow him to become his full-time homework helper. He realizes, however, that the teacher Mr. Stoffel will smell foul play if the Judge's mental ability drastically improves. The Judge compliments the boy for being a â€Å"slimmertjie† (a little clever one). In return for the help, the Judge annuls the marching after school, and promises not to tell Hitler about the boy.Everything seems to be proceeding more smoothly for the boy and Granpa Chook. The boys hear that Newcastle disease has erupted on a chicken farm nearby. The boy worries about his Granpa, his mother, and himself. He ardently wishes to live with his nanny in Zululand, hidden from Hitler. The Judge reports news of the war, sin ce Mr. Stoffel allows him to listen to his radio. Hitler has taken Poland, which the boy thinks must be in South Africa, owned by the â€Å"Po† tribe. No one explains to him that South Africa is on England's side. The Judge holds â€Å"war councils† behind the school toilets.The senior hostel boys are called â€Å"storm troopers. † The boy and Granpa Chook are the â€Å"prisoners of war† and are tortured and interrogated. The boy must submit to â€Å"Chinese torture†-that is, holding an iron bar with his arms stretched out in front of him-and â€Å"shooting practice,† where he holds tin cans into which the storm troopers catapult stones. In the interrogation, the boy is forced to call his mother a â€Å"whore† who sleeps with â€Å"kaffirs. † They burn him and put biting ants in his pants, but nothing they do can make him cry. The boy's stoicism infuriates them.The boy admits to us those he only cries inwardly-in the â€Å"nig ht country. â€Å"The school term draws to a close. Mr. Stoffel holds up the Judge as an example of academic improvement. The Judge shows no gratitude to the boy for his help. Instead, during a final torture session, he tries to make the boy eat human feces. The boy refuses, keeping his mouth tightly shut. The Judge thus rubs the feces into the boy's teeth, lips, face, and hair. As the Judge cries â€Å"Hail Hitler! † to the skies, Granpa Chook defecates into the Judge's open mouth. In retaliation, the Judge catapults a stone into the â€Å"kaffir chicken rooinek,† breaking his ribcage.The boy begs them not to kill Granpa Chook, but they pelt the chicken to death. The boy cries for the first time-thus ending the drought in Zululand. He gives Granpa Chook a fine burial, and covers his battered body with stones. The â€Å"loneliness bird† settles inside the boy. At dinner that night, the boy is told he must visit Mevrou in the dispensary after the meal. Analysis Chapter Three adds the notion of an inner and an outer self to the theme of the power of one. Pisskop learns how to lead a double life–how to be â€Å"in two places at once†Ã¢â‚¬â€œso that he can appear to have a tough exterior, while hiding his vulnerable interior.In fact, everything that the boy has learnt in Chapter One and Two becomes complicated in Chapter Three. Suddenly the Judge shows glimpses of humanity by treating the boy â€Å"not entirely without sympathy. † Although the litotes-or double negative of â€Å"not entirely without sympathy† indicates that the Judge has only microscopically improved his behavior, it nevertheless shows that the boy has learnt that this is not a clear-cut fight between good and evil, Afrikaners and English, black and white.Bathos, or anti- climax, also serves to highlight that the boy's torturers are human beings, not nameless demons: at the end of Chapter Three we finally learn that the Judge has a name–Jaap ie Botha. While the boy realizes that his imagination is his one way out of the horror of his life, at the same time he has to recognize that â€Å"imagination is always the best torturer. â€Å"As the first person narrator, the boy describes not only the events of his early life, but all his emotions and philosophies. He shares with us universally valid musings that he has extracted from his experience: â€Å"One thing is certain in life.Just when things are going well, soon afterward they are certain to go wrong. It's just the way things are meant to be. † The reader's compassion, or sense of pathos, for the protagonist increases because the descriptions of his neglect by his mother are subtle. Instead of blaming other people, Pisskop becomes everyone's scapegoat. We learn that no one has recognized his birthday when he remarks, in a non-accusatory tone: â€Å"I had turned six but nobody had told me, so in my head, I was still five. † Chapter Four Summary After din ner in the boarding house, the boy visits Mevrou.She hands him a train ticket to Barberton, a small town in the Eastern Transvaal province. The journey will take two days and two nights. The boy's Granpa had to sell his farm to their neighbor, Mrs. Vorster, because Newcastle disease killed off his chickens. The following day from his secret mango tree, the boy watches the other kids leave. Then Mevrou marches him off to buy â€Å"tackies† (sneakers) at the Jew Harry Crown's shop. The boy has never owned shoes before–on the farm, the kids simply wore khaki shorts, shirts, and a sweater if it was cold. When they arrive at Harry Crown's shop, it is closed.Mevrou sends the boy to wash his feet at a garage, and the boy notices a sign above a workshop entrance that reads â€Å"BLACKS ONLY. † He wonders why whites are forbidden there. Harry Crown, jaunty and jocular, arrives. He brews up some coffee for Mevrou and gives the boy a raspberry sucker. He expresses shock wh en, on asking the boy his name, he replies â€Å"Pisskop. † With the money the boy's Granpa has sent, Mevrou buys him some tackies which are two times too big for his feet-she stuffs them with balls of newspaper so they will fit. Pisskop feels grand in them, even though he can barely walk.Harry Crown packs four more suckers into the shoe box while Mevrou is not looking. He also invents a new, more sanitary name for the boy-Peekay. The boy likes the name and decides to adopt it for himself. That evening Mevrou takes Peekay to the train station. She puts his Granpa's change-a shilling-into a pocket on his clothes. When the train arrives, the stationmaster introduces Peekay and Mevrou to the train guard, Hoppie Groenewald, who he says is â€Å"champion of the railways. † Peekay trips up the train steps because of his tackies getting in the way but Hoppie kindly gathers him up in his arms.Hoppie keeps Peekay company in the train compartment, and allows him to take of the t ackies. Peekay asks Hoppies about the sepia photographs hung on the walls- they show Cape Town and Table Mountain. This sets Hoppie off talking about how he almost competed in the National railways boxing championships in Cape Town. He begins giving Peekay a boxing lesson, slipping some leather boxing gloves onto Peekay's hands. Although the gloves are far too big, they feel comfortable to Peekay. Peekay secretly delights that Hoppie may be able to each him how to defend himself against the likes of the Judge. Hoppie tells Peekay that when he grows up he will be the welterweight champion of South Africa. He urges Peekay to start boxing lessons as soon as he arrives in Barberton. When the train refuels at Tzaneen, Hoppie treats Peekay to a mixed grill at the Railway Cafe where the bar ladies interrogate Hoppie about his next boxing fight. Peekay notices that Hoppie likes the younger woman, who has very red lips. Peekay falls asleep and the last image he remembers is Hoppie tucking hi m into bed. AnalysisThe novel's main plot, involving boxing, begins in Chapter Four as Peekay meets Hoppie Groenewald. Peekay compares Hoppie's role in his life to that of a sudden and temporary â€Å"meteorite† and calls him a â€Å"mentor. † The boxing plot initiates a new theme in the novel: the role of mentors in education. Education is not defined merely in formal terms, but as relating to the development of the person in his entirety. In such a way, the novel begins to tackle possible prejudices against sport, and particularly boxing, which is often assumed to give leeway only to violence and aggression.The boxing plot also incorporates the theme of the power of one, since Peekay's ambition to become the welterweight champion of South Africa, and then of the world, is purely his own ambition. The people Peekay encounters later in the novel support him in his endeavor, but often do not understand it. Chapter Four also introduces the main milieu–or backdropà ¢â‚¬â€œof the novel: apartheid. ‘Apartheid' is an Afrikaans term meaning simply ‘apartness,' and was coined by the Nationalist president of South Africa, Daniel Malan, in 1948.Chapter Four occurs before 1948, however, when white supremacist behavior was already in operation, but not yet systematized. Peekay's first consciousness of apartheid comes in this chapter, when he notices the â€Å"BLACKS ONLY† sign. In keeping with his childlike perspective, however, the author does not explain apartheid but pushes it to the background. Peekay's lack of understanding of apartheid established dramatic irony, as the reader understands the social institutions which define and affect Peekay from a more informed point of view.Peekay's confusion is not intended to be analyzed as a childlike confusion, however–the questions Peekay asks are terrifyingly legitimate and precise. For instance, when he wonders why white people cannot enter the workshop, he unwittingly touches at the irrationality of racism and apartheid. The novel is clearly founded in its South African context, with the author extremely conscious of the fact that he is writing for an international audience. He italicizes South Africanisms such as â€Å"stoep† (verandah) and â€Å"doek† (headcloth), and explains concepts that non-South Africans could not be expected to understand.For example, Peekay explains that years after his meeting with Hoppie he â€Å"discovered that the Cape Doctor was a wind that blew in early spring†¦Ã¢â‚¬  At the same time, Peekay's meteorite simile reveals a yearning for something much larger. The author is clearly aiming to make a universal statement about the pointlessness of discrimination against any group of people. The introduction of a Jewish character, Harry Crown, discloses that discrimination works on all levels-racial, cultural, and religious.The fact that Harry Crown coins Peekay's name for him is of vital importance-the author offers the lesson that people can make a difference in one another's lives regardless of how short their period of contact. Chapter Five Summary Peekay wakes early and surveys the savannah outside the train window. He expresses amazement at the washbasin which Hoppie shows him, neatly stashed away beneath the compartment table. Hoppie tosses away Peekay's soggy packed food from Mevrou and insists on buying him a proper â€Å"first class fighter† breakfast.As Hoppie lifts Peekay out of bed, Peekay covers his penis and apologizes to Hoppie for being a â€Å"verdomde rooinek† (a damned redneck). He expects â€Å"retribution. † Nothing happens, however, and Peekay begins to lose his fear of being an Englishman. Hoppie takes Peekay to the dining car where the waiter walks past and asks Hoppie the â€Å"odds† on his fight. Peekay wonders what â€Å"odds† are. He asks Hoppie whether he is frightened for the fight, eliciting another inspiring lecture from Hoppie, who is a â€Å"southpaw† (left-handed boxer). Lunch arrives with free steaks for Hoppie and Peekay.All of the passengers chat enthusiastically about Hoppie's imminent boxing bout. The waiter takes money for bets, and Hoppie has to explain what â€Å"betting† is to Peekay. Hoppie encourages Peekay to bet ten to one with his Granpa's shilling. Peekay is a little worried since Mevrou told him only to use the shilling in emergencies. Hoppie tells Peekay this could be considered an emergency. In Gravelotte, Hoppie takes Peekay to his home on the railway mess. Then they go to buy new tackies for Peekay at â€Å"Patel and Son,† which is owned by an Indian man, Mr.Patel. Hoppie treats Mr. Patel and his daughter–whom Peekay notices as being very beautiful–with disdain and tries to swap Peekay's large tackies for new ones. When Mr. Patel recognizes Hoppie as the famous boxer â€Å"Kid Louis† (Hoppie's boxing name, taken from a black non-Afric an boxer), he wants to return Hoppie's nine pence. Hoppie tells him to give the money to Peekay instead. Mr. Patel hands Peekay a shilling. Peekay is relieved his Granpa's money has strangely been restored. Mr. Patel says that he has bet ten pounds on Hoppie's victory.On the way back to the railways, Hoppie tells Peekay not to address â€Å"coolies† (derogatory term for Indian or â€Å"colored† people) as â€Å"Mister. † They head for the billiard room, where Hoppie's opponent, Jackhammer Smit, comes swaggering towards them. He laughs at Hoppie's small stature and calls him a â€Å"midget. † Hoppie tosses back a witty comment before exiting. Peekay meets Hoppie's friends Nels and Bokkie. At his home, Hoppie educates Peekay in pre-match rituals: a shower, a lie-down, and glasses of water every ten minutes (since it is deathly hot). At dinner, Hoppie introduces Peekay to people as â€Å"the next welterweight contender. Peekay remembers all that Hoppie tell s him, and Hoppie marvels at Peekay's perfect recall. Hoppie's army forms arrive in the mail–he tells Peekay that he has been summoned to war. He explains that Hitler is a very bad man–the enemy, not the ally. Analysis The racism of whites towards non-whites in South Africa becomes clearer in Chapter Five. Peekay's description of Mr. Patel's daughter as wearing â€Å"diaphanous cloth† and having â€Å"dark and very beautiful† eyes contrasts with Hoppie's racist description of Indians as â€Å"coolies. † Thus, the theme of people contradicting themselves in their behavior emerges further here.While showing extreme generosity and compassion to Peekay, Hoppie shows only arrogant racism towards the Patels, and tells Peekay not to call Mr. Patel â€Å"Mister. † Peekay thus becomes more than simply the protagonist-he becomes a moral yardstick by which we are to judge the other characters. Peekay shows respect and courtesy to everyone he meets. Alt hough Peekay's insight into the world remains limited and somewhat humorous, he is fast being forced to grow up. The bildungsroman structure usually involves a series of shifts from one setting to another, with very few visits to past settings.With Peekay surrounded by fresh faces on a train bound for Barberton, a new town, this novel certainly continues to fulfill the bildungsroman criteria. Moreover, most readers are in the same position as Peekay-unclear of the exact details of apartheid, and without an intimate knowledge of the boxing world. When Peekay confides that he does not understand Hoppie's â€Å"boxing parlance,† we share his newcomer's perspective. Chapter Five offers a couple of examples of the author's method of characterization–a simple, conventional method whereby a character's name is subsequently furnished with a short physical sketch.Peekay illustrates Mr. Patel's daughter, for instance, through the following description: â€Å"She was a mid brown color, her straight black hair was parted in the middle†¦Ã¢â‚¬  While the author pursues a conventional characterization method, the reader can understand his preoccupation with appearance, and particularly with skin tone. By Peekay almost taking inventory in noticing the woman's â€Å"mid brown color,† the author highlights the impossibility of categorizing people, especially according to something as nuanced as skin color. People should not be quantified and pigeonholed, he suggests.Yet some of the character descriptions fall into stereotypes or caricatures, contradicting this notion. Mr. Patel, for instance, speaks in a caricatured Indian dialect, using expressions such as â€Å"very-very† and â€Å"by golly. † Such stereotypes suggest that the book belongs to the genre of â€Å"popular adventure. † The characters and events, as will be seen in the rest of the novel, lack authenticity but replace it with the kind of exaggerated magic found in ch ildren's fairy tales. Chapter Six Summary Jackhammer Smit, a miner, has all his fellow miners on his side.The miners have constructed a makeshift boxing ring on Gravelotte's rugby field. All the townspeople gather on the stands (bleachers), with the black denizens having to squat underneath and peer through the whites' legs. Bokkie and Nels, Hoppie's seconds, lead Hoppie and Peekay to the warm-up tent where Hoppie points out the referee–a dwarf–to Peekay. Jackhammer Smit is already decked out in full boxing gear-Hoppie whispers to Peeky that he is â€Å"one big sonofabitch. † Hoppies opts to â€Å"glove up† in the boxing ring to provide more amusement for the crowd.Bokkie, following boxing etiquette, carries the gloves to Jackhammer Smit's seconds so that they may choose. Jackhammer and Hoppie taunt each other verbally, and Hoppie instructs Peekay: â€Å"Never forget, Peekay, sometimes, very occasionally, you do your best boxing with your mouth. † Nels escorts Peekay away from the tent and up the stands to Big Hettie, a large woman who chugs brandy throughout the fight and forgets to conceal her Irish accent when drunk. Hoppie and Jackhammer Smit enter the ring. Big Hettie hurls a curse at Jackhammer and the crowd roars with laughter.Big Hettie calls the dwarf referee â€Å"Sparrow Fart. † The dwarf invokes Biblical imagery, introducing the match as one between David and Goliath. In the first round, Hoppie lands a dozen punches to Jackhammer's left eye. The second round proceeds similarly, except that Jackhammer connects with Hoppie's head three times. Rounds three to five witness Hoppie attempting to wait out Jackhammer by taunting him around the ring. At the end of the sixth round, Jackhammer's left eye is almost shut, and Hoppie's ribs are red from the blows.In the seventh round, the heat begins to take its toll on Jackhammer-his left eye has closed. He manages to punch Hoppie right under the heart, however, and Hop pie crumples to the ground. Jackhammer refuses to move to the corner of the ring, thereby unwittingly giving Hoppie thirty seconds to recover. Hoppie manages to rise on the count of eight. Big Hettie nourishes Peekay with creamy coffee and chocolate cake during the fight. In the eleventh round, Jackhammer purposely knocks the referee backwards so that he cannot witness him headbutting Hoppie to the ground.The railwaymen, supporting Hoppie, cry â€Å"Foul! † After much confusion, and outbreaks of fighting amongst the crowd, the referee decides to award Hoppie the fight on a foul. Hoppie, however, is not satisfied and calls for the fight to resume. In the fourteenth round, Jackhammer knocks Hoppie down-suddenly Hoppie rises with a punch to Jackhammer's jaw, knowcking him out. A â€Å"braaivleis† (barbecue) and â€Å"tiekiedraai† (dance) follow the fight. Hoppie puts Peekay to sleep, next to Big Hettie. Analysis As the narrator matures, his voice gives the story a lyrical tone.The adult Peekay describes the gum trees near the boxing ring with â€Å"their palomino trunks shredded with strips of gray bark,† and the moths and insects which â€Å"danced about the lights, tiny planets orbiting erratically around two brilliant artificial suns. † He uses the same lyricism to describe, almost blow by blow, the boxing match between Hoppie and Jackhammer Smit-indeed, most of Chapter Six is taken up with the fight itself. This foreshadows many similar lengthy fight descriptions in the following chapters: the novel becomes in part a sports novel, with Peekay taking the role of commentator.Yet The Power of One differs from other sports novels in that it raises sport to the level of an art form. Peekay uses music metaphors and similes, subtly comparing boxing to music. For example, he notes how the referee â€Å"orchestrated† the audience to silence, and how Jackhammer Smit bangs his right fist into his left palm â€Å"like a metronom e. † The incongruity of music and a thug such as Jackhammer Smit works like an intellectual conceit-that is, an outrageous comparison that makes sense only after a couple of moments of thought.In such a way, the author compels us to accept boxing as an art form. The rich boxing vocabulary-including terms such as â€Å"straight left†, â€Å"feinting†, and â€Å"clinch†-heightens Peekay's storytelling power. This contrasts with Big Hettie's crude, yet hilarious commentary-she calls the dwarf referee â€Å"Sparrow Fart† and does not listen to a word Peekay says. The fact that the referee is a dwarf, and Big Hettie is partly Irish, adds to the already colorful human landscape of the novel-once again, the author forces us to recall the many types of differences between human beings.Hoppie's victory over Jackhammer is an important plot moment for the young protagonist Peekay since it gives him the faith that â€Å"small† can prevail over â€Å"lar ge. † He admits to the reader that â€Å"Big, it seemed to me, always finished on top †¦Ã¢â‚¬  The battle between small and large takes on a new dimension in Chapter Six: Hoppie teaches Peekay the necessity of strategy, of tactics. His main advice to Peekay is â€Å"First with the head, then with the heart,† an aphorism which Peekay never forgets. Peekay must change his own theme from the battle between small and large to the struggle between brains and brawn.Chapter Seven Summary Peekay awakens on the train to see â€Å"koppies† (little hills) and â€Å"lowveld† (bushland) flashing by outside. He finds a letter and a ten-shilling note attached to the front of his shirt-it is from Hoppie. Hoppie tells Peekay that the ten-shilling note is the money Peekay won from his bet, and in the note he reminds Peekay that â€Å"Small can beat big† and â€Å"first with the head and then with the heart. † Peekay is upset that Hoppie has disappeared from his life, but realizes that Hoppie has given him something to take away-the power of one.Peekay defines this as â€Å"one idea, one heart, one mind, one plan, one determination. † Soon Peekay notices a stench in the train compartment. He looks down from his bunk to see Big Hettie, fully dressed, sprawled on the bed below â€Å"like a beached sperm whale. † She reeks of brandy. When Peekay returns from the toilets, he finds that Big Hettie has half-collapsed onto the floor, with her dress over her ears. Peekay restores her to a normal position by shifting her legs onto the ground. Big Hettie belches in reply and Peekay exclaims â€Å"Boy, did she stink! The conductor, Pik Botha, arrives and gives a melodramatic lament when he realizes that Big Hettie is on his train. He gets even angrier when he discovers that Peekay's ticket is not clipped, and he blames it on Hoppie. Peekay pleads for Hoppie and succeeds. Pik Botha takes Peekay to breakfast, where the boy meets Hennie Venter, a waiter. When they return to the compartment, Botha—a born-again Christian—tells Peekay that Hettie is a â€Å"good example of God's terrible vengeance. † Hettie, however, wakes up to defend herself, calling Botha a â€Å"self- righteous little shit. She sends Peekay to fetch water for her. Peekay returns, and looks after Hettie by cooling her chest with a damp cloth. Hettie orders Botha to engineer a way to get her out of the compartment since she cannot get up. As Botha attempts to climb over Hettie to get a grasp on her, Hettie belches and Botha falls on top of her. Hettie begins to laugh and Peekay realizes that they are â€Å"in a real pickle. † They try a different tactic, with both Botha and Peekay pulling. Peekay loses his grip, however, and falls into Botha's crotch, causing him enormous pain in his waterworks. † They give up for the moment, and Hettie orders a lavish breakfast for herself and Peekay from Hennie. Peekay, no t hungry, gives his helping to Hettie, who scoffs everything. While Hettie eats, she tells Peekay that Hoppie could have been a famous boxer if it were not for the fact that he does not know how to hate. Peekay decides that he needs to learn how to hate. Hettie also tells Peekay about her love affair with a flyweight, who used to beat her up because he could not beat up his opponents. He died of a brain hemorrhage, during a match.Peekay watches Hettie binge herself on food all day, and intuitively realizes that he is witnessing â€Å"a sickness or a sadness or even both. † Hettie cries for herself, and Peekay comforts her. That afternoon the train arrives at the Kaapmuiden station. The railwaymen have to employ monkey wrenches to try to get Hettie out of the compartment. After telling Peekay she has faith in his becoming a great boxer, she dies quietly. Analysis In Chapter Seven, Peekay takes a detour, describing the tragicomic events that occur on his train ride between the towns of Gravelotte and Kaapmuiden.Big Hettie is representative of the â€Å"passing characters† pattern in the novel-some characters remain, while others coexist only briefly with Peekay. As with Hoppie, Peekay takes something away from Big Hettie. He learns about pride and courage. Peekay is learning how to absorb the essence of other people, how to remember what they say. Thus, â€Å"the power of one† does not refer to an individualistic sentiment, but rather to an all-encompassing notion, which acknowledges that the individual is shaped by all those people who pass through his life, whether for a brief or lengthy time.Peekay describes the events of the novel with humor and compassion; events are often both funny and sad. Big Hettie becomes one of the novel's caricatured, burlesque characters, and this chapter could almost be called a tribute to her. Chapter Seven thus deviates from the overarching plot. Hoppie's letter to Peekay, included at the beginning of the ch apter, also works to disrupt the neat, narrative flow and-as Peekay's first letter (and wager won)-it acts as a kind of mark of initiation into a more adult world.The â€Å"toilet humor† apparent in this chapter (Big Hettie's belches, for example) not only works as part of the burlesque, but constructs an invisible hierarchy amongst the characters- proximity to bodily Chapter Eight Summary The train arrives at Barberton station late at night. Hennie Venter says farewell to Peekay and promises to tell Hoppie that Peekay â€Å"behaved like a proper Boer, a real white man. † Peekay does not recognize anyone on the platform and so he sits silently crying, longing for his nanny to arrive and sweep him up. Then he notices a lady approaching.She calls him her â€Å"darling† and holds her against her bony body. Peekay realizes that it is his mother. When Peekay asks her where his nanny is, she simply says that he is too old for a nanny and hurries him out to a car where a certain Pastor Mulvery is waiting to take them home to Granpa. Peekay's mother and Pastor Mulvery spend the car ride home praising the Lord's precious name. Peekay's mother intimates that he must become a born-again Christian at the Apostolic Faith Mission, and Pastor Mulvery says they are on their way to meeting the Lord.Peekay asks if they can meet the Lord the following day–he is too exhausted that night. They both laugh. Peekay longs for the continuation of his past life on the farm. He discovers, fortunately, that the new house has exactly the same furniture as the farmhouse. He surveys the scene: the grandfather clock, the stuffed Kudu head, the painting of the Rourke's Drift massacre, the zebra skin. Peekay's Granpa enters the room and Peekay notices that he remains unchanged too. Only the kettle in the kitchen looks â€Å"new and temporary. † Peekay resolves to question his Granpa about nanny's whereabouts the following day.In the dawn he explores the back g arden, which he finds full of rosebushes–he observes that â€Å"the garden looked like the sort of tunnel Alice might well have found in Wonderland. † Beyond the fences surrounding the garden, Peekay notices plants of a wilder nature-quince, guava, orange, lemon, avocado, poinsettia, and aloe. He decides to explore and, before he realizes, he has climbed high up the hill. Compared to the African bush, the rose garden looks â€Å"tizzy and sentimental as a painting on a chocolate box. † He surveys the town of Barberton from above, and then joins his Granpa in the rose garden.When he asks where his nanny is, his Granpa slowly puffs on his pipe and tells Peekay a cryptic story about his grandmother, for whom he says Africa was too severe. Then he tells Peekay to ask his mother about nanny. Returning to the house, Peekay is reunited with the twin kitchen maids Dum and Dee, who tell him that Nanny is still alive. They also explain to Peekay that his mother has become a seamstress. When Peekay finally confronts his mother about Nanny, his mother tells him that she returned to Zululand because she refused to remove her â€Å"heathen charms and amulets. Peekay shouts that the Lord is a â€Å"shithead† and runs through the â€Å"Alice in Wonderland tunnels† until he reaches the hill. The eggs of the loneliness birds are crushed into powder inside him and, in a moment, he grows up. Analysis Chapter Eight contrasts the preceding two chapters (which cover Peekay's temporary adventures on the train home) by introducing Peekay and the reader to his new permanent place, Barberton. He has to deal with the prospect of a life with his returned mother and her religious fanaticism. He desperately searches for continuity and finds that his Granpa, Dum, and Dee are his only constants.While Peekay's experiences keep shifting from one backdrop to another, his method of narration is not disrupted, but is conventional and linear. Occasionally, he rem inisces about past events, but generally he moves forward chronologically. You may ask how a six-year-old could think like this. I can only answer that one did. The reader finds continuity in the story itself through the recurring motif of the loneliness birds, whose eggs transform to dust at the conclusion of Chapter Eight. This shift is significant, and Peekay observes that, suddenly, he has grown up.He ends the chapter by addressing the reader directly. He specifically addresses the reader's skepticism. It may seem ironic that at the same moment that Peekay announces his burst into the adult world, he confronts the reader's adult rationality. However, as the novel unfolds, it will become apparent that Peekay possesses a special manner of combining adult logic and rationality with a childlike appreciation for the magic and mystery of the world. The literary allusions to Lewis Carroll's novel Alice in Wonderland highlight this belief in magic.It is no accident that the names of the kitchen maids are â€Å"Dum† and â€Å"Dee,† reminiscent of the Carroll's characters Tweedledum and Tweedledee (Peekay presumably provided these nicknames for them in his youth). Not only does Peekay profess to grow up in this chapter, but for the first time he truly begins to grapple with the concept of â€Å"Africa† and his place in it. With his simile comparing his Granpa's rose garden to a chocolate box picture, Peekay consigns the garden to symbolic status-he sees the cultivated garden as a symbol of Englishness.The epithets he uses to describe the garden- â€Å"tizzy† and â€Å"sentimental†-suggest that he wishes to repudiate this part of his identity and allow himself to be captivated by the wild, untamed African land. Chapter Nine Summary While Peekay sits on a rock on the hillside, surveying Barberton, a very tall and thin man with a camera introduces himself as Professor von Vollensteen. He tells Peekay that he could not resist taking a photograph of him as he sat on the rock. He asks for Peekay's permission to call it â€Å"Boy on a Rock. † Peekay notices that the professor is carrying a cactus in his canvas backsack.He asks why the cactus is not pricking the professor, and the old man promises to reveal the secret. He takes the cactus from his bag and introduces it to Peekay as â€Å"Euphorbia grandicornis†¦ a very shy cactus. † He shows Peekay that his backsack is made of leather, protecting his back from the cactus' prickles. Peekay says that he could have worked that out for himself, and the professor calls him a â€Å"schmarty pants. † He asks Peekay whether he knows what a professor is, and Peekay has to admit that he does not know. Suddenly the professor notices a rare aloe under the sock on which Peekay is sitting, and yelps â€Å"Wunderbar! Peekay reminds him that he has not yet explained the word â€Å"professor. † The man replies, â€Å"‘A professor is a person w ho drinks too much whisky and once plays goot Beethoven. ‘† Then he tells Peekay that he can call him â€Å"Doc† instead of â€Å"Professor. † Doc and Peekay part ways and Peekay returns home, to a dismal Dum and Dee. Cowering, they tell him that his mother wants to see him. Peekay does not feel scared-his mother does not realize that he is a â€Å"veteran of interrogation and punishment. † Peekay's mother makes him apologize to her, then breaks down into tears of self-pity.At this, Peekay feels relieved because he is more accustomed to this side of his mother. He tells her to lie down, and brings her some tea and an Aspro. Two days later, Peekay sits watching army trucks filled with soldiers passing by the house when Doc arrives. Doc greets Peekay warmly and says that he wishes to speak to his mother-he has brought an aloe and the photograph of Peekay as presents for her. Doc discovers, to his horror, that Doc is a German. Doc tells Peekay's mother that he believes her son is a genius and he wishes to give him music lessons. At first she resists, since she does not accept charity from anyone.Doc eventually convinces her by saying that in return for the lessons he requires Peekay to work for him, collecting cacti. Peekay's mother now agrees- having a son trained in classical music will be a status symbol for her, a â€Å"social equalizer. â€Å"The summer months pass and Peekay spends the majority of his time with Doc, roaming the Barberton â€Å"kloofs† (cliffs) collecting cacti. Doc teaches Peekay â€Å"the priceless lesson of identification. † He teaches Peekay how to observe, how to listen to himself, and how to use his brain for both original thought and as a â€Å"reference library† for storing information.Doc supplements Peekay's outdoors education with morning piano lessons, and frequent trips to the Barberton library, run by Mrs. Boxall. Peekay soon realizes that he is competent but not a gifted musician. His mother, however, is delighted when Peekay stuns all the Barberton citizens at the bi-annual cultural concert by playing Chopin. The Afrikaners leave the concert when all the English people begin singing â€Å"White Cliffs of Dover. † Peekay explains the close relationship between the Boers and the Germans, who gave the Boers assistance during the Boer War. AnalysisDoc, or Professor von Vollensteen, helps Peekay to counter generalizations about Germans. Peekay is at first shocked since he associates all Germans with Hitler's Nazi party. Chapter Nine shows some stylistic deviations from previous chapters by Peekay's deviations into historical descriptions. At the conclusion of the chapter, he provides the reader with a lengthy description of the close relationship that developed between the Germans and the Boers during the Boer War. In such a way, he undertakes to educate the reader-he does not make allusions to historical events; he explains them.This results in the novel being self-contained—one does not have to undertake much external research in order to understand its context. Perhaps the author is suggesting that the very notion of history and historical recording is at stake in this time period. History cannot be taken for granted, and history text books cannot be trusted. By taking Peekay under his tutelage, Doc becomes the next of Peekay's string of mentors. Doc's character introduces a couple of new vocabulary sets into the novel-that of Latin cacti names, and that of his quirky half-German half- invented dialect.He uses nonsense terms such as â€Å"absoloodle,† and German exclamations such as â€Å"wunderbar. † Doc is a caricatured character (he occupies the space of a kind of fairy godfather), who becomes a foil to Peekay's Granpa-the latter confines himself to the preened, meted world of his rose garden, while the former exposes himself to the dangerous, exciting life of cacti and aloes. Although Peekay now has his mother and Granpa with him, there exists a glaring absence of anyone playing a truly parental role in his life.Doc fills this role. Instead of caring for her son, Peekay's mother neglects him in favor of the Lord, and Peekay in fact plays the role of parent to her. Peekay subtly underscores his mother's hypocrisy-while subscribing to the Lord as the only avatar of morality and modesty, she enjoys the status that Peekay's skill at classical piano affords her. Chapter Nine demonstrates a distinct method in Peekay's narrative style: he begins to provide the reader with recaps, or summaries, of events that have already happened.For example, he recapitulates the events of Chapter Eight and the beginning of Chapter Nine as follows: â€Å"The loneliness birds had flown away and I had grown up and made a new friend called Doc and had learned several new things. † The abundance of the coordinating conjunction â€Å"and† stresses Peekay's eagerness to tally these occasio ns-the effect is one of insistence and continuity. The reader can almost hear the tremble in Peekay's voice. The older narrator-Peekay reminds the reader that the younger Peekay has to hold on to the constants in his life-even the loneliness birds have become a constant.The reader senses Peekay's need to impart his life story-it is not a self- aggrandizing process, but a way in which he can circumscribe the uncertainties of his past. Indeed, the chapter concludes with the adult Peekay foreshadowing the loss of Doc from his life. Chapter Ten Summary Peekay skips two classes at the local school. Doc has convinced him that he should drop his camouflage and reveal his intelligence. Doc is Peekay's true teacher. When around Doc, Peekay says that his brain is constantly â€Å"hungry. † As in the summer months, Peekay arrives shortly after dawn each day for his music lesson with Doc.Doc's eyes are often bloodshot and he tells Peekay that the â€Å"wolves were howling† in his head the previous night-his euphemism for being drunk. Doc's Johnny Walker whisky bottles border the path in Doc's cactus garden. One Saturday afternoon in January 1941, Doc and Peekay are working in the garden when Peekay notices a military police van draw up. An officer and a sergeant emerge and, smoking cigarettes, they wait for Doc and Peekay to approach. Then the sergeant arrests Doc under the Aliens Act of 1939. Doc does not resist but instead sadly tells Peekay that he now must care for the cactus garden.Then Doc asks permission to shave and make a change of clothing before leaving for Barberton prison. Peekay brings jugs of water for Doc to wash. Peekay helps Doc to pack, and slips a half-bottle of Johnny Walker into Doc's bag. The sergeant finds the whisky in the bag and wants to share it with Doc, but Doc refuses to drink. The sergeant drinks part of the whisky then pours the rest onto Doc's beloved Steinway piano. Doc smacks the sergeant's wrist with his walking stick, an d the sergeant calls him a â€Å"fucking Nazi bastard† and a â€Å"child fucker. † Doc, however, is already walking towards the military van.The sergeant runs after him and handcuffs him, then kicks Doc's legs so that he collapses onto his knees. Peekay runs after Doc, screaming, and tries to throw his arms around Doc's legs. As he leaps, the sergeant's kick intended for Doc's ribcage connects with Peekay's face and knocks him unconscious. Peekay regains consciousness in Barberton hospital, terribly worried about Doc. The boy's jaw has been broken, making it impossible for him to speak. A fifteen- year-old nurse with acne, Marie, looks after Peekay and calls him her â€Å"skattebol† (fluffball).She tells Peekay that he has become a town hero for trying to restrain a â€Å"German spy. † Peekay's mother and Pastor Mulvery visit him often, and continue their attempts to proselytize him. Peekay remembers Doc's version of God-a force too busy training bees to fuss with silly humans. Peekay's mother calls Doc an â€Å"evil man† who attempted to kill him. Peekay fumes with frustration-he is the only one who knows the truth but he is unable to speak up to defend Doc. He writes to Mrs. Boxall asking her to visit him as soon as possible. Marie eventually agrees to convey the letter on Peekay's behalf. While waiting for Mrs.Boxall, Peekay writes a long letter explaining the details of Doc's arrest. Mrs. Boxall expresses delight at Peekay's testimony and exclaims that it has arrived just in time-the military court is about to put Doc on trial. She shows Peekay the front page of their local newspaper, The Goldfields News. The picture Doc took of Peekay on the rock is headlined with the words â€Å"THE BOY HE TRIED TO KILL! â€Å"Peekay receives a letter from Mrs. Boxall–she has shown his testimony to Mr. Andrews, the lawyer, but he has said that the piece is so sophisticated that no one will believe that a seven-year-old wrote it .Marie, the only person who can understand Peekay's garble through his broken jaw, is thus commissioned to be his interpreter. Peekay, Marie, Mrs. Boxall, and Mr. Andrews arrive at the magistrate Colonel de Villiers' office. Marie takes a while to find her voice, but Peekay manages to prove that he wrote the statement by writing down the names of various Latin succulents. They win the case, but Doc has to remain in prison since he did not register as a foreign alien when he arrived in South Africa fifteen years previously. Peekay visits Doc in prison and meets Klipkop (Johannes Oudendaal) and Lieutenant Smit.Klipkop tells Peekay that he is a boxer, and Peekay begs him to give him lessons. He tells Klipkop he has to become the welterweight champion of the world. Klipkop says that he is too young-the youngest trainee in their boxing prison squad is ten years old. Peekay watches as Klipkop brutally beats one of the black prison servants, accusing him of stealing some biscuits. Smit wat ches quietly, then tells Klipkop afterwards that he was the one who ate the biscuits. The men take Peekay to meet Kommandant van Zyl, who tells Peekay to inform Mrs.Boxall of a surprise he has for the townspeople the following Monday, in the town square. Peekay asks the kommandant if he can box with their squad. Smit is furious with Peekay afterwards. However, Peekay has realized that Jackhammer Smit is Lieutenant Smit's brother. When he refers to the Gravelotte fight, Smit's eyes begin to shine and he accepts Peekay into the squad. Peekay is forbidden from boxing for two years–he may only do technique training. Eventually Peekay gets to see Doc. Doc tells Peekay the â€Å"surprise† on Monday is a very stupid thing.He tells Peekay to meet him in his cactus garden at noon that day, and to find Beethoven's Symphony Number Five in his piano stool, as well as what is above the sheet music (his whisky). Mrs. Boxall becomes very excited when Peekay relays this news to herâ⠂¬â€œshe says Doc is to give a concert. On Monday Smit and Klipkop fetch the Steinway from Doc's house. They introduce Peekay to another warder, Gert Marais. Gert, an Afrikaner who does not speak English, cannot understand Doc and Peekay's conversation. Doc tells Peekay that he does not want to give the concert-he has not performed for sixteen years.However, the prison warders will not allow Peekay to visit him if he refuses. Doc tells Peekay of his musical history-he describes the disastrous concert of 1925 in Berlin where, playing Beethoven's Symphony Number Five, he froze up. As the mayor is introducing Doc in the Barberton town square, a fight breaks out between the English and the Afrikaners. Doc, trembling, takes a swig of whisky and begins to play. The crowd immediately quiets and is captivated by the music. Doc plays beautifully and Peekay has never seen him so happy. AnalysisChapter Ten is one of the novel's longest chapters, taking up almost a tenth of the novel. It carrie s through on Peekay's foreshadowing at the end of Chapter Nine-the loss of Doc and, in a sense, the loss of his childhood. For the first time in his life, at a mere seven years of age, Peekay must confront military and legal institutions-not as a peripheral visitor, but as an eye- witness of Doc's arrest and thus as an insider. Peekay reserves his own critical judgment of the cruel events he experiences (Doc's arrest, Klipkop's brutal treatment of the black prison servant) in order to allow the reader to draw her own conclusions.Peekay takes on the role of objective reporter or observer in these situations. However, he hints that his reserved behavior does not stem from disinterestedness–he realizes that survival in these settings depends on being diplomatic. Neither does the adult narrator withhold critique of the immorality of the prison world-his tone, often earnest, becomes ironic in his descriptions of the prison staff. After describing the office of the kommandant, with its stuffed gemsbok, eland, steenbok, and springbok heads, the narrator illustrates the kommandant himself, who claims to love wild animals.The narrator's precise descriptions–including, for example, the names of all the different kinds of buck on the kommandant's walls–stress the effect Doc has had on Peekay. Doc has taught Peekay how to observe, analyze, record. These skills will be vital to Peekay's success and survival throughout the novel. There are other reasons why it is sensible for the narrator to unleash his criticism of the harsh, racist behavior in South Africa in a subtle, rather than direct manner. Firstly, The Power of One was written at a time when apartheid was still alive in South Africa.The author himself has to take a diplomatic tone. Secondly, the author does not wish readers to see the South African struggle as one between good and evil forces – he paints the prison staff as humans, not monsters. They have redeeming qualities. Klipkop, Lie utenant Smit, and Kommandant van Zyl are all extremely kind to Peekay. The officers who arrest Doc take a moment to have a cigarette. It is a human moment before their violent treatment of Doc. Moreover, Doc's ability to halt the brawling in the town square, with his beautiful rendition of Beethoven, suggests the triumph of our shared humanity.The chapter ends on an optimistic note when it intimates that a universal spirit holds us all together in spite of our myriad differences. This tone of optimism emerges as the novel's distinguishing tone. In spite of Peekay's portrayal of crude or violent behavior, his faith in the notion of â€Å"the power of one† lingers. Chapter Eleven Summary Dee and Dum wake Peekay every morning with coffee and a rusk (a hard biscuit) and he heads to the prison for boxing lessons and then his piano lesson with Doc. The prison staff allows these lessons to proceed since they enjoy the social status afforded by having two classical musicians in their midst.Doc does not understand Peekay's need to box, but he assists Peekay with â€Å"musical analogies. † He says that in music, as in boxing, exercises make up one's foundation. Peekay's visits are so constant that he becomes part of the prison â€Å"shadow world. â€Å"Peekay becomes friends with Gert Marais, the Afrikaans warder. Gert fixes the boxing speedball so that it is low enough for Peekay

Mary Shelleys Frankenstein (1818 version) Free Essay Example, 1000 words

Broadly speaking, ghost resides within each and every human heart. Throughout the novel, one finds the desperate struggle, mental turmoil of the author to come to terms with the harsh realities of life. She reveals her grit on every tragic turn, to live life in its trials, tribulations, duty and beauty. Her mental poise is like that of a tough swimmer who has reached the turbulent sea-shore to take a bath. Having gone for a sea bath, that swimmer is not afraid of the oncoming waves. He knows the art of swimming (living. ) If the waves are powerful, he will duck; if the waves are friendly he will swim with them and move to his desired goal. The word ‘inspirited’ in the quote is important in relation to the plot of the novel, and it hints at the agonies of Shelly both from secular and spiritual standpoints. Notwithstanding the twists and turns in the story that sustain the interest of the readers, her emphasis and sympathy is mostly to the day to day suffering of an individual on small and big counts. We will write a custom essay sample on Mary Shelley's Frankenstein (1818 version) or any topic specifically for you Only $17.96 $11.86/pageorder now This is evident when Shelly writes, â€Å"Nature overcome by hunger, sunk under the exhaustion, a repast was prepared for me in the desert that restored and inspirited me. †(141)Shelley is a great lover of nature and its varying moods are her perennial source of inspiration. Just like the sun rises in the morning fresh and glows forgetting all the darkness of yesterday—similar is Shelly’s attitude to life. Challenging one such struggle of her life she writes, â€Å"Deprived of this respite, I should have sunk under my hardships. During the day I was sustained and inspirited by the hope of night for in sleep I saw my friends, my life, and my beloved country. †(142)Imagination is not just the role; it is the soul of the text. The flight of her imagination transcends the borders of reason, and it enters of portals of spirituality and bliss. The reason for cynicism perhaps lies in the events that overpowered her in childhood and the rigid social conditions prevailing in the beginning of the nineteenth century. Fed up of the boredoms of everyday life in England, the author with her lover and infant moved to Switzerland. There she had interaction with a small group of young English writers and intellectuals and her literary career in the real sense took concrete shape. Shelly’s flight of imagination is not dangerous; it is benevolent. Look at her expression: â€Å"Now darkà ¢â‚¬ ¦now glittering†¦now reflecting gloom†¦. now lending splendor, where from secret springs. †(176) She enjoys and is amazed at the capacity of Nature to change her moods in so amazing terms and wonders about their source of origin.

The Mythology And Culture Of The Native American Indians

Introduction: All around the world many cultures may find the story of the creation myth, as well as have their own interpretation of it. The Native Americans have rich history and many myths, but the one legend that is common throughout every tribe is the creation myth. The mythology and culture of the Native Americans was influenced strongly by the Creation myth, which was the foundation of many other myths related to various aspects of the natural world. In Native American mythology, Fred Ramen says of the Native American Indians, â€Å"Their creation myths are notable for two reasons: the stories explain how people came to this world from some other, magical place, and they detail a close cooperation between animals and humans† (19).†¦show more content†¦Most entities are known for seeding this planet in which are environment is experienced by the magic illusion of time and emotion. â€Å"A myth is symbolic narrative, usually of unknown origin and at least partl y traditional, that ostensibly relates actual events and that is especially associated with religious belief. It is distinguished from symbolic behavior and symbolic places or objects† (â€Å"Mythology,† par. 3). â€Å"All mythology has a basis in the creational myths of each culture, representing by the duality of our reality† (â€Å"Mythology,† par. 2). The myths of every culture are reflected in different stories but all the stories have the same creational force. This meaning the interpretation of a myth may be different but they are all based on the same idea. â€Å"The Myth of Creation is the symbolic narrative of the beginning of the world as understood by a particular community† (Britannica Encyclopedia). The term myth pertains to the imaginative expression in narrative form of what is experienced as basic reality and the term creation pertains to the beginning of things. The cornerstone to the Native American Indians cultures is their creat ions myths. Looking closely into one specific tribe from both the earth diver and emergence myths, the earth diver creation myth is found through the Cherokee Indian tribe and the emergence creation myth is found through the Navajo Indian tribe. Earth

Decolonization The Wretched Of The Earth - 1283 Words

Decolonization, as one of the most significant movements throughout the twentieth century, has always been debated between the colonizers and colonized under certain historical circumstances. M.K Gandhi, Aimà © Cà ©saire, and Frantz Fanon, as the avant-gardes of decolonization movement, addressed their ideologies on the relationship between European colonists and colonial states, and their views on the process of gaining national freedom. Nevertheless, as Fanon defined in the article â€Å"On Violence† from his book â€Å"The Wretched of the Earth†, decolonization is a historical process which can only be understood and self coherent under certain history background. Hence, since they were in different colonial situations, their perspectives vary. As†¦show more content†¦The states, after the annexation of colonizers, had been turned into barbaric and savage. In addition, he also criticized the capitalism in Europe, saying that the capitalism objectively coll uded with the force of violence and erupted in the colonial states. To some extent, the development of capitalism was like a catalyst, gave the European colonizers incentives to search for colonial states as their market in order to gain profits from. As a mentor of Frantz Fanon on decolonization, Aimà © Cà ©saire had similar views on European civilization and the relationship between colonizers and colonial states. As Cà ©saire described in his work â€Å"Discourse on Colonialism†, the so-called â€Å"civilization through colonization† simply, on contrary, decivilized the colonizers and the European bourgeoisie civilization was never able to justify itself on these issues. In Cà ©saire’s point of view, â€Å"no one colonizes innocently†¦and no one colonizes with impunity either†. The European bourgeoisie society and European civilization, seeking for their own benefits, allowed the colonialism occur and destroyed the colonial civilization. What the European colonizers gained were profits and free forced labors; while for the natives, what they lost were not only home and land, but also dignity and personality. Just as Cà ©saire portrayed, the relationshipShow MoreRelatedDecolonization : The Wretched Of The Earth 250 )1737 Words   |  7 Pageswho am I? (The Wretched of the Earth 250) For Fanon, therefore, colonialism is fundamentally a violent situation since the stage is set in motion between two kinds of interests--the interest of the colonizer and the interest of the colonized (Gordon 77). As a result, Fanon insists that decolonization entails a violent struggle between two parties since decolonization is the replacing of a certain species of men by another species of men (The Wretched of the Earth 35). In other wordsRead More Violence of Decolonization Essay726 Words   |  3 PagesViolence of Decolonization Frantz Fanon argues the decolonization must always be a violent phenomenon because resisting a colonizing power using only politics will not work. Europeans justified colonization by treating it as gods work. They believed that god wanted then to occupy all lands and spread the word of god to savages of darker skin color. Fanon joined the Algerian Nationalist Movement when the Algeria was being colonized be the French. Many examples of violence written of in TheRead MoreDecolonization Is Always A Violent Event Essay1475 Words   |  6 Pages Decolonization is the undoing of colonialism, where a nation establishes and maintains its domination over dependent territories. In the words of Fanon, in the reading The Wretched of the Earth, â€Å"National liberation, national reawakening, restoration of the na ­tion to the people or Commonwealth, whatever the name used, whatever the latest expression, decolonization is always a violent event.† (Fanon, 1). Frantz Fanon was one of many authors who supported decolonization struggles occurring afterRead MoreThe Psychoanalysts of Violence Essay1208 Words   |  5 Pagesunderstanding of both insightful phenomena. Fanon’s views on violence are it unifies individuals into forming a complex unit organism that works together, rinses, in addition it is presented as an effective and productive mean that support the process of decolonization. In contract, Arendt’s theory detaches the concept of violence from power and emphasizes that the driven reasons for violence i s anti-political. Both philosophers present distinctive theories upon the use of violence; Fanon elucidates his philosophyRead MoreViolence As A Cleansing Force Essay1686 Words   |  7 PagesThe third aspect of the function of violence in decolonization is violence as a cleansing force. For Fanon, in the process of decolonization, violence liberates the consciousness of the oppressed people by erasing their inferiority complex: At the level of individuals, violence is a cleansing force. It frees the native from his inferiority complex and from his despair and inaction; it makes him fearless and restores his self-respect. [. . .] When the people have taken violent part in the nationalRead MorePolitical Representation Of Political Violence1337 Words   |  6 Pagesis a disputable matter. To decipher the problematic rationale of using violence, one will briefly outline two main contending stances that are advocated by Frantz Fanon and Mahatma Gandhi. While the former preaches violence as the solution for decolonization, the latter adopts nonviolence as the best way to freedom and liberation. Gandhi s philosophy of nonviolence is deeply rooted in the Christian belief in forgiveness and love, and in the tenets of Jainism and Buddhism. For him, JesusRead MoreComparing Frantz Fanon And Mahatma Gandhi1333 Words   |  6 PagesDanielle Patton Final Paper History 1500 to Present December 4th, 2014 When you look back through time at the history of decolonization, there are many names that come to mind, but two that should be focused on are Frantz Fanon and Mahatma Gandhi. Both of these men were strong advocates for anti-colonialism and nationalism. Their attitudes can be described by this quote from Frantz Fanon who said, â€Å"what matters is not to know the world but to change it.† They may have been active during differentRead MoreThe Communist Manifesto, By Karl Marx And Friedrich Engels1000 Words   |  4 PagesManifesto and Frantz Fanon who wrote The Wretched of the Earth argued that the use of violence is always present and unavoidable. In the book Colonial Voices, the first chapter on Fanon: â€Å"Concerning Violence† can be seeing how the author went in detail about the point that he was trying to establish: â€Å"decolonization is always a violent process†. He started by giving his definition of decolonization and the possible outcomes that this had. According to Fanon, decolonization can be explained as the substitutionRead MoreWhy did Fanon Argue for a Violent Struggle Against Colonialism?1851 Words   |  8 PagesIn the second half of the twentieth century, started a process of decolonization, first in Asia and then in Africa. In 1949, India was one of the first country to gain its independence, followed by Burma, Malaysia, and Ceylon. In Africa the decolonization started a few years later, first in Libya and Egypt, and in the rest of the continent afterwards. The main colonists were the Great Britain and France. The history has shown that Great Britain succeeded to decolonize generally in peace while FranceRead MoreAccording To Edward Said, â€Å"There Has Been No Major Revolution1417 Words   |  6 Pageshumanity. Speaking of humanity, according to Bogues, a call for a new human was one of the central questions that the black radical intellectuals raised. He also stated how this call was expressed in both Cà © saire’s writings and Fanon’s book Wretched of the Earth.   Meanwhile, they constantly remain engaged in public conversation and discussion. One term that most black intellectuals have been noted to relate to is Praxis, which can be described as taking theory and putting it into practice. However

True Beauty free essay sample

Most people would perceive beauty as something that attracts the eye. Peoples mind shine at the thought of fair white skin, flawless face and skin, shiny hair, perfectly shaped eyebrows and, etc. They read every magazine that basically tells them to morph themselves into perfect human beings, magazines that tell them to lose weight, to attain a fair skin and basically to acquire impeccability. Truth is society tells us their definition of beauty and we being vulnerable, as to yearning to fit in, comply with what they tell us to do, in hopes to live up to the kind of beauty, they believe to be. So, we can be accepted, get more attention and, be loved by everyone. We were all created differently and uniquely. We are who we are, we dont have to change just because some people dont like something or a part of us. The thing is, thats what makes us who we are. We will write a custom essay sample on True Beauty or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page If we happen to have dark skin, if we happen to be fat, if we happen to have hairy skin, then that defines us, who we are on the OUTSIDE. If they dont like it, it doesnt mean that you have to, too. We cannot live our lives trying to become something else, attaining to be the person they want you to be and endeavoring to live up to their ideal of beauty. If we do with what they tell us to do we will never be happy because you know what? Were always going to try to live up to their expectations, theyre always going to want more and expect more and, then eventually we see ourselves wanting the same thing. In order to please everyone, be complimented by everybody, and be accepted for changing ourselves. We dont have to become the person we arent created to be, we just have to accept who we are, what we are fabricated to be. Because if you see yourself as who you are, if you are contented with what God gave you, and if you accept yourself flaws and all, it shows and it radiates on the outside and, thats true beauty. Embrace your flaws. Love yourself. Dont try to fit in. Stop changing yourself because beauty fades but, acceptance stays. True beauty is who you are and what you are created to be. So, live it and accept it.

Is Silas Marner a Moral Tale Essay Example

Is Silas Marner a Moral Tale Paper A moral tale is a recalled story with a deeper, meaningful lesson to be learned hidden in it. The earliest moral tales probably originate from the Bible. One such moral tale in it was about a shepherd who had one hundred sheep. But when a lamb strayed away, the shepherd left his flock of ninety-nine and looked for that one lost sheep. When he found the lamb, he took it back to the flock. And the moral of this tale? Everyone is just as worthy/valuable as everyone else. Many of these moral tales appear in other books as well. One common trait in many moral tales, is that they are quite simple, or at least the moral part normally is. And the moral within the story is easy to spot. It is a lesson on how to treat others/ or how to behave or act. The setting and atmosphere at the beginning of Silas Marner is the simple village, Lantern Yard. You get the impression that Lantern Yard is a very religious village, and has minimal contact with the outside world and new technology. They arent greedy, nor is food as plentiful as in Raveloe. In the first paragraph, Silas Marner, and weavers in general, are described as near aliens, and the craft they are skilled at, couldnt be carried on entirely without the help of the Evil One the evil one being the devil. We will write a custom essay sample on Is Silas Marner a Moral Tale specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Is Silas Marner a Moral Tale specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Is Silas Marner a Moral Tale specifically for you FOR ONLY $16.38 $13.9/page Hire Writer George Eliot is trying to make the point in the first few lines of Silas Marner, that people judge people and things that they dont understand. And you get the feeling that the residents of Lantern Yard are almost primitive, in the sense that they dont even understand the simple craft of weaving. The name, Lantern Yard, also has a meaning. The yard in Lantern Yard, gives you the sense that the village is enclosed and lantern being warm and homely. Silas Marner is first introduced in the book as a mysterious weaver living in a stone cottage by a stone pit in Raveloe. But the description of the noise from the loom, so unlike the natural cheerful trotting of the winnowing-machine or the simpler rhythm of the flail, gives the feeling that he was perceived as unknown to Raveloe. He is described as someone obsessed with his work, and his large brown protuberant eyes in Silas Marners pale face really saw nothing very distinctly that was not close to them although the Raveloe kids believed he could dart cramp, or rickets, or a wry mouth with a single stare. And because of this description, he must look very daunting and almost spooky and frightful. I believe some of George Eliots life mirror themselves in this book in an abstract form. Parts in the book about Silas Marner losing faith. She also lost her faith (George Eliot=Mary Ann Evans) and maybe she is putting her point across in this book. In previous books, namely The Mill on The Floss, she added many of her own experiences, and I believe she has done the same in Silas Marner. In the way that he is treated in Raveloe and Lantern Yard. For instance in Raveloe, he is ignored and silenced from social events, and the same happened to Mary Ann Evans after she ran off with the already-married George Henry Lewes. And in Lantern Yard, Silas is judged by the parishioners and friends, the same as Mary Ann Evans was. After the introductions to Raveloe and Silas Marner himself, it is revealed why Silas was forced to leave Lantern Yard and how he came to live in Raveloe. And there is a moral question in lantern Yard that a man should be judged by a kind of pulling straws method. I think in this way, Mary Ann Evans, is trying to put a point across, that you cannot judge anyone with hocus-pocus as it were. Because you know that Marner is innocent, yet he is dealt with injustice, and I think she may also be hitting out at believers in God. When he is falsely accused and judged at Lantern Yard, all that he believes in, his main object in life is shattered, and the only thing he can do and wants to do is isolate himself from people, the rest of this new world called Raveloe and God, who he believes has betrayed him. Maybe she believes that whether you believe in Him or not, you are still accused and judged, good or bad, innocent or guilty. The contrasts play a major part in Silas Marner. Lantern Yard is a very religious village, and the church plays a major part within the village. The village itself is very isolated from the outside world and new technology. Food is not as in much excess as it is in Raveloe, because unlike Lantern Yard, orchards looking lazy with neglected plenty; the large church in the wide courtyard, which men gazed at lounging at their own doors in service time . And this extract, is pointing out the contrasts between Lantern Yard and Raveloe. In Raveloe, food is plentiful, and orchards with apple trees in them, stand full of ripe fruit, yet the apples are not taken from the tree, because there is so much food, that they are not needed. But this is not the case in Lantern Yard, where they have to take in as much food as possible, as food cannot be wasted there, for there isnt enough to be wasted. And then it describes men, lounging at their own front doors, but in Lantern Yard, it was a different story, and the villagers of lantern yard would be eager to go to church, but in Raveloe, there is no need for all that, and not many people do go to church in Raveloe, yet you would of thought they would have more to be grateful for, and I think that is what Mary Ann Evans is trying to put across. I believe she is trying to say that whether you worship God or not, and go to church regularly, it doesnt matter. you still maybe poor or hungry, and going to church and worshipping God would not change that. So if Silas Marner is a moral tale, it is going against everything the Victorians believed in. And that if you dont believe in God, you can still be well off with plenty of food on the table. When Silas was exiled from Lantern Yard, the reason he does not go to church in Raveloe, is not only because he wishes to be isolated, it may also be the connection to Lantern Yard and God. In Lantern Yard, they are not as well off , and need to work harder for their food. But in Raveloe, there is a sharp contrast. Raveloe is a secular town, and the church plays a minor role in the town and its residents. There is also plenty of food, there were several chiefs in Raveloe who could farm badly quite at their ease, drawing enough money in those war times, to live in a rollicking fashion, and keep a jolly Christmas, Whitsun and Eastertide, meaning Raveloe was a thriving economy, where you didnt have to work hard to make a good bit of money, and that everyone was well off and well fed too. In the second chapter, The Groove Made by Fifteen Years in Raveloe, the mood is set that Silas is unhinged from his old-faith, and the past becomes dreamy because its symbols have all vanished, and the present too is dreamy because it is linked with no memories. What Mary Ann Evans is trying to say is that when you are in a new space, a new environment, everything becomes blurred, and dreamy, because you do not know this place and have no memories of it. And that memories are what make a place, for example, home is not home, unless you have memories of that place, and you know people there. But for Silas, Raveloe is like a new world, and it is all dreamy to him, because he has no memories of that place. The towns people in Raveloe, because they dont understand him, do not trust him either and keep their distance. Silas after his exile from Lantern Yard, doesnt trust God or people and they do not trust him back. He rarely leaves his cottage, except to get essentials, and doesnt talk to anyone. So they think he is a bit mysterious, and therefore dont trust him. His first movement after the shock had been to work in his loom; and he went on with this unremittingly, never asking himself why, now he was come to Raveloe, and this extract, tells us Silas reaction to moving into Raveloe, and his instinct almost tells him to work. But at first, he doesnt care for the money, only to work: but it was pleasant to him to feel them in his palm, the five gold guineas he held. And this is when his motives for weaving change, from an instinct, too a greed for gold. But it doesnt start of as greed, at first it is a fascination, because in Lantern Yard, he probably would never have seen this much money before. And it was another element of life, like the weaving and the satisfaction of hunger and this gives us an insight, that Silas loves his weaving as much as satisfying a hunger, and he now has this new element of life, and that is gold. There is a lot of moral comment through each character. And they all get their just deserts in the end. Many are either punished, or rewarded, and that is why I think this book is a moral tale, but a very complex one with more than one message. For instance, Dunstan, Godfreys brother, is really hated in Raveloe because he is rude, dishonest, and disrespectful to them. Then he does the worst, and steals Silas Marners gold, and the description of Dunstan when he stepped forward into the darkness has a double meaning. One, it is a descriptive sentence, and it describes how dark it is, and him stepping into that darkness. The second, is an abstract account, of Dunstan doing something much worse than he ever has before, and stepping forward to a new evil. And the moral message in Dunstans story, is that the truth will always come out, because at the end of Silas Marner it is discovered that Dunstan has drowned, and silas money is returned to him; but because of his new love in Eppie, it cannot hold him like it did before. Another character with a moral comment within him is Dunstans brother, Godfrey Cass, who lies for many years about a secret marriage he has with a drug-addict, and who is a victim to the demon opium and a secret child to that wife. That child later becomes Eppie, and while Godfreys wife goes to see him and tell the truth to his family and friends, she dies in the snow where she does not feel the bed was cold, and this two has another meaning, that she was cold and heartless. While her child wanders into Silas house, and he believes it to be a present from God. But when Godfrey learns of his wifes death, he is pleased, and wishes to propose to Nancy Lammeter, and care for his child. But he cannot bring himself to tell the truth to his wife, and so keeps it from her, and lets Silas Marner look after her instead. But sixteen years later, Godfrey tells Nancy all about Eppie, and she says to Godfrey, Godfrey, if you had but told me this six years ago, we could have done some of our duty by the child. Do you think Id have refused to take her in, if Id known she was yours? And you feel great sympathy for Godfrey, for if he had told Nancy all that time ago, he may now be the father of Eppie. They do go to Silas but she has known only Silas to be her father, and stays with him. He is almost, the tragic hero of the story, but for one secret, one lie, he been punished for the rest of his life. But Eppie does bring happiness to Silas, who, after losing his gold, falls into a sort of numbness, but when he finds Eppie on the floor, in her golden hair and his short eyesight, he sees his gold. And this is symbolism, because he sees the only thing he had loved in Raveloe, in this little girl, and a new, warmer love starts to fill him. So in Silas story, he gets what he deserves, happiness. He was a good man, who was unfortunately thrown out of Lantern Yard, but he finally found happiness in Eppie. Nancy, was just unfortunate to get caught up in it all. A sort of innocence almost, and she shares her sorrow with Godfrey. When Eppie does come to Silas, it is like a message from God. For all these years, he had been exiled from Lantern Yard, and no friends, relatives, or just people he knew in Raveloe. But when Eppie comes, it is redemption and forgiveness from God. Eppie is innocence from an evil background. A background of her mother and opium. In the end, the truth is always revealed, and I think this is the main moral in Silas Marner. The truth about Godfrey being Eppies father and about Dunstan stealing Silas money. When Nancy and Godfrey, tell Eppie if she comes with them she can become a proper lady, but Eppie doesnt want this. She has realized she does not need riches and money to be happy and loved, all because of Silas. This is almost Godfreys punishment, if he had told the truth, he could have had Nancy and Eppie, but because he didnt, he paid the price of not being Eppies father. Dunstan dies in a river, and after taking the choice of stepping forward into the darkness, he is punished for it, he steals money, and for what? He doesnt get a chance to spend it, a chance to be evil. Near the end when Eppie marries Aaron, they are happy, yet do not have much money. And I believe what the author is trying to tell us is that you dont need great amounts of wealth and money, in the case of Eppie and Silas. Silas found love and happiness in Eppie even though he had lost his money, and Eppie and Aaron found love in each other, without having much money and riches. Their garden is a symbol of their simple happiness, and I think the author has put this in deliberately. And to say that you only need a simple life to have simple pleasures, and this is the same with Silas. I do think Silas Marner is a moral tale. But not just about the way we behave. I think it is trying to tell us that we dont need great wealth to be happy, that happiness cannot be bought with money, and this moral is repeated in Silas and Eppies stories. Also, that the truth always comes out sometime, and you cant keep a secret or lie forever. Dunstans secret about him stealing the money comes out in the end, it takes sixteen years for the truth to come out but it does come out, and I think that is what the author has tried to emphasis; it may take a while, but the truth does come out eventually. I think a very old moral also appears, treat your neighbor has you would like to be treated and I think this is the case with Silas and Dunstan. They both either disrespect people, or try to isolate themselves from them, and they both got the same treatment back. But Dunstan, among other things was just disrespectful, and he was punished for that. Silas though, he did have an almost plausible reason for his actions, and at least he never did any wrong. I think what the main moral within the book that the author is trying to get across is to try to be kind, honest, truthful, and respectful, and the same will happen to you. And I think this story has come from many of the authors own imagination, but also from her own experiences with religion, society, and also social life and differences.