Friday, February 7, 2020

Comparing and Contrasting Sec. Hillary Clinton and Sen. John Kerry Essay

Comparing and Contrasting Sec. Hillary Clinton and Sen. John Kerry - Essay Example This paper is the compare and contrast essays example. It is interesting to note that both Sec. Clinton and Sen. Kerry received both attended Yale University at one time or another. Sen. Kerry received his Political Science degree from Yale University in 1966 (bio.com â€Å"John Kerry†) while Sec. Clinton received her Law degree from Yale in 1973 (bio.com â€Å"Hillary Clinton†). Therefore one can deduce that the political beliefs of these two notable U.S. political figures found itself being shaped and molded within the hallowed halls of this ivy league university. Both Sec. Clinton and Sen. Kerry are active members of the Democratic Party of the United States and have served as senators during their time in active politics. Sen. Clinton was elected to represent the people of New York in the senate halls of Washington D.C. in the year 2000 (bio.com â€Å"Hillary Clinton†) while Sen. Kerry began serving the people of Massachusetts as their senator in 1984. He won his reelection bids in 1990, 1996, 2002, and 2008 (bio.com â€Å"John Kerry†). Even though both had a failed run for the Democratic presidential nomination, it seems that Pres. Barack Obama has an unquestioning belief in both of them to have appointed them both to the office of Secretary of State, the little president position as some call it, where they are required to represent both the president and the country across the seas as envoys of foreign relations. While both Sec. Clinton and Sen. Kerry have some notable similarities in their political history and educational background, the two also have some marked differences that one should take note of. The first being that Sen. Kerry actively served in the Vietnam war before entering into political office. It is believed that this field experience will greatly help the incoming secretary as he navigates the treacherous waters of national security and U.S. foreign policies. Democrat Sen. Chris Coons recalls one meeting that Sen. Kerry had with the politicians in Islamabad that could quite possibly set the tone for his run in the State Department. Sen. Coons recalls (Associated Press â€Å"John Kerry Touted as Successor to Hillary Clinton†

Wednesday, January 29, 2020

The world during rizal time Essay Example for Free

The world during rizal time Essay The purpose of this regulation is to specify the principles for actions of the board of directors, the basic rules of its organisation and functioning and the rules of conduct for its members. The regulation seeks to achieve the greatest transparency, effectiveness, motivation, supervision and control regarding the boards functions of management and representation of the corporate interests, in accordance with the principles and recommendations regarding corporate governance of listed companies. Download Internal Rules of Conduct in the Securities Market These rules of conduct for securities market activities (hereinafter, the Rules) have been approved pursuant to article 80. 2 of Law 24/1988 of 28 July on the Securities Market. In compliance with the provisions of said Law, these Rules will be sent to the National Securities Market Commission (hereinafter, CNMW)

Tuesday, January 21, 2020

Essays --

Now I can say with confidence that I had never figured out when people suffer from the unacceptable loss of a person dear to them. For my part it used to be sympathy, solicitude. When this happened to me, when my grandmother died, I started to realize the anguish people felt when their loved ones pass away. This unbearable pain which rips you apart, it feels like a heavy stone in your heart and makes you weep each time you recall a deceased family member. Time is unlikely to soothe this pain, no matter what others say. Every morning I wake up thinking that she is in the dining room drinking her coffee and watching her favorite TV shows. All of a sudden the truth starts rushing up and I come to realize that it was just a dream which was still hanging around me. In spite of my outward calmness, I felt as if there was a big hole inside me. My grandmother’s death was truly a sobering event and the most traumatic loss in my life. The commemoration of my grandmother will always be with me wherever I go and always tinting my dreams with her gentle smell of rosemary and the glittering silve...

Monday, January 13, 2020

The Rap Culture and Today’s World

The Rap Culture and Today’s World The culture of rap was redefined when the music group N. W. A. released their debut album, Straight Outta Compton. This groundbreaking album was the center of controversy across the nation. Critics argued that gang violence, drug use, and crime were idolized in the group’s lyrics. Even the name of the rap group, Niggaz Wit Attitudes, sparked major controversy nationwide. This album began the evolution of the rap culture; a culture that has seen a rapid increase in popularity since the 1980s and exerts a major influence on the youth of today.Lil Wayne’s CD, Tha Carter III, was one of the most anticipated albums of all time for any music genre, showing the popularity and the influence of rap music on today’s world. Although rap music is seen by some as liberating and empowering, rap has helped create a culture in our society that idolizes gang activity, drug use, crime, and has a degrading view of women. Dwayne Michael Carte r Jr. , formally known as the rapper Lil Wayne, was born on September 27, 1982 in New Orleans, Louisiana. Lil Wayne grew up in one of the poorest neighborhoods in New Orleans, Hollygrove.Hollygrove is notorious for its crime rates and poverty level. Wayne was no different from his neighbors, as he had many run-ins with the law. Lil Wayne has also publicly acknowledged his affiliation with the Bloods, the biggest criminal gang in America. He commonly mentions the Bloods in his songs and some of the criminal activity they have become infamous for. Also, Lil Wayne’s drug use has been well documented over the years. You can often see Lil Wayne smoking marijuana while being interviewed on radio broadcast or on the internet.The way Lil Wayne lives his life is portrayed in his music, just as most musicians put a personal twist on their art. With response to the influence of rap, Raquel Alvarenga states: â€Å"The lyrics of popular rap artists like Nelly and Jay-Z are much more than straightforward commentaries on social class inequity and the hardships of urban life†(13). Youth growing up in poverty stricken areas can relate to the words rappers â€Å"preach†. Many rappers have come from the ghettos across America, and speak of the illegal and illicit activities they used to participate in.The youth idolize these figures not only because they made it out of the hood, but because they glamorize the very same criminal activities youths are participating in. Much of the youth growing up in the ghetto resort to gang activity because they lose hope and believe that crime and selling drugs are the only viable options to making it out of the ghetto. Rap stars are idolized by the youth, and whether they want the responsibility of being a role model or not, it comes with the territory of the rap game.Additionally, rappers are notorious for their lyrics about â€Å"pimps and hoes†. Amongst other degrading things, half naked women are commonly found in rap music videos shaking their butts. Rap lyrics often refer to women as â€Å"hoes†, â€Å"tricks†, or â€Å"bitches†. Alvarenga says that â€Å"These lyrics, teeming with sexually explicit messages, encourage the subjugation of women and promote an ethos of disrespect against them† (13). The role of women has changed significantly over the last 20 years, but not the view and respect level given to them by their counterparts.It is hard to have respect for women that are showing more and more skin and beginning to do promiscuous things that have never been acceptable in the eyes of older generations. The culture of rap music has helped shaped the behavior and perception of women nowadays. Gang Activity has always been a substantial part of the rap culture, as many rappers come from a gang related backgournd. Most rappers have some association with a gang; whether they are a member or they represent them in their music.Top 6, a gang out of the Lake Wort h area, is famous for creating and producing their own music. Their music is center around the drugs they sell, hatred for other gangs, and crimes they have committed. Being that rappers have strong affiliation to gangs it is inevitable that gang life is portrayed in their music. The youths that listen to these rappers’ music think that it is acceptable to participate in gang activity since their favorite rappers are doing it. Drugs have always played a pivotal role in rap culture, as many rappers support drug use and selling drugs.Rappers often explain in their lyrics how they made it through the urban struggle by selling a multitude of drugs including marijuana, cocaine, and creak. Young Jeezy, a rapper from the Atlanta area, made millions by selling cocaine before he became a rapper. He often refers to his days as a cocaine dealer in his music. Many rappers have faced jail time during the height of their careers for drug related charges, including Lil Wayne who faced charg es in 2010 for marijuana possession.Drugs have always had a place in society, but there has never been an influx of celebrities that openly acknowledge drug use and selling drugs like many rappers do. The glamorous portrayal of drugs in the rap culture is harmfully impacting today’s society. Tha Carter III was released in the summer of 2008 and debuted as the number one album on the US Billboard 200 by selling over a million copies in its first week. A seemingly innocent baby picture of Lil Wayne can be found on the album’s cover, but anyone who has a deeper understanding of the rap culture knows this picture is not so innocent.There are multiple tattoos on the face of the baby, but the tear drops below his eye spark the most controversey. The tattooing of tear drops below the eye has become a popular tradition of the Bloods after they commit their first real act of violence or murder. By having a deeper understanding of rap music and familiarizing yourself with the ra p culture, you can then understand all messages found in rap lyrics and the potentially harmful effects they could have on audiences.The rap culture continues to have a negative impact upon all social classes. Urban youths believe the only way out of ghetto is through gang activity or striking it rich in the rap game. With a large fan base of rap coming from white, middle class suburbs, we are also seeing a lessening respect towards women and who are viewed as nameless and faceless objects. Even though some view the rap culture as a way of freely expressing yourself, rap has created a culture in our society that glamorizes gangs, drugs, crime, and has a degrading view of women.Rap music has become a multi-million dollar industry and is no longer considered a fad, but a mainstay in our world. With this realization, we must weigh the cons and pros that come with rap music and the culture it has created. As J. Annette Saddik explained, â€Å"Ice Cube was careful to make a distinction between occasions when rapper are just having fun and when they are performing more serious social messages†(110). Society, especially the youth, cannot continue to take the messages rappers are giving literally and try to imitate the lifestyles being portrayed in their music.Today’s society is walking a thin line when it comes to the ideals and values that rap music is instilling into the youth that could have potentially harmful effects for future generations. Revision Changes: For the most part this essay was well written. There were not as many typos and grammatical errors as the first two. I thought I developed the ideas nicely and made a good connection between rap culture and society. Some of my transitions in the paper did not flow as well as I hoped. I added more substance to these sentences in hopes of making my paper less choppy.The most challenging part of revising this particular work was making my transitions stronger and rewording sentences where I was go ing off topic or sounded wordy. Overall, this is the work I was most pleased with over the course of the semester. Works Citied Alvarenga, Raquel. â€Å"Hip Hop Generation: Sexually Explicit Rap Lyrics May Harm Youth. † Harvard Political Review 32. 2 (2005): 13-15. Print Saddik, Annette J. â€Å"Rap’s Unruly Body The Postmodern Performance of Black Male Identity on the American Stage. † TDR/The Drama Review 47. 4 (2003): 110-127. Print

Sunday, January 5, 2020

Discuss Auteurist Theory in Relation to at Least Two Film Directors. - Free Essay Example

Sample details Pages: 8 Words: 2254 Downloads: 1 Date added: 2017/06/26 Category Cinematographic Art Essay Type Analytical essay Level High school Did you like this example? This essay will define and explore the inception and development of auteurist approaches to cinema the conceit that a film may be said to have an individual author in the manner of a book or a stage play, and that such authorship should be ascribed to the films director. Two directors will be used as case studies to illustrate the points being made: Martin Scorsese, and Stephen Frears. Scorseses work will be analysed to better understand how auteur status might be aligned with a director, as well as probing the possible limitations of such an approach, and Frears will be invoked as a significant British film director who has worked extensively in both UK and Hollywood cinema, who is critically and commercially successful, yet refutes the concept of auteurism. Don’t waste time! Our writers will create an original "Discuss Auteurist Theory in Relation to at Least Two Film Directors." essay for you Create order Authorship became an intellectual consideration initially with the politique des auteurs developed by French film critics in the immediate post-Second World War years. It developed largely in the pages of the influential film periodical Cahiers du Cinema. The politique, less a fully-conceived theory of popular film than a concordance of critical opinion, sought to position film in line with literature, theatre and classical music by identifying with an essentially literary and Romantic conception of the artist as the central, even the sole source of meaning in a text, as Stoddart (1995, p. 39) indicates. Theorist Alexandre Astrucs 1948 article The birth of a new avant-garde: la camera-stylo outlined, as Stoddart (1995, p. 39) goes on to summarise, three important considerations for the approach: First, that cinema has obtained an equivalence to literature, or any other art form of profundity or meaning. Second, that it is constituted through a new and unique language; and, third, that this situation affords directors a means of personal expression. FranÃÆ' §ois Truffaut developed this in his 1948 Cahiers article Une certain Tendence du Cinema Francais. Truffaut here identified the main problems he saw with French film. Dismissing it as le cinema de papa, and of pursuing a tradition de la qualite, he accused it of being script-led, redolent of safe psychology, lacking in social realism and of being produced by the same old scriptwriters and film-makers whose time was up, as Hayward (1996, p. 14) indicates. The politique advocated a refocus onto mise-en-scene, the visual aspects of cinema, rather than the verbal aspects privileged to date. Following this approach, it would be possible to make both aesthetic judgments about the film, and assign to directors an authorial signature. The politique drew a distinction between auteurs, directors who demonstrated their own creativity and personal stylistic and thematic voice, particularly within the constraints of the Hollywood production system, and those who functioned only as competent practitioners of the technical and organisational aspects of film direction, dubbed metteurs-en-scene. These latter directors, as Stoddart (1995, p. 40) shows were seen as craftsmen rather than artists, (William Wyler and Fred Zinneman are cited). Recognised auteurs included the likes of Alfred Hitchcock, Howard Hawks, John Ford and Sam Fuller (Hayward, 1996, p. 15). Among American film directors, Martin Scorsese may be seen as one who is auteurist. Phillips (2007) deconstructs the 1977 Scorsese-directed New York, New York as a case study of the applicability of a range of theoretical approaches to cinema. For Phillips (2007, p. 17), the Scorsese auteur structure is assembled deductively from the films Martin Scorsese has directed; in other words, generalities across a career are deduced, then applied retrospectively back to the individual film text. Scorsese has collaborated extensively with leading actor Robert de Niro, who is the male lead of New York, New York. S corseses movies typically deal with Italian-American experience and with New York as a setting; elements that are reflected in this text. Many Scorsese-directed films are inflected with crime and gangster genre elements (other Scorsese crime genre films include Mean Streets, Goodfellas, Casino, The Departed); though New York, New York is also generically a musical, there is this thematic subtext to the film too. Phillips (2007, p. 19) identifies a range of thematic concerns common to other Scorsese-directed films that appear in New York, New York, including: a strong focus on masculinity, on awkward male attitudes towards women, on Catholic guilt, on violence as a flawed solution to problems. Phillips (2007, p. 19) also notes the use of formal aspects of cinema that recur across Scorseses films: a quasi-documentary mode of representation, the use of mobile cameras, the interplay of popular music and visuals to create meaning and mood. These kinds of observations may be amplified by reference to biographical information concerning Martin Scorsese (Phillips, 2007, p. 19). These include his Catholic background provid[ing] useful corroborating evidence, and à ¢Ã¢â€š ¬Ã‚ ¦ personal statements such as that in which he says that as a boy he wished to be either a priest or a gangster (Phillips, 2007, pp. 19-20). By the early 1960s, the politique des auteurs had fallen out of cachet in France (partly a direct effect of former Cahiers writers like Truffaut, Claude Chabrol and Jean-Luc Godard having turned to direction themselves) , though it was continued in Anglo-American criticism, in British periodical Movie, and significantly, by American critic Andrew Sarris. Sarris developed the French position into what he termed an auteur theory. Sarris sought a meaningful coherence between directors as artists and their work (Stoddart, 1995, p. 42). Directorial ability was seen as being comprised of what Sarris saw, according to Mast, Cohen and Braudy (1992, p. 587) as t hree concentric circles: the outer circle as technique; the middle circle, personal style; and the inner circle, personal meaning. These corresponded to the director as technician, as stylist, and as artist respectively. Over time, a director could move through these circles, in either direction, and their status thus diagnosed. Sarris constructed a pantheon of great American directors, among which he listed John Ford, Orson Welles, D W Griffith and Howard Hawks. Auteurist theories as expressed above are significant in that they examined popular cultural forms with serious scrutiny, though this was done not to understand the popular but what Lapsley and Westlake (1988, p. 107) understand to attempt to elevate one small sectionà ¢Ã¢â€š ¬Ã‚ ¦to the status of high art. The consideration of mise-en-scene is important in that it laid the ground work for studies of the specifically cinematic. However, as Lapsley and Westlake (1988, p. 109) conclude, there is something perhaps trivial about auteurism, which is both faddish and elitist. There seems to be little engagement with social realities, any examination of cinemas engagement with the real world is replaced by questions of ranking and relative worth of directors. Questions of the collaborative nature of cinema, of the industrial aspects of commercial film production and exhibition are not dealt with. Similar omissions are made with regard to the role of the audience. At best, auteur theory here sees two types of spectator: the mass audience member who receives the directors intent without question, and the aware cineaste, who both perceives the intent, and relishes the ways it is conveyed cinematically. Sarris, for example, was criticised (Stoddart, 1995, p. 43) for constructing little more than a personal list of favourites, employing a quasi-rational system that made little objective sense. Hayward (1996) usefully breaks author-based theories into three phases. The first phase, as outlined above, concei ves the author-role as that of the director, and this as being central to the production of meaning. Haywards second phase is that of the interaction of auteur theories with structuralism in the 1960s. Hayward identifies a third phase, that of 1970s post-structuralism, which is discussed in the section below. Author-based theories were allied with French structuralism in the mid-1960s. As Hayward (1996, p. 16) points out, this impetus came not from within film, but from the attentions of semioticians and structuralists, and it was unquestionably their work that has legitimated film studies as a discipline. Theorists such as Christian Metz sought to invoke the rational approach of structuralism to counter the romantic subjectivity of auteur theory to this point. The grande syntagmatique that Metz set out in his Essais sur la signification au cinema attempted a totalizing structural theory of cinema. Using Saussure, Metz perceived cinema as a langue, and each individual film as par ole. Hayward (1996, p. 16) reminds us that such an all-encompassing theoretical perspective irreversibly overshadows the texts being examined. In addition, aspects outside the theory get ignored, such as the notion of pleasure and audience reception, and what occurs instead is a crushing of the aesthetic experience through the weight of the theoretical framework (Hayward, 1996, p. 16). As Cook (1985, pp. 61-2) reminds us, contemporary revisions in both Cahiers du Cinema and the British film periodical Movie sought to refocus the author as one of several structures to be considered in establishing the meaning of film, alongside stars, the industry, linguistic concerns, and social factors. Still unexamined, though, were questions of audience and of ideology. The third phase Hayward identifies, that of the influence of 1970s post-structuralist thought on the study of cinema, again demonstrates the extent that understanding of film is indebted to theorists from outside film using the medium to exemplify and examine their approaches. Key to this is Roland Barthes 1968 declaration of the death of the author. The text, Barthes declared, as King (2002, p. 110) quotes, is: not a line of words releasing a single theologial meaning (the message of the Author-God) but a multidimensional place in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations drawn from the innumerable centres of culture This definitive rebuttal of the romantic ideal of the director as author has been accompanied by a plurality of theories variously combining, according to the individual theorist. Lacanian psychoanalytic, semiotic, Althusserian Marxist, feminist and deconstructivist approaches have all been applied in combination to this end. As King (2000, p. 111) states, an implicit auteurism remains a convenience for journalism and other film writing and criticism [and] the name of the director remains a potentially useful marketing tool. Phillips (2007) examines Scorseses filmmaking through three main approaches; auteurist, genre and audience studies, concluding that, in order to most fully understand a film and a directors work, a range of tools need to be used: the critical approaches outlined here and applied to New York, New York need to be supplemented by others which explore the relationship between image, sound and their impact on the spectator at more micro levels. British director Stephen Frears is vocal on the subject of auteurism. Fraser (2010) notes how Frears is reticent to see himself as an auteur, preferring instead to have himself seen, as Fraser reports on BBC executive Alan Yentobs description of Frears as the ultimate hired gun. Fraser (2010) goes on to question if one may really speak of a coherent style or, indeed, vision, from the man who made, amid some disasters, successful films as various as The Grifters, Dangerous Liaisons, The Deal, and now Tamara Drewe? The interest for Frears is in the making of films presented to him, rather than exploring personal themes and finding or creating scripts that will permit that exploration. In a recent article (Leigh, 2015) in support of his latest film, the Lance Armstrong biography The Program, this is highlighted, not just by interviewer Danny Leigh, but by Frears as well: As a young film-maker in the 1960s, [Frears] was amused by the rise of the auteur theory, the idea of directors as visionaries. I never believed all that rubbish. I havent had a vision in my life. Auteurist film theories are useful in that they represent a first step towards a theoretical language for cinema, though by themselves they may offer little more than generalities or perhaps an expression of personal preference and taste. The origins of the approach in literature might give auteur theory some initial legitimacy, though it does a disservice to the necessarily collaborative nature of film and of the filmmakers involved in the multiple stages o f conceiving, financing, writing, producing editing and distributing a film to its multiple audiences. Though auteurist identifications may be made, and there may be some usefulness in marketing terms to such links, film is perhaps more complicated than this, and required more nuanced study. Bibliography Cook, P. (1985) The Cinema Book. London: British Film Institute. Fraser, N. (2010) Stephen Frears: Audiences arent fools à ¢Ã¢â€š ¬Ã¢â‚¬Å" their judgement is crucial. Available at: https://www.theguardian.com/film/2010/aug/15/stephen-frears-tamara-drewe-interview (Accessed: 4 October 2015). Dangerous Liaisons (1989) Directed by Stephen Frears [Film]. Warner Bros. The Grifters (1991) Directed by Stephen Frears [Film]. Miramax. The Deal (2003) Directed by Stephen Frears [Film]. Granada Productions. Tamara Drewe (2010) Directed by Stephen Frears [Film]. BBC Films. The Program (2015) Directed by Stephen Frears [Film]. Working Title. Hayward, S. (1996) Key Concepts in Cinema Studies. New York: Routledge. King, G. (2002) New Hollywood Cinema: An Introduction. London: I B Tauris Co. Lapsley, R. and Westlake, M. (1988) Thinking About Cinema: An Introduction to Contemporary Film Theory. Manchester, UK: St. Martins Press. Leigh, D. (2015) Interview: Stephen Fr ears. Available at: https://www.ft.com/cms/s/2/9a1e8f20-6762-11e5-a57f-21b88f7d973f.html (Accessed: 4 October 2015). Mast, G., Cohen, M. and Braudy, L. (eds.) (1992) Film Theory and Criticism: Introductory Readings. 4th edn. New York: Oxford University Press. Phillips, P. (2007) Genre, star and auteur critical approaches applied to Martin Scorseses New York, New York. Available at: https://cw.routledge.com/textbooks/9780415409285/resources/genrestar.pdf (Accessed: 4 October 2015). Mean Streets (1973) Directed by Martin Scorsese [Film]. Warner Bros. New York, New York (1977) Directed by Martin Scorsese [Film]. United Artists. Goodfellas (1990) Directed by Martin Scorsese [Film]. Warner Bros. Casino (1995) Directed by Martin Scorsese [Film]. Universal Pictures. The Departed (2006) Directed by Martin Scorsese [Film]. Warner Bros. Stoddart, H. (2000) Auteurism and film authorship theory, in Jancovich, M. and Hollows, J. (eds.) Film Studies: A Reader. New York: Ox ford University Press.

Friday, December 27, 2019

Amelia Mary Earhart The Most Influential Persons

Amelia Mary Earhart Amelia Mary Earhart is among the most influential persons in history. Her achievements surpass the expectations of many. She had a sparkling career, as a female pilot, a writer, and an activist. Throughout her career, she had several accomplishments which set her on a path of fame. Right from being among the first female pilots, to being an advocate of women’s rights and providing various literary works, Amelia’s career was exceptional. Her life’s experiences set her to various paths before finally ending up in aviation, where she built a career which had a lasting impact in the aviation industry. Amelia was born in July 24, 1897 in Atchison, Kansas. Since her family moved around, she ended up attending several schools including Hyde Park High School. Her admiration for aviation began when she had volunteered as a nurse’s aid for the Red Cross, who were attending to wounded soldiers returning from World War 1. She was able to speak to the wounded pilots and watch the Royal Flying Corps who practiced at a nearby airfield. Her life got filled with so many ups and downs, leading to her failure to finish her studies at Columbia University. Amelia has been exhibited as a woman not afraid of breaking barriers in her life. Despite the financial constraints within her family, Amelia could explore various careers, including photography and truck-driving, through which she could raise enough money to take flying lessons. Afterwards, she was able to buy a smallShow MoreRelatedLangston Hughes Research Paper25309 Words   |  102 Pageswere scarce. Sometimes she took young Langston with her, but most of the time he stayed with his grandmother in Lawrence, Kansas. Grandmother Mary Langston, an American citizen of French, Cherokee, and African descent, was nineteen in 1855 when men tried to kidnap her and sell her as a slave. Her first husband, Lewis Leary, was killed in 1859 at Harpers Ferry, West Virginia, during John Browns raid on the federal arsenal. Throughout Mary Langstons life, she treasured Lewiss bullet-riddled shawl

Thursday, December 19, 2019

Significance Of The Conch In Lord Of The Flies Essay

A conch he called it. He used to blow it and his mum would come. Its ever so valuable Ââ€" Piggy, Lord of the Flies. The conch is a sea creature, its shell is revered in many cultures such as Hinduism and Buddhism for its beauty and the sound it makes. The conch is also that shell in Lord of the Flies which is blown into to gather the boys. The author, William Golding, uses the conch to show that democracy will succumb to rule by force in the face of serious trouble or need. In the book, it is a symbol of democratic power but it is not without its enemies who eventually overrule it. The conch is a symbol of democratic power at the beginning of the story. First, it is used to gather the boys. Ralph blows the conch to assemble them†¦show more content†¦This is best shown when Ralph says Ill blow the conch [Â…] and call an assembly, Jack responds We shant hear it.(167) As a result, we can see that Jack is an enemy of democracy, as any authoritarian ruler would be. Moreover, Jack uses torture to make people do his bidding. We see this when he tortures Sam with a spear, What do you mean by not joining my tribe? The prodding became rhythmic. Sam yelled.(202) We can therefore see that Jack uses pain and fear to rule, another characteristic of dictators such as Sadaam Hussein. Lastly, rocks of all shapes and sizes are used by Jack and his tribe for aggression, another tool of rule by force. One example of this is the use of a boulder to smash anyone who approaches Castle Rock, this is shown in chapter 10 Robert leaned lightly of the lever and the roc k groaned. A full effort would send the rock thundering down to the neck of land. Roger admired.(176) Thus, rocks are tools of Jacks dictatorship and symbols of rule by force. Since Jack opposes democracy, tortures to rule and uses tools such as rocks for aggression; he, his tribe and rocks are symbols of rule by force. The conch loses its power to Jack and all that symbolises rule by force. As mentioned before, Jack openly disregards the conch and the power it gives. Because of this event, we can see that the conch is starting to lose its power. In addition, Jack does not care for the conch even if he can have it. We see this when JackShow MoreRelatedSignificance of the Conch in Lord of the Flies860 Words   |  4 PagesA conch he called it. He used to blow it and his mum would come. It s ever so valuable Ââ€" Piggy, Lord of the Flies. The conch is a sea creature, its shell is revered in many cultures such as Hinduism and Buddhism for its beauty and the sound it makes. The conch is also that shell in Lord of the Flies which is blown into to gather the boys. The author, William Golding, uses the conch to show that democracy will succumb to rule by force in the face of serious trouble or need. In the book, itRead MoreMichelle Duan Mrs. MJ English 10 H, per. 3 13 February 2014 A Symbol’s Worth a Thousand1500 Words   |  6 PagesSuch is the nature of the symbols found in William Golding’s Lord of the Flies. As a group of boys stranded on an island struggle to survive without adult supervision to maintain order, Golding uses a variety of objects to convey their descent from civilization into brutality, violence, and savagery. Of these objects, three hold particular significance. In Lord of the Flies, Golding uses the conch, the signal fire, and the Lord of the Flies to symbolize civilization, hope for rescue, and inner evilRead MoreLord Of The Flies By William Golding821 Words   |  4 Pagesand seen a conch shell and wondered if someone in time used this for civilization? Or even to show leadership? Well if you haven’t, then for sure you will be amazed! In the novel Lord of the Flies, the author William Golding specifically focuses on how a group of children ends up on an unknown island without rules and order in which they become sa vages and nearly act similarly to animals in one way or another. One symbol in this novel is the conch shell. The conch shell in Lord of the Flies representsRead MoreLord Of The Flies : Symbolism1012 Words   |  5 PagesBabatunde Carter (Jnr) English 102-0501 Mrs. Geneva Cannon 16th, November , 2015 Lord of the flies : The Symbolism of the Conch For Centuries philosophers and scholars have bantered about the topic of whether man is naturally fiendish. William Golding offers this conversation starter in his sensible novel â€Å"Lord of the Flies†. Set on a tropical island amid World War II, the novel starts when school boys from Incredible England are being traveled to well being and their plane is shotRead MoreUnderstood Objects of Symbolism in the Novel Lord of the Flies by William Golding716 Words   |  3 Pagesnovel, an object may represent something other than what it actually is. Lord of the Flies of by William Golding has several of these objects in it. An explanation for what objects hold symbolic meaning is would be like how snow may represent delight and happiness for a child. These objects also add side stories and add detail to the novel. Three objects that hold immense symbolic meaning in Lord of the Flies are the beast, the conch, and the signal fire. To begin with, one object that holds greatRead MoreThe Symbolism Of The Conch958 Words   |  4 PagesPeriod 1 1 May 2017 The Symbolism of the Conch For centuries philosophers, have debated the question of whether man is naturally evil. William Golding poses this question in his novel Lord of the Flies. Set on a tropical island during World War II, the novel begins when schoolboys from Great Britain are being flown to safety and their plane is shot down. No adults survive, and the boys are left to control themselves and get rescued. The boys find a conch, which is a symbol of power and authorityRead MoreLord Of The Flies, By William Golding1346 Words   |  6 Pagescould be many meaning if the reader discovers the symbolism in a piece of literature. In Lord of the Flies, there are many characters and objects that hold a symbolic value. Characters such as Ralph, the protagonist, and Jack, the antagonist, represent many things such as good and evil. But, there are also symbols that are within the title of the book and the name of the chapters. In Golding s Lord of the Flies, the narrator highlights that the story is more than just boys on an island, suggestingRead MoreThe Symbolism of the Conch Shell in Lord of the Flies by William Golding1086 Words   |  5 PagesThe Symbolism of the Conch In Lord of the Flies, several symbols are used to illustrate important ideas that are crucial to the plot and meaning of the book. One of these symbols is the conch: this rare shell is not only a precious and expensive in the world of merchandise; it also holds a dark and mysterious power over a group of English boys, lost on an island with no adults, clues, or means of escape. The boys set up a civilization and try to live in the society they have set up. This systemRead MoreLord Of The Flies Symbolism Analysis968 Words   |  4 Pages Lord of the Flies In William Goldings novel Lord of the Flies, he demonstrates the struggle of being trapped on an island containing no civilization and the attempt to remain safe. As the conflict starts to occur on the island, the battle to stay alive and hope to be rescued becomes more challenging for the boys. Throughout the novel, many symbolic elements become significant and are prominently used to get the reader to interpret things differently and see things in other perspectives. In theRead MoreAnalysis Of Lord Of The Flies And Hunger Games By Suzanne Collins1208 Words   |  5 Pagesit. The novels, Lord of The Flies by William Golding and The Hunger Games by Suzanne Collins, demonstrate this prospect as through the narrative techniques of characterisation, plot, setting and style, they exemplify the moral decline of man under pressure to survive, ultimately resulting in savagery. Characterisation plays a major role in both texts as each character serves as a representation humanity and the faults within it. Throughout Lord of the Flies there is a developing