The Day Of The Dead In Mexico

The Day Of The Dead In Mexico Every Mexican is closely acquainted with death, jokes about it, caresses for it, sleeps with it, celebrates it, said the Mexican poet Octavio Paz (Kuhn. 2006). Day of the Dead (Spanish: Dà ­a de los Muertos) is a holiday, festival which is dedicated to the memory of the dead people, and is held on the 1st -2nd of November in Mexico. There is a belief that the souls of dead people come to their relatives` homes these days (Williams, 1998). The origin of the holiday goes back to the tribes of Maya, Purà ©pech, Naun and Totonac. These people had been praising the dead during more than 3 thousand of years. The Aztecs considered that the death was more important than the life. The life was worth of nothing, and they believed that leaving, a man was going through the nine lower worlds in Miktlan, which is the shelter of the dead people. No matter how people lived, it is important how they were dying; it influenced their fate in the netherworld. It is also said that the Day of the Dead was brought to Mexico by Spanish people. But the Catholic Church is not able to eradicate pagan holidays till the end. Day of the Dead is a dangerous mix of Christian traditions of the conquerors and the ancient Aztec customs. Talking about the history of this holiday, it is necessary to mention that the life for the inhabitants of ancient Mexico was just a moment. Death was waking dreams in the present, in order to enter the world of the dead and appear in front of the other gods, depending on the type of case, which took away their lives. Those who have been sacrificed or died in a result of the war, went to the sun after death, the same fate awaited the women who died, giving life to the child. Those who have drowned found themselves in paradise (Smith, 2005). The souls of the dead children were regarded as precious, thats why they stayed in the house; the soul that was not chosen by God was left in the underworld. In order to help souls to travel from this world into the world of the dead, without delay, people who died were buried or burned, along with things, food, a dog as a companion and water for the road. In the sixteenth century, when the conquest and colonization began, the widespread dissemination of the Catholic religion also started. People were afraid of death and hell that time. But in the eighteenth century, two types of attitude toward death were intertwined in a single cult. Skeletons and bones appeared again, but with a festive and the comic mood, in addition, the Catholic symbols appeared in the local crafts and foods. Now it is a popular holiday, which involves all segments of society. It is believed, the souls of the dead people return to the world of alive in order once again to see their families for two days. Houses in these days look like the crypts, but the graves are decorated with flowers and ribbons, and all the relatives and friends come to honor the memory of dead people. And in order their souls which are returning to earth in the form of butterflies or hummingbirds dont get lost, candles are lit everywhere, pointing them the way home (Verti, 1993). The holiday gathers the friends and family together in order to remember and pray for those have already died. The cult of the dead was very important for Indian tribes, which are why nowadays ceremonies, rituals and traditions come from that time. One of the mysteries of the holiday is the altar, which is traditionally built on October 31. The Aztecs believed that the dead are returning home in order to take the necessary things for the journey to the world of the dead: el Mictlon. Now to build the altar is an unusual way to show the deceased relatives, friends, that they are remembered and loved. Each component of the altar has a special meaning. The altar stands on a table covered with an embroidered cloth. The most important component is the bread which has the shape of the human body and has the name of the deceased. The bread is surrounded by orange flowers of calendula, symbolizing the sadness. Candles should be burning around the altar (each of them gets the name of the deceased). In some homes the road from the entrance door to the altar is sprinkled with petals of calendula, in order the deceased not to get lost. On the 1st of November Mexicans go out, meet friends, and then have dinner at home, telling funny stories. Usual altar, which Mexicans have on The Day of Dead has such things as: calaveras, fruit, nuts, candles, bread of dead, alcohol, cigarettes, papel picada (perforated paper) and a lot of petals of flowers (Conklin, 2001). And on the 2nd of November people bring rice with milk, sweets, tequila, cigarettes and coffee to altar. The bottom of the altar is decorated with pumpkins and rolls of various shapes and colors. Sometimes the part of the altar, is carried to the grave of the deceasedà ¢Ã¢â€š ¬Ã‚ ¦ decorating tracks of cemetery with candles. In those days, people treat each other on behalf of the deceased, in the hope that in the future the deceased will help in a difficult moment. The first day of the holiday is called Dà ­a de los Angelitos (Day of angels) and is dedicated to the commemoration of little children. For adults is meant to be the second day; which is in fact, the Day of the Dead. All major events and celebrations are on the second day. It is the day when street marches, especially in small towns and villages are arranged. The way of the celebration can be very different: in some areas of the country the residents organize sad solemn torch procession, the type of funeral, while others prefer the burlesque fun, bright colors, dances and songs. Usually people dress up as skeletons and at night the whole country under the light of torches rushes to the graves of relatives, taking traditional tequila, favorite food of the deceased and sugar skulls with the names of dead people on forehead. In the night, it looks like a fiery river flows in the direction of the cemetery. At cemeteries people drink, eat, and dance (Greenleigh, 1998). On the Day of the Dead it is common to write humorous epitaphs and draw caricatures of the deceased. Thus, during the holiday people can buy sugar and chocolate skulls of all sizes, marzipan coffins, skeletons and marmalade in every shop. Women bake cakes and donuts with the pattern of bones, the crosses of the dough, and other decorations for the altar, for the picnic at the cemetery. The Day of the Dead is the most popular holiday in Mexico. Mexicans` attitude to the death is not usual; it is not tragic, but joyous day for meeting with those who were dear for them. It is not a tragic holiday, but triumphant festival, with the colorful costumed procession and the music. This holiday is so significant, unusual, and colorful, that in 2003, it was declared the heritage of mankind by UNESCO (Kuhn, 2006). It is very beautiful and interesting to walk at Mexican cemetery at the Day of Dead. Every grave is a peace of art, which can form an idea about the dead person: whether he was a carpenter, or a watchmakerà ¢Ã¢â€š ¬Ã‚ ¦ There is a small building at every cemetery, which looks like a room with a hole in the ceiling. This is a special place which people use in order to talk to dead people. If someone has something important to tell to the dead people, he can go into this room and whisper his important information. And if the teller is sincere, then he will be always heard by the deceased person. There is a need to say that while celebration, people cook sweets in the form of skulls, make special figurines of dressed female skeletons Katrina (Spanish: La Calavera de la Catrina). In 2004 the students of the National Autonomous University of Mexico, built a wall from 5,667 sugar, chocolate and caramel skulls, which is 2,667 skulls more than the former wall. The wall has become one of the records from the Guinness Book of Records (Brandes, 2006). Mexicans have very specific attitude to death, that is why their holiday Day of the Dead is one of the best and popular holidays in their culture. As famous Mexican poet Octavio Paz wrote: Fearless Mexican doesnt feel confused when death comes, he is ready to move forward it, to teas, tempt it, squeeze it in his arms, lie down with it in bed; it is his favorite toy and the last love. Work Cited Brandes, Stanley. Skulls to the Living, Bread to the Dead. Blackwell Publishing. ISBN 1405152478. 12.15 (2006). pp. 232. Conklin, Paul. Death Takes A Holiday. U.S. Catholic 66 (2001): 38-41. Greenleigh, John., Beimler, Rosalind Rosoff. The days of the dead: Mexicos Festival of Communion with the Departed. (1998). p. 56. Kuhn, John. Making a night of Day of the Dead. Los Angeles Times 18. 10 (2006). Smith, Fiona. Bolivians Honor Skull-Toting Tradition. Associated Press. 11.08 (2005). Verti, Sebastià ¡n. Mexican traditions. (1993). pp. 112-115. Williams, Rick. The Day of the Dead, Halloween, and the Quest for Mexican National Identity. Journal of American Folklore 442 (1998). pp. 359-80.

La Curacion Plena :: Spanish Essays

La Curacion Plena Tres Fuentes Citadas  Ã‚  Ã‚  Ã‚   "Una noche me sentà ­ deprimida y con deseos de suicidio otra vez; sin embargo a pesar de estos sentimientos, tambià ©n de alguna manera sentà ­ una profunda confianza en Dios. No quise que los nià ±os me vieran llorar asà ­ que despuà ©s de acostarles, me encerrà © en el cuarto de baà ±o, me acurruquà © en el suelo, y repetà ­ una y otra vez: "Jesà ºs, confà ­o en Ti". No sà © cuà ¡ntas horas estuve asà ­, pero bien entrada la noche tuve una experiencia que cambià ³ mi vida. Sentà ­ que estaba en la cruz con Jesucristo pero que en lugar de sentir sufrimiento, sentà ­a un amor tan intenso que era capaz de apagar ese dolor. Sentà ­ como Su amor borraba mi pecado y supe entonces que mi curacià ³n era plena. Desde ese momento nunca mà ¡s he vuelto a sentir la desesperacià ³n del aborto, à ºnicamente el amor profundo y el perdà ³n que recibà ­ de Jesucristo. He visto cà ³mo mi vida ha cambiado milagrosamente, cà ³mo he tenido el privilegio de ayudar a infinidad de mujeres y hombres que sufren de las consecuencias del aborto. El amor de Jesucristo no sà ³lo ha transformado mi vida sino tambià ©n la vida de aquellos a los que amo." (Bonopartis) Las consecuencias de un aborto:    MUERTE: "Me siento muerta, muerta, muerta por dentro". "Cuando salà ­ de la clà ­nica, dejà © parte de mi corazà ³n allà ­ tambien". "Me debà ­a haber muerto con el bebà ©". "Siento que quiero morirme por dentro". "Siento que nunca debà ­a haber nacido, y muchas veces quisiera morirme". "Quisiera ser yo la muerta y no mi bebà ©". "Querà ­a morirme con mi hijo". "Cuando te separaron de mi... me quitaron un pedazo de mi alma y de mi corazà ³n que nunca podrà ¡ ser reemplazado". "Parte de mà ­ murià ³ el dà ­a que me separaron de ti". "No querà ­a ir, pero estaba demasiado cansada para pelear, ni siquiera podà ­a pensar. Dejà © de sentir. No era mi verdadero yo ese dà ­a, era otra persona. Ya no sà © dà ³nde està ¡ ese yo mà ­o. Creo que murià ³ ese dà ­a". "Siento que no valgo nada, que quisiera morirme para escapar el dolor y la culpabilidad..." NO PUEDO LAMENTARME/OTROS NO ENTIENDEN: "Sentà ­ que algo andaba mal conmigo por sentirme tan afectada por mi aborto como lo estaba", "Durante largo tiempo no podà ­a hablarle a nadie sobre eso y si lo hacà ­a todos estaban de acuerdo que yo no habà ­a hecho nada malo.

A Feminist Perspective of Othello Essay -- Othello essays

A Feminist Perspective of Othello  Ã‚  Ã‚      Shakespeare’s tragic drama Othello closes the final scene of the last act with the spiritual superiority of the heroine firmly established over that of the hero. This is one of many aspects regarding the feminine perspective on the drama, the subject of this essay. A.C. Bradley, in his book of literary criticism, Shakespearean Tragedy, describes the violence against the heroine as a â€Å"sin against the canons of art†: To some readers, again, parts of Othello appear shocking or even horrible. They think – if I may formulate their objection – that in these parts Shakespeare has sinned against the canons of art, by representing on the stage a violence or brutality the effect of which is unnecessarily painful and rather sensational than tragic. The passages which thus give offence are probably those already referred to – that where Othello strikes Desdemona (IV.i.251), that where he affects to treat her as an inmate of a house of ill-fame (IV.ii), and finally the scene of her death. (174) At the outset of the play only the male perspective is given: Iago persuades the rejected suitor of Desdemona, Roderigo, to accompany him to the home of Brabantio, Desdemona’s father, in the middle of the night. Once there the two awaken the senator with loud shouts about his daughter’s elopement with Othello. In response to the noise and Iago’s vulgar descriptions of Desdemona’s involvement with the general, Brabantio arises from bed. With Roderigo’s help, he gathers a search party to go and find Desdemona and bring her home. The father’s attitude is that life without his Desdemona will be much worse than before: It is too true an evil: gone she is;   Ã‚  Ã‚  Ã‚   And what's to come of my despised... ...espearean Tragedy. New York: Penguin, 1991. Di Yanni, Robert. â€Å"Character Revealed Through Dialogue.† Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Literature. N. p.: Random House, 1986. Gardner, Helen. â€Å"Othello: A Tragedy of Beauty and Fortune.† Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from â€Å"The Noble Moor.† British Academy Lectures, no. 9, 1955. Heilman, Robert B. â€Å"Wit and Witchcraft: an Approach to Othello.† Shakespeare: Modern Essays in Criticism. Ed. Leonard F. Dean. Rev. Ed. Rpt. from The Sewanee Review, LXIV, 1 (Winter 1956), 1-4, 8-10; and Arizona Quarterly (Spring 1956), pp.5-16. Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.

Lucy Honeychurch: Motifs, Themes, Biography, Plot

â€Å"A Room with a View†, by Edward Morgan Forster, presents the story of Lucy Honeychurch, a young woman belonging to English high society. Forster places this young maiden in a state of conflict between the snobbery of her class: the â€Å"suitable and traditional† views and advice offered by various family members and friends, and her true heart’s desire. This conflict â€Å"forces† Lucy Honeychurch to choose between convention and passion and throws her into a state of internal struggle, as she must sift through the elements of her social conditioning and discern them from her true emotions and desires [Ford]. Forster develops and utilizes Lucy’s internal struggle as a means of transforming her from a pretty young woman, to a subtle heroine. Lucy Honeychurch is introduced to the reader as a somewhat pretty young woman, obviously ignorant to the ways of the world, who is being chaperoned by her cousin, Charlotte Bartlett, while vacationing in Italy. Numerous conversations over matters of dress, the acceptability of various pieces of furniture, and other vacations, suggest the snobbish nature of both Lucy and Charlotte. Relevant materials: Maru Themes In fact, matters of convention encompass Lucy’s life until George Emerson’s â€Å"caddish,’ yet passionate, display of affection takes over. Lucy and Charlotte are both very alike because they hold true the values of upper class English society. Lucy constantly struggles with how she is supposed to act, think, or even associate herself with: most conflictingly George Emerson, a railroad worker of the lower class (Ford). Their union is forbidden by Miss Bartlett by telling Lucy that he is a socialist, that she shouldn’t associate herself with him and just overall patronizing George excessively. Charlotte and Lucy also share the same renouncement of words when they are talking to people to seem more polite. At the beginning of the novel, Lucy is feebly trying to fit in with the members of the upper class by living by certain class values and rules of propriety but they all don’t form her with any opinion or route of action. By the end of the novel, she has formed her own thoughts, opinions, and actions and takes full control of her fate and breaks it off with Cecil to marry George, her true love. Lucy also encounters muddles, as pointed out by Mr. Emerson, which she realizes and fixes by the end of the novel. She wasn’t following her own heart and thoughts, but making decisions based on the wants of her social class, not her own. Lucy Honeychurch makes a dramatic transformation throughout the novel form a sweet, naive heroine to a strong, independent woman (Schwarz). In the novel the best representation of class snobbery is Miss Charlotte Bartlett, Lucy’s chaperon in her travels to Italy and Greece. Not only is Miss Bartlett unimaginative and patronizing to the Emerson’s but she is the hindrance to Lucy’s true happiness; being with George Emerson. Lucy is at first naive and dependent on others views for her own at the beginning of the novel. In the opening scene, Lucy and Miss Bartlett meet the Emerson’s who offer them a room with a view. In the text; Forster gives us insight into Miss Bartlett: â€Å"Miss Bartlett, though skilled in the delicacies of conversation, was powerless in the presence of brutality. It was impossible to snub any one so gross. Her face reddened with displeasure. She looked around as not to say, â€Å"Are you all like this? â€Å"(Forster 11). And two little old ladies, who were sitting further up the table, with shawls hanging over the backs of the chairs, looked back, clearly indicating â€Å"We are not; we are genteel†(11). â€Å"Eat your dinner, dear, she said to Lucy, and began to† toy again with the meat that she had once censured. †(6). Lucy replies in this manner to the apparent indifference between Miss Charlotte and the Emersons: â€Å"Lucy mumbled that those seemed very odd people opposite† (6). Furthermore, during the dinner conversation at the pension Miss Bartlett Commands Lucy To: â€Å"Lucy, dearest, let Mr. Beebe eats his dinner. â€Å"(7). This is the first instance of Miss Bartlett’s overbearing dominance of Lucy’s actions, Thoughts, and decisions. Finally, Mrs. Bartlett realizes her obtrusive manner toward Lucy at the end of their trip to Italy and confesses to Lucy, â€Å"I shall never forgive myself. †(89). Lucy then starts to truly find herself when Miss Bartlett starts letting Lucy become independent and pursue her own interests; letting her do what she wants; and think what she wants to think. But class snobbery is apparent all the way throughout the novel particularly by the provincial patronizing of the lower class repeatedly in a multitude of situations. Forster was born into an Anglo-Irish and Welsh middle-class family at 6 Melcombe Place, Dorset Square, London NW1, in a building that no longer exists. He was the only child of Edward Morgan Llewellyn Forster and Alice Clara â€Å"Lily†. His father, an architect, died of tuberculosis on 30 October, 1880. Among Forster's ancestors were members of the Clapham Sect. He inherited a lot of money from his paternal great-aunt Marianne Thornton (daughter of the abolitionist Henry Thornton), who died on 5 November, 1887†(Mcdowell). The money was enough to live on and enabled him to become a writer. Young Edward was raised by his mother, aunts, and governesses. He started writing stories at the young age of six at the Turnbridge high school in Kent County. Then later he started to study philosophy, and literature at Kings College in Cambridge. Then he joined a group called the Cambridge Apostles, devoted to protecting homosexuality and theology of the age. Forster began to become enthralled by the surrounding WWI and the beautiful, aspiring landscape of Europe (McDowell). He drew inspiration for his novel A Room with a View. When he traveled to Italy, Greece, And Rome. Forester would develop a deep love of Mediterranean culture he would grow to love and write about. Forster then traveled to Alexandria, Egypt where he met his first true love, Mohammed el Adia. He became well acquainted with the conflict between the British Taj and the Indian Independence Movement; from which stemmed an award winning book, A Passage to India (Britannica). The author’s tone throughout the novel, A Room with a View is: satirical, humanistic, and very particular in the conflict between the upper class and the lower class. Forster based his book around the passion of Lucy Honeychurch, the main character, and the internal conflict between Lucy and her decisions; in relation to the morals and values of her social class. It reflects snobbish British upper class during this time period and their effrontery to delegate mainstream tourists and Italians below themselves. Forester’s satirical views is portrayed in the title of his chapters where 16-19 are entitled â€Å"Lucy Lies† to† blank† and his chapter titles actually tell the big events of each chapter, in sharp contrast to novels of other eras which used titles to just foreshadow the possible. The title, A Room with a View is portrayed throughout the novel by the relationship between Cecil and Lucy Honeychurch. Lucy views Cecil as a room with no view and in retrospect; Cecil views Lucy as a view without a room (Mcdowell). Devote Love and compassion along with the belief of Georges belief in fate is what drives the plot of the story. Lucy can’t help feel compassion in love with George who sweeps her off her feet time and time again. While, George believes strongly in fate proving arduously stubborn throughout the whole novel, ultimately uniting Lucy and George in the end. An example of both the two main Components of the novel, A Room With A View: class snobbery and the independent transformation of Lucy Honeychurch is when Lucy experiences thinking for her own self and keeping her own secrets making her feel lonely (Literature Notebook). â€Å"After Mr. Eager leaves, Lucy expresses exasperation at the thought of the drive. They discuss the problems of the drive; for one, Miss Lavish has been invited by Mr. Beebe, and Mr. Eager does not like Miss Lavish. So Charlotte resolves that the two men will go with Lucy in the first carriage while Miss Lavish and Charlotte follow in the second carriage (Forster 120). They pick up their mail at the bureau; Lucy has letters from home. Mrs. Vyse, a friend of the family, is in Rome with her son. Lucy suggests going to Rome the next day, but Charlotte reminds Lucy of the country drive, and the two women laugh at Lucy's suggestions. At this point in the novel is the apex where Lucy thus changed by the secret of the murder of the Italian man, feels a new perspective on life, that of her own opinions and thoughts. The concealment of the murder thus drives Lucy toward the transformation of a more independent character. When Mr. Eager rolls onto more class anxiety or class snobbery of passing a rumor about Mr. Emerson murdering his wife, then Lucy takes a stand and defends the Emersons saying that they are nice people who would never do anything of that sort. This is a monumental change in the novel of Lucy forming her own opinions and developing into a strong woman. Forester outlines and enhances the concussive idea of fate, and the background elements that enhance the drama. Before the carriage ride it’s sunny and hot outside; but after when the story reaches the pinnacle and Lucy begins to display her independence and becomes stronger as the thunder storm develops. Forester is using the mood and background of the book to perpetuate the transformation of Lucy Honeychurch. The main characters transformation form delightful to strong and bold matches the presentiment of the mood while riding toward Windy Corner. George Emerson strikes up an argument with Mr. Beebe about what life is based on: fate or coincidence? George takes a standpoint that fate is the controlling influence in life which is portrayed by Forester in the way that George and Lucy seem to magically run into each other after Lucy is told by Miss Bartlett to not associate with the Emerson’s because they are â€Å"Evil. † This first instance is when Lucy comes across two Italians fighting when she is returning from touring the gift shops and is horrified to see an Italian man stabbed in the back over a debt of five schillings (Literature Notebook). She faints and when she wakes up she sees George who caught her when she fainted. Lucy immediately is startled at George being so close to her and makes a frantic escape for home. The second instance of fate bringing Lucy and George together is when Lucy encounters the Emerson’s at the Church. The Emerson’s give Lucy a nice lesson on medieval art and give her some interesting views on life to think about. â€Å"The thing about the universe is that it doesn’t fit,† remarks George which portrays his deep thought, sensitivity, and intelligence (Forster 25). A third instance is when the Italian clergyman leads Lucy to George when they are on the carriage ride to see the beautiful homes and landscape of the countryside. Instead of leading Lucy to Miss Bartlett, like she requested in Italian, He leads her to George Emerson in the field of violet terraces. George turns and sees her and immediately kisses her, caught up in the beauty of the moment. The final instance is when Cecil, Lucy’s supposed suitor, invites the Emerson’s over to the garden party to absolve Lucy’s snobbishness by introducing perspectives of the lower class. Really, Cecil ends up ruining his own planned marriage with Lucy and foils his own happiness (Schwartz). What Forster wants to portray in this novel, is the personalities and opinions of his characters and how your social background can both influence you positively and negatively. He incorporates so many different elements and personas into the story that it leaves the reader to be saturated the feelings and emotions of the characters very strongly. You get a strong feeling of the class snobbery, transformation of Lucy Honeychurch, influence of fate, and a real insight into the opinions of Lucy Honeychurch. Forester brings all of these elements and ties it together with the ongoing transformation of Lucy Honey church form a weak, naive woman to a sophisticated, strong woman. The intense influence of Miss Bartlett finally is broken when Lucy begins to go and explore Italy for herself and starts to have her own thoughts and secrets. Lucy Honeychurch, at first, finds herself constrained by the claustrophic influence of her Guardians, especially Miss Bartlett. However, Lucy takes control of her own fate and finds love with George Emerson, who views her as a â€Å"Room with A View. In Contrast, Cecil views Lucy as a View without a room, or just something to have and look at; like a piece of art (Ford). He tried to manipulate herself and work into a masterpiece, trying to contort her imperfections while George respected her thoughts and opinions and loved her for who she was. Not to mention Cecil’s struggle with any intimacy whatsoever toward Lucy, even a kiss. So, in conclusion Forster incorporates the oblivion of class control over Lucy Honeychurch and the prevalence of Lucy transforming into an independent woman to control her own fate and end up with George Emerson, despite her class opinion of him.

Lord of the Flies-Rules on the Island Essay

We need rules to keep us safe. Also, rules will make it fair and equal for everyone and help us to survive and be rescued. It is really important for us to follow these rules. We need rules on this island to keep us safe until we are rescued. We nearly set the whole island on fire and now the boy with the birthmark is missing! To stop this happening again we will have only one fire only, up on the mountain, for cooking and as a signal. That way no-one will be harmed. Also, don’t wander into the jungle at night. You could get lost and then we all have to come looking for you. Another problem is boys going to the toilet wherever they want. It stinks and it is dirty, especially when you go near the fruit. We could all get sick from it! From now on go near the rocks and the water will wash it away. These are just a few reasons why we must have rules! Rules will ensure that every boy is treated fairly and equally. The conch should be used at all meetings where only the boy with the conch can talk. By doing this there will be no interruptions and everyone will get a fair say. Furthermore, Piggy has been hit and his glasses broken. The idea of the stronger boys taking advantage of the weaker ones is not acceptable. This behaviour is barbaric! Can’t you see? If we continue this there will be fights and arguments and we will fall apart. Without doubt this proves that rules are needed. We need rules or we won’t survive and get rescued. We all need food and shelter to survive. Without food we will starve and without shelter there is no protection from the elements. We must work together so shelter is built and food is caught. In addition, if we don’t follow rules such as keep the fire going we won’t get rescued. We already missed one chance of rescue when Jack left the fire, we won’t miss another! Clearly this shows, it isn’t hard, rules must be followed. You guys have to realise that these rules determine life and death. Rules keep us safe, they ensure everyone is treated fairly, and help us survive and be rescued. It’s up to you to follow these very important rules which must be abided to.

Theology in the Chronicles of Narnia the Lion the Witch and the Wardrobe

RELAMPAGOS, Nicola Liane C. POSADAS, Klarizze FINAL PROJECT: The Chronicles of Narnia The Chronicles of Narnia: The Lion, The Witch and The Wardrobe is the first book in the Chronicles of Narnia series written by CS Lewis. The book series was such a great success that in 2008, the first book was turned into a film. What many people may not realize is that CS Lewis wrote the book series with a specific goal in mind: to showcase the word of God to different parts of the world through an artistic lens. This paper will focus on the theological nature of CS Lewis’ book based film, The Chronicles of Narnia: The Lion, The Witch and The Wardrobe.This will include a number of noticeable parallelisms, allusions and symbolisms found in said work. Although The Chronicles of Narnia: The Lion, The Witch and The Wardrobe was originally a published book, this paper will focus on the film adaptation of the book. One of the noticeable symbolisms in the movie would be found in the main character s of the film: Aslan, the Witch and the children. Aslan was portrayed as the original king of Narnia and when Narnia was held deep in the clutches of the White Witch, Narnias looked to Aslan as their redeemer.Aslan was also the one who died so that Edmund may live. He was the only one who was capable of defeating the White Witch. Aslan in the film was an artistic representation of Jesus Christ. The parallelism found in the resurrection of Christ, his absorbing of our sins and overcoming death is seen in the depiction The Witch, on the other hand, represents Satan. It was the White Witch who covered Narnia in snow: no sign of life, simply cold and dead. The Witch is consumed in her own vanity and the longing to fully overcome Aslan and rule over Narnia forever.It isn’t clearly stated, but it is seen in certain parts of the movie that The Witch feared Aslan: when the Witch spoke out of turn after their agreement and Aslan roared at her and she quickly sat down in fear of him. M uch like the Witch, Satan will always be inferior to God but will always try to put himself about Christ but will never achieve such. Lastly, the four children (Lucy, Edmund, Peter and Suzan) are human beings. They represent four different kinds of people who have different encounters with God.For Peter, he is the skeptical type of Christian. One who is doubtful by how God can use him to help build God’s kingdom, yet at times he forgets that it is only Christ who can defeat evil and not by his strength alone. Edmund is the type of Christian who has sinned and fallen short many times along the road before choosing to love and follow Christ. While Suzan is the type of Christian who has consistently doubted whether or not Christ, even really exists before fully trusting God with the things that don’t seem to make sense.Lastly, Lucy represents the Christians who just love, follow and dedicate their lives to Christ without hesitation and without doubt. Lucy’s childli keness showcases how Christians should love and trust Christ with our lives. Since the four children can be seen as symbolisms of human beings, their relationship with Aslan shows a lot about the grace, mercy and overall character of God. One of the main examples where this is seen is the grace that Aslan showed to Edmund who was a traitor.Despite Edmunds’ choice to prioritize Turkish delight over his family and his right as one of the king of Narnia, Aslan still accepted Edmund into his army and not only that Edmund still inherited the kingdom of Narnia not by his own works but by Aslan’s choice. Much like the plot of the movie, Christ will continue to accept sinners into his family despite what they have done in the past. As Aslan said, â€Å"What’s done is done, we need not speak to Edmund about what has happened anymore† this has a similar message in Philippians â€Å"I focus on all my energy on one thing: Forgetting what lies behind and focusing on what’s ahead†.Also, Edmund’s choice to pursue Turkish delight over his unmerited right to be a king of Narnia, is similar to the story in the Bible of how Esau gave up his birthright to Jacob for a bowl of stew. Both Edmund and Esau’s common mentality was the seeing the situation only at the present and forgetting the eternal value and purpose of their lives. But despite Edmund’s decision, Aslan accepted his presence with open arms, which is a similar characteristic to the story of the Prodigal Son.True sacrifice is an act that any human being can never really fathom, due to the only considered true sacrifice that was only made by God Himself by offering his own son to the world that is bound to perish in eternal debt of sin. In the movie, true sacrifice was first depicted through the following event, which was the acceptance of Edmund despite of his treason towards Aslan and his own brothers and sisters. Without the mistake that Edmund committed ea rlier in the movie, true sacrifice would have not been clearly depicted.The scene where Edmund was enticed by the Witch’s offer of Turkish delight and then the throne shows a great parallel of how the world committed the very first sin, the original sin. Adam and Eve were tempted by the devil, who took the form a snake and they were blinded by the temptation of knowledge that was offered by the apple. Same goes to Edmund, he succumbs to the lavish offers of the Witch that led to his treason towards his siblings. In the end, Aslan accepts Edmund despite his betrayal and also became the emancipator from the Witch.This selfless act then led to the suffering and supposed death of Aslan. The altruism that Aslan performed is an exact parallel to the suffering of Christ, which was the crucifixion. With such altruistic acts of both Aslan and Jesus Christ, it is believed that their sacrifices are yet to be unvarnished. No one in this world is capable of such because only the savior ca n absorb the sins of the world. In the movie, Aslan was put to death and was humiliated in front of the presence of many followers of the Witch by cutting off his mane, which is parallel to Christ’s crown of thorns.The Witch wanted to show her iron fist by showing the execution of Aslan in public, which only goes to show that she fears Aslan. She needs the approval of many, for her to feel superior over him. Although she thought she had succeed with the humiliation and execution, little did the Witch know that Aslan was to come back to life and save his followers despite their treason. The representation of Christ’s suffering and resurrection was fairly accurate; the breaking of the stone table which Aslan’s body was left behind is aligned to the opening of Christ’s tomb.In addition, Aslan was first seen back to life by the girls, which in the film were Susan and Lucy, and just like Christ who appeared to the women first (Mary and Mary Magdalene; found in Matthew 28:9). The movie then proceeds to the war between good and evil, which illustrates the consistent internal battle inside every human mind. When Aslan came back to life, he did not eradicate the battle between the Narnians and the forces of the Witch. But instead, the battle continued on even to the point that the Narnians began to face defeat.This shows that although the Jesus Christ overcame death, there will still be an internal battle between good and evil within us. In the film, Peter and Edmund try to lead the battle against the forces of The Witch and even tried to kill her but their attempts only would lead to death. It is only when Aslan comes into the picture, that he is not only able to breathe life back into the dead but also defeat the Witch. This is an artistic depiction of how human beings cannot overcome death by their strength alone. It is only Christ’s power that Satan is fully defeated.Therefore during spiritual battles within humans, one was surren der and acknowledges that he cannot do it by themselves and it is only by God’s help that we can overcome evil. Lastly, Aslan’s words after he defeated the Witch were a direct parallelism to the words that Jesus Christ utters when he defeated death on the cross: â€Å"It is finished†. The Chronicles of Narnia: The Lion, The Witch and The Wardrobe film holds a great number of theoretical references but the major and more obvious events would be the characterization of Asaln, the Witch and the three children, Aslan’s sacrifice and battle between the two forces.

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One book that has greatly influenced my philosophy in life is the Autobiography of Malcolm X: As told to Alex Haley.   I feel that this book has changed my perspective on a lot of things in life, particularly on the value of education.   Malcolm X, while known as a great spokesperson and an influential historical figure, battled against all odds to become the great person that he is today.The sacrifices that he made in order to make the world a better place to live in are greatly appreciated by today’s society.   All of that, he accomplished because he was able to educate himself in his later years.I was at one of the lowest points of my life and everything seemed so bleak.   I had given up on a lot of things in my life and was about to give up my schooling and pursue an alternative career instead.   I realized that Malcolm X was right.There is so much more that one can learn in life and there is no limit to what one can be as long as one approaches things with an op en mind and an eager attitude.   It was this same thinking that led me to pursue my education and the same thinking that brought me to the challenges that I soon had to face.The pursuit of education has never been easy for me.   Having decided that I was going to pursue my education, I had to come to grips with reality and face the responsibilities and challenges of studying.   Places, histories and events were usually destinations for Malcolm X as he read almost every book that he could find.For him, his homemade education had changed his life and he was certain that it could change the lives of others as well.   â€Å"I knew right there in prison that reading had changed forever the course of my life.†Ã‚   This is what has inspired me in the pursuit of my career and my education.Having been working as a Dental Assistant for the past 4  ½ years, I have come to realize realize that as the world continues to change and the workplace becomes more and more challenging and competitive, it becomes imperative for anyone looking for a successful career to not only have the drive to succeed but also the training and expertise to do so.I am not saying that I do not have the training and expertise at the moment but I do believe that there is still room for more.   The rich and diverse academic community at (insert name of school) will definitely be the perfect place for me to learn and be prepared for the challenges that lie ahead.That is why I believe that this course is a crucial step for me.   My success and my accomplishments here will herald the beginning of the fulfillment of my personal and professional goals.   It is said that the one thing that nobody can ever take away from you is your education and that is the one thing that I plan to not only gain for myself but for others as well.Perhaps, one of the most influential events in my life that have pointed me in the direction of Dentistry is my passion for Dental Hygiene.   As such, this has prompted me to continue my studies in this field and eventually enter professional school and pursue a career as a dentist.   I feel that my direction in this course also has to do with my character and my strengths.My most important character strength, in my opinion, is my ability to adapt, accept and learn.   My drive to succeed has been fueled by the experienced that I had early on in life.   Growing up without many benefits in life, I was inspired by the perseverance and dedication that my parents showed.   This provided me with a closer view of what I need to accomplish at an academic level before venturing into private practice of my own, particularly in this highly competitive field.Pursuing my career in Dental Hygiene is just the first step in my plan.  Ã‚   I would like to have the opportunity to take a bigger role in making the world a better place to live.   My main philosophy in life is to lead by setting an example. I cannot expect others to do what I m yself would be willing to do but that does not mean that I cannot hope that others will see the example that I have shown them.This philosophy is one of the many forces that drive me to pursue my dream of pursuing this career and of becoming so much more in life.   The chance to help those who are less fortunate in life, the chance to help people like myself, the opportunity to be of service to humanity; these are the reasons why I have selected this as the profession that I will pursue; for, as Eleanor Roosevelt once said, â€Å"The future belongs to those who believe in the beauty of their dreams†¦Ã¢â‚¬ 