Sunday, January 26, 2020
Benefits of Picture Books for Children
Benefits of Picture Books for Children Picture books are intended to show children how to derive pleasure from reading. They fuse humorous plots with captivating illustrations in order to hold the attention of the child. The addition of pictures can increase the longevity of a books interest; they are designed to be read over and over again and thus the child needs to be provided with something more than a simplistic storyline. Picture books also encourage verbal interaction and reading aloud with a parent in order to develop a childs confidence before the inevitable ââ¬Ëreading aloud lessons at school. Verbal dexterity is an important skill to develop and compliments literacy. The role of illustrations in this medium is mainly to provide extra stimulus although, like music and lyrics, they each become as important as the other. Some authors are synonymous with illustration styles such as Roald Dahl and Quentin Blake who form a cohesive force in stimulating literature for older children. It is in this very stimulation that the role of picture books in the development of literacy can truly be seen. Art and literature are effective forms of expression, which can be combined to great effect to improve understanding, and as E.M. Forster pondered ââ¬Å"How can I know what I think until I see what I say?â⬠The opposition to picture books, a seemingly inoffensive artistic endeavour to the untrained eye, is surprisingly vehement. Protheroe (1992, p.7) considers picture books the ââ¬Å"banner at the head of the present relentless progression towards educational failureâ⬠which originated to suppress the vocabulary of the working classes. She voices concern that by providing children with pictures they are being discouraged to visualise things for themselves; their imagination is stunted. Yet, a John Vernon Lord explains in his lecture, the majority of his images are born from his imagination rather than from life so how could something so innately imaginative dissuade similar thought? In addition, even with the most seemingly basic of picture books, such as Rosies Walk, there is always something else to add. For example, Rosies Walk, has seemingly little plot (it is a matter of pages long and simply accounts a hen walking through a farmyard) however, the pictures provide a whole new realms of possibility for the imagination. Although Rosie does not interact with any other animals, she passes several, many of whom witness the tribulations of the fox. As a child studies the pictures they can invent reactions and entire lives for the sub-characters. The frogs are sent flying as the fox fumbles and plunges into the pool did the frogs think this was rude? Did the fox apologise? The goat who grazes by the hayhock is seen in the background of a later scene, watching the fox get struck by the descending flour was the goat amused? Concerned for Rosie? Vernon Lord and Burroway demonstrate a keen eye for detail and provide the child with an opportunity to think outside the information with which they are initially presented. This is especially true of a brief story like Rosies Walk as the child will almost certainly grow accustomed to the plot after several readings and look for other stimulus in the tale. In direct contrast to Protheroes concerns, it seems that pictures, used skillfully, could in fact encourage a higher level of perspicacity from a child who would have long become tired of the few words in Rosies Walk if it lacked pictures. However, to presume that a picture book may be entirely simplistic or patronise the potential of a child perhaps underestimates the author. For example, in Rosies Walk, the child is placed in a senior position of knowledge in comparison to the protagonist. Hutchins credits the reader as the omniscient being while Rosie remains blissfully unaware of her pursuer. The comedy of this story also provides many levels. On the surface, there is the classic slapstick comedy as the fox collides with a rake. Slapstick creates the instantaneous humour and appeals to child-like love of clowning in both child and adult. But it is not simply physical comedy. The closing line ââ¬Å"and got back home safelyâ⬠creates humour out of anticlimax as well as relief. The story is tension built upon tension with the successive predicaments reminiscent of the subsequent Wile E. Coyote and Roadrunner cartoons created by Warner Brothers in which a ravenous coyote pursues a fast paced bird with increasingly elaborate stunts in each episode but to no avail. However, this structure seems more suited to the picture book as even the action of turning the page drives the story and dictates a slower pace. The pages serve as a divider, creating small succinct scenes which help build the layers before the climax. The interesting structure is rooted in this unity of sever al dangerous scenes married with the closing line which, like Rosie, seems unaware that there was ever any danger. Similarly, John Vernon Lord explains the importance of the collaboration between text and picture placement in his lecture regarding The Giant Jam Sandwich: when text and picture are describing the same episode in the story I prefer to enforce their physical relationship by placing them on the same page wherever possible. The breaks in the text and the pictorial presentation on each page need to follow the natural stages of the storyline. The pacing of the illustrations with the narrative is of the utmost importance This demonstrates how the story, text and picture intertwine, complimenting one another in both style and pace, to create a whole. This will be explored in greater depth later. The most basic principle of picture books is to promote literacy by making books more appealing to children. By making the books not only visually enticing, but by providing pictures to aid less able readers, literature is made all the more accessible. Cullingford (1998, p.12-13) recognises that those children who struggle with reading initially can feel like failures at a very young age which can effect their relationship with reading for life. They can start to view literature as exclusive. By providing children with familiar picture stories rather than disconcerting wedges of text, they can slowly build the foundation for a love of reading which, as their confidence improves, will motivate them to approach more ââ¬Å"unreliableâ⬠, challenging tomes in later life. Bettina Hurlimann expresses her view that pictures are the universal language and thus encompass all children regardless of academic ability or language: by optimizing accessibility children will have a healthier re lationship with books. Protheroe (1992 p.111) accepts the premise of the picture book to advertise reading a pleasurable but also accuses this particular avenue of denying the potential of books and language by suggesting that words only have one meaning. This, however, seems a little dramatic. Picture books aimed at 0-5 year olds learning to read do often only have one meaning, any more than that is usually directed at the adult. For example, in The Giant Jam Sandwich the town of Itching Down is described as ââ¬Å"not a very waspish townâ⬠. As they have just rid themselves of thousands of wasps, the child will take that section to mean that the town did not appreciate being overrun by wasps; they were not pro-wasps. It is unlikely that a child under five would be familiar with the ââ¬Å"petulantly spitefulâ⬠definition of waspish but the adult might derive some pleasure from the word play. Hunt (1991, p.175) accepts and admires the simplicity of the language but feels that ââ¬Å"much of the c omplexity is expressed by the visual elementsâ⬠. He suggests that literary techniques such as metaphor can be much more effectively demonstrated through the use of pictures although, like Protheroe, he does acknowledge the subsequent risk that it ââ¬Å"fix[es] words into a restrictive, mundane interpretationâ⬠leaving the child no room to impart their own meaning onto words; there is no room for manoeuvre. The Very Hungry Caterpillar by Eric Carle, in which a caterpillar munches his way through a veritable smorgasbord of tasty treats, eats two pears. The play on the word ââ¬Å"pairâ⬠and ââ¬Å"pearâ⬠was almost certainly not intended for the three year old but rather the person helping them to read. In addition, this particular volume can be seen to incorporate not only verbal dexterity but mathematical and elements of natural science. The caterpillar eats an increasing number of foods, which employs basic numeracy, and subsequently transforms into a chrysalis, then into a butterfly as is the natural order. It seems that without pictures, this might be a hard concept to explain to a very young child. The vocabulary required with no visual aid might be quite taxing and alienating (not least due to the word chrysalis!) and thus the pictures make it a more accessible notion. As Hunt (1991, p.176) aptly notes, it allows us to ââ¬Å"cross the boundary between the verbal and the pre-verbalâ⬠. It allows children to advance in other subject areas at a younger age. However, Protheroe (1992, p.74) would argue that children need to learn to cope with ââ¬Å"uncertainty and accept ambiguityâ⬠as it allows them to practise inference. Hunt (1991, p.181) seems to feel that there is a happy medium, however, in which meaning is limited but not prescribed. He feels that this is applicable to both pictures and words as each form can be used in a way which is stilted or one that opens the floodgates of interpretation and creativity. As Hunt (1991, p. 185) attests the ââ¬Å"absence of words would have provided a ââ¬Ëgap which takes intelligence and imagination to fillâ⬠as would the absence of pictures; working together, both serve their purpose. Jane Doonan expresses the importance that pictures talk for themselves and not simply reinforce the words and this notion is the idea of the picture book versus that of the illustrated story. Moebius (1986, p.132) articulates that ââ¬Å"in the picture book, we read the images and text together as the mutually complementary story of consciousnessâ⬠with the ââ¬Å"story ââ¬Ëbehind the image often supplied by the illustrator. He expresses certainty that picture books are like any form of literature: ââ¬Å"[the structure] is not accidental or fortuitous phenomenaâ⬠. Every word and every brush stroke have a purpose. Edmund Evans pioneered the total design of the picture book, making it a single cohesive mechanism rather than simply some text with some pictures. This duality can be seen in The Giant Jam Sandwich in which most of the scenes depict the entire town. The moral of the story is less to do with the nuisance of wasps and more about community spirit and working together. For this reason, John Vernon Lord has ensured that the majority of the colourful scenes incorporate most of the town, each doing their job: from the small girl with pigtails heaving one small jar of jam along; to the man crouching, trying to get a photograph of the bread transportation for posterity. It is these tiny details that engage the child time after time as well as the adult. John Vernon Lord criticises his own work in his lecture, however, claiming ââ¬Å"with hindsight I feel that the colour scheme adopted for these pictures is too similar throughout the bookâ⬠and it is with constant variation and bustling images that a child becomes entranced. However, the pictures do not have to be busy to be stimulating. Rosies Walk employs seemingly simplistic illustrations and, although attention is paid to the background action, the focus is far more on the fox and the hen. These two characters are at the forefront of most of the scenes with the occasionally cameo from characters, such as the goat, who hover in the background. This, like in The Giant Jam Sandwich, mimics the content of the piece which is very self-contained about Rosies movements. She does not engage with the other characters and neither does the text. The style is also much more fantastical with the large exaggerated ears of the fox and the bold use of colour contrasts. The vibrant yellows and pinks clash in the most aesthetically pleasing way which provides visual stimulation for the child. They are unusual colour combinations, new and intriguing. Similarly, the bulbous trees are decorated with apples in regimented lines rather than the natural sporadic scattering; the fine line between faithful interpretations of familiar images with fantasy has been beautifully encapsulated. Furthermore The Sick Cow, by H.E. Todd and Val Biro, adopt all the muted browns of a bucolic paradise. Of the three books, this is the most ââ¬Ërealistic in style as The Giant Jam Sandwich shies from too much facial detail with the concentration being on large, busy scenes. Biro specializes in detail from the tread of the tractor tyres to the mane of the horse although allows the background foliage to blur into rural tranquility. Strangely, however, despite being the most visually ââ¬Ënaturalistic, its content is perhaps the most unorthodox covering, as it does, the ailments of a barking cow who is cured by sitting in some nettles. However, in The Sick Cow, although the pictures beautifully capture the provincial scenery, they do essentially illustrate the text. There is no sense, as Moebius (1986, p.137) demands, of the ââ¬Å"unseen over the seenâ⬠as with Rosies Walk. The same could, perhaps, be said of The Giant Jam Sandwich; the difference being that, in the latter, t here is simply lots to see. Fisher (2005, p. 192) rallies the benefits of exposing children to pictures as ââ¬Å"art can help assimilation by developing perceptual sensitivity and discrimination through the study of form, colour, shape and textureâ⬠. This suggests that the blurring in The Sick Cow or the vibrancy of The Giant Jam Sandwich could provide stimulation which specifically develops the academic capacity of the child. Pat Hutchins, author of Rosies Walk, is also responsible for The House That Sailed Away and Im the King of the Castle: and Other Plays for Children which are far wordier examples of childrens literature, set out as plays. Blythe (2005, p.82) notes that encouraging children to articulate is crucial for development as vocal experience supports learning by incorporating language into the self. Similar encouragement can be seen in the direct speech in The Giant Jam Sandwich as well as the animal noises in The Sick Cow. Learning is believed to be received through the senses and thus books which encourage verbal interaction are beneficial as are picture books which engage the visual sense. In addition to art and vocal experience, music is considered to be a powerful tool in mental well being and learning demonstrating that stimulus is not restricted to literature alone. It can be found in a number of artistic pursuits. Tame (1984) outlines Dr. Tartchanoffs scientific studies into the effect of music noting that ââ¬Å"music exercises a powerful influence on muscular activity sounds are dynamogenicâ⬠and the tempo of rock music, for example, can be detrimental to the digestive system. This physical manifestation is seconded by Blythe (2005, p. 82) who covers the neurological changes when people sing or speak as a group: the central nervous system activity becomes synchronous stress hormones decrease, muscle tension decreases, more oxygen enters the system. They feel high; have a certain clarity of mind and sometimes physical vision Taking into account the ââ¬Ëreading aloud together aspect of picture books which, according to this research, stimulates the brain for physical well-being as well as the work on sensual learning, the picture book is potentially an essential learning tool. Taking this idea further, the lyrical nature of many picture books should also be noted. For example, The Giant Jam Sandwich employs strict couplet rhyme scheme: Bap gave the instructions for the making of the dough. ââ¬Å"Mix the flour from above and yeast from below. Salt from the seaside, water from the spout. Now thump it! Bump it! Bang it about! Even if this technique is not directly mentioned to the child, it is instilling knowledge of rhythm into their subconscious. This could influence a love of music which, according to Dr. Tartchanoff, could be beneficial depending on the genre. If it developed into a passion for group singing then Blythe certainly notes the increased potential for learning, molding the mind to a relaxed state of peace and readiness. If nothing else, the verse makes the story flow and engages the senses which child would not enjoy joining in with those imperatives? In the pursuit of sensual stimulation, The Very Hungry Caterpillar can be seen to attack the visual sense and that of touch. The thick pages display the holes through which the caterpillar has eaten. The child can poke fingers through the gap and feel as if the story is unraveling before their eyes. This is a very tame example compared to the modern books which employ sound effects and fluffy bits. Where does it end? Books on which the child can have a nibble? Perhaps the sight of reading itself is being lost in favour of instant gratification as is the nature of our society. One must question if this matters as long as children are being engaged in literature in some way. And whose face did not light up at the sight of a pop-up book? Making learning fun and interactive is no new phenomena and should not necessarily be seen as threatening. Peter Hollindale (1997, p.75) has faith that ââ¬Å"children take from a story what they want and needâ⬠so perhaps our constant manipulation of sensual stimulation is futile. Some children may simply be predisposed to reading and others not regardless of whether books have pictures. It may simply be a case of nurturing existing talent by tailoring learning to the demands of the individual child. Protheroe (1992, p.48-49) has further concerns that picture books can be detrimental to the development of a childs memory. She argues that it has ââ¬Å"long been established that in human language lexical usage involves a link between a symbol and a concept, not a symbol and referentâ⬠(p.73). She cites that Bower and Winzenz conducted tests which linked memory to active discovery and depiction. Although there is a school of thought which rejects the idea that picture books stunt imagination, Bower and Winzenzs findings cannot be dismissed. Picture books work on the principle of memory association. One of the aims, as well as general stimulus, is to provide the child with a word and an image which they can link in their brain so that the word and its meaning will be easier to retain. Bower and Winzenz suggest that by depriving the child the personal image creation, the link with their memory will be broken. Word and picture association is a common way to strengthen memory rete ntion as is repetition or the use of active imagination: applying a personal image to what the word signifies to you. There are many recommended revision techniques because memory works differently from person to person and thus Protheroe may be right in some cases but it seems prudent to assume that picture association will also help some children when learning to read. After such lengthy discussion about the importance of stimulating and advancing the knowledge of a child comes Alfred Adler (1998, p.181) and his opinion to embrace the simplicity of childrens books. He recognises that to try and accelerate the learning of a child at a young age can be counter-productive: ââ¬Å"All mentally indigestible pulp ought to be kept out of childrens reading until they have reached a certain age of maturity. Unsuitable literature may either be misunderstood, or it may throttle developing social interestâ⬠. While Protheroe flies the flag for interpretation, Adler highlights the potential pitfalls of such a stance: the risk of misunderstanding leading to fear or alienation. And perhaps Adler highlights an interesting point about the aging process. Betty Friedan (1993, p. 50 p.74) explains that social research has indicated that those who show the most tenacity in holding on to the values they developed in childhood were most susceptible to mental instabi lity later in life. This links with Freuds theories of the importance of childhood and the in which people develop much of their personality very rapidly in childhood and subsequent changes in adulthood are often no more than superficial. By speeding up this process even more by presenting children with increasingly complex literature before they have reached that ââ¬Å"certain age of maturityâ⬠that Adler alludes to, children might develop too quickly before they are ready to understand the ramifications thus putting them in a vulnerable psychological position in their adult years. Conversely, if Freuds theories about the importance of childhood development are to be subscribed to, it would also be dangerous to stunt a childs knowledge and understanding at such a crucial time in their psychological growth. As Moebius (1986) notes, the picture book should be preserved as ââ¬Å"the last frontier of innocenceâ⬠and, as such, should not be corrupted by being held under exce ssive scrutiny. In the pursuit of literacy the importance of stimulus must be stressed. An active brain will promote literacy or, at least, a thirst for education whether that is artistic, mathematical or scientific. Literacy is achieved through developing children with a healthy relationship with books, whether they grow up to read Crime and Punishment or with a penchant for Mills and Boone; to implement a literary hierarchy would be a demonstration of snobbery and artistic ignorance. Literacy is independent from the literary canon. Denying children colourful pictures also seems to suggest that visual art is not as valuable as literature which is similarly unbalanced. Children should learn that art is about equality and, although they can embrace their preferred medium, they should not discount other forms of expression or consider them inadequate. Combining literature with pictures demonstrates the way in which art forms can effectively interact. Art forms are not exclusive. Furthermore, if employing pictures to captivate a child also inexplicably entwines their mind with the text then, what is the harm? Many adults reserve a special place in their hearts for their childhood favourites: from Noddy to The Very Jolly Postman; from The Mr. Men books to The Velvetine Rabbit: their love of reading may be pinpointed to these very affairs. It seems unfair to deny young readers of today these warm, fuzzy memories of bright funny pictures and exciting colours for fear of patronising them. Children should be allowed to be children before the age of five rather than constantly pushing them to develop more rapidly if they are ready to advance then that could be nurtured on an individual basis. The fact is, with children, with people even, the way in which a mind works varies from person to person so it seems futile to prescribe an overall right or wrong on picture books. The marriage of text and pictures will spark the imagination of some children while others will derive stimulation from constructing mud pies in the garden. Modern children should not be robbed of the colours of innocence; even if the modern colours of innocence come in the form of The Tweenies.
Saturday, January 18, 2020
Mystery of Genghis Khan
Why is the great warrior and Mongolian icon Genghis Khan perceived as a destructive and genocidal warlord? Why is there a negative perception about him in spite of his achievements and glories? Genghis Khan was a political and military leader of Mongolia. He is revered as the greatest Mongolian ever born. He is credited with uniting the nomadic Mongol tribes and creating the Mongol empire, the largest contiguous empire in World History. The chronicler Minhaj al-Siraj Juzjani left a description of Genghis Khan, written when Genghis Khan was in his later years: ââ¬Å"[Genghis Khan was] a man of tall stature, of vigorous build, robust in body, the hair on his face scanty and turned white, with cat's eyes, possessed of dedicated energy, discernment, genius, and understanding, awe-striking, a butcher, just, resolute, an over thrower of enemies, intrepid, sanguinary, and cruel.â⬠The Mongol Empire ended up ruling, or at least briefly conquering, large parts of modern day China, Mongolia, Russia, Azerbaijan, Armenia, Georgia, Iraq, Iran, Turkey, Kazakhstan, Kyrgyzstan, Uzbekistan, Pakistan, Tajikistan, Afghanistan, Turkmenistan, Moldova, South Korea, North Korea, and Kuwait under his military rule. He was not only a great warrior but also a great ruler. He created the Yassa code which was the military and civil code for Mongolian Empire. The Mongol Empire was one of the most ethnically and culturally diverse empires in history, as befitted its size. There were tax exemptions for religious figures and so to some extent teachers and doctors. The Mongol Empire practiced religious tolerance to a large degree because it was generally indifferent to religious beliefs. Genghis Khan had a lot of virtues worthy of a true leader and statesman. Simplicity, honesty and loyalty were the cornerstones of his life. Yet, accounts of Genghis Khan's life are marked by claims of a series of betrayals and conspiracies. These include rifts with his early allies such as Jamuqa (who also wanted to be a ruler of Mongol tribes) and Wang Khan (his and his father's ally), his son Jochi, and problems with the most important Shaman who was allegedly trying break him up with brother Qasar who was serving Genghis Khan loyally. Many modern scholars doubt that all of the conspiracies existed and suggest that Genghis Khan was inclined to paranoia. He was largely tolerant of religions. The exception was when religious groups challenged the state. For example Ismaili Muslims that resisted the Mongols were exterminated. In Iraq and Iran, he is looked on as a destructive and genocidal warlord who caused enormous damage and destruction. Similarly, in Afghanistan and Pakistan (along with other non-Turkic Muslim countries) he is not looked with favor though some are ambivalent. It is believed that the Hazara of Afghanistan is descendants of a large Mongol garrison stationed therein. Nevertheless, the invasions of Baghdad and Samarkand caused mass murders, for example, and much of southern Khuzestan was completely destroyed. His descendant Hulagu Khan destroyed much of Iran's northern part. Among the Iranian peoples he is regarded as one of the most despised conquerors of Iran, along with Alexander and Tamerlane. In much of Russia, Ukraine, Poland and Hungary, Genghis Khan, his descendants and the Mongols and/or Tartars are generally described as causing considerable damage and destruction. Presently Genghis Khan, his descendants, his generals and in general the Mongols are remembered for their ferocious military, toughness, ruthless and destructive conquests in much of the world in history books. In military strategy, Genghis Khan generally preferred to offer opponents the chance to submit to his rule without a fight and become vassals by sending tribute, accepting residents, contributing troops. He guaranteed them protection only if they abided by the rules under his administration and domain, but his and others' policy was mass destruction and murder if he encountered a resistance. For example David Nicole states in The Mongol Warlords, ââ¬Å"terror and mass extermination of anyone opposing them was a well tested Mongol tactic.â⬠In such cases he would not give an alternative but ordered massive collective slaughter of the population of resisting cities and destruction of their property, usually by burning it to the ground. Only the skilled engineers and artists were spared from death and maintained as slaves. Documents written during or just after Genghis Khan's reign say that after a conquest, the Mongol soldiers looted, pillaged, and raped; however, the Khan got the first pick of the beautiful women. Some troops who submitted were incorporated into the Mongol system in order to expand their manpower; this also allowed the Mongols to absorb new technology, manpower, knowledge and skill for use in military campaigns against other possible opponents. There also were instances of mass slaughter even where there was no resistance, especially in Northern China where the vast majority of the population had a long history of accepting nomadic rulers. Many ancient sources described Genghis Khan's conquests as wholesale destruction on an unprecedented scale, causing radical changes in the demographics of Asia. For example, over much of Central Asia speakers of Iranian languages were replaced by speakers of Turkic languages. According to the works of Iranian historian Rashid al-Din, the Mongols killed more than 70,000 people in Merv and more than a million in Nishapur. China suffered a drastic decline in population during 13th and 14th centuries. For instance, before the Mongol invasion, unified China had approximately 120 million inhabitants; after the conquest was completed in 1279, the 1300 census reported roughly 60 million people. How many of these deaths were attributable directly to Genghis Khan and his forces are unclear, as are the highly generalized numbers themselves. In addition, some modern scholars question the validity of such estimates, since the methodology of the 1300 census likely underestimated the population. [citationà needed] His campaigns in Northern China, Central Asia and the Middle East caused massive property destruction for those who resisted his invasion; however, there are no exact factual numbers available at this time. For example, the cities of Ray and Tus, the two largest and most populous cities in Iran at the time, both centers of literature, culture, trade and commerce, were completely destroyed by order of Genghis Khan. Nishapur, Merv, Baghdad and Samarkand suffered similar destruction. There is a noticeable lack of Chinese literature that has survived from the Jin Dynasty, due to the Mongol conquests. In Mongolia the topic of Genghis Khan was taboo and was heavily suppressed by the Soviet-backed Mongolian communist government. He was largely described as a bad person and a tyrant. However, after the fall of the communist government and the onset of democracy in Mongolia, the memory of Genghis Khan has been catapulted to legendary status. Mongols today celebrate him as the founding father of Mongolia. Negative views of Genghis Khan are very persistent with histories written by many different people from various different geographical regions often citing the cruelties and destructions brought upon by Mongol armies, but some historians are looking into positive aspects of Genghis Khan's conquests. Genghis Khan is sometimes credited with bringing the Silk Road under one cohesive political environment. Theoretically this allowed increased communication and trade between the West, Middle East and Asia by expanding the horizon of all three areas. In more recent times some historians point out that Genghis Khan instituted certain levels of meritocracy in his rule and was quite tolerant of many religions. For instance in much of modern-day Turkey, Genghis Khan is looked on as a great military leader and even many male children are named after him with pride. à à Ã
Friday, January 10, 2020
Nhs Scholarship Essay Samples Secrets That No One Else Knows About
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Wednesday, January 1, 2020
Scapegoats In The Scarlet Letter And The Awakening
Scapegoats in The Scarlet Letter and The Awakening The act of blaming others for problems is a common phenomena that occurs not only in our society, but also in literature. In Nathaniel Hawthorneââ¬â¢s The Scarlet Letter, Pearl Prynne represents the scapegoat. Throughout the novel, the townspeople put the blame of Hester Prynne s sin on Pearl and Hester grows as a person. Pearl gives Hester a daily reminder of her sin and Hester grows to becomes a happier, better person in response. In addition, another example of a scapegoat is Leonce Pontellier and the children, from Kate Chopinââ¬â¢s The Awakening. Edna Pontellier blames her husband and children for holding her back from reaching happiness and independence. All things considered, theâ⬠¦show more contentâ⬠¦Overall, the archetype of a scapegoat, in literature or history, exemplifies an important role. The scapegoat is a character that has an important tie to the problem the protagonist. In other words, the scapegoat isnââ¬â¢t a random person, and one of the biggest scapegoats in literature was Tom Robinson. Although Tom wasnââ¬â¢t blood related to the Finchââ¬â¢s, Atticus was representing Tom in trial, which is the relation to the protagonist in this novel. As shown above, a scapegoat is a valuable person in literature, as well as real life. They provide a connection to the protagonist that is not like any other character. All in all, the archetype of a scapegoat is imperative in literature and the world, and continues to impact our society everyday. The archetype of a scapegoat is represented by Pearl Prynne in Nathaniel Hawthorneââ¬â¢s The Scarlet Letter. In the novel, the townspeople view Pearl as a personification of Hester Prynne s sin, and they do not treat her fairly because they only see her as the result of a horrible crime. And although Hester doesnââ¬â¢t see Pearl in this light for the most part, there is a time in which her view on her daughter changes. The village blames Pearl because they need to find someone to blame it on, which illustrates the role of a scapegoat in a novel. A scapegoat is an innocent character in which a problem is blamed on. In this case, the puritans put responsibility on Pearl because they can not blame Hester anymore. She isShow MoreRelatedVampire Diaries61771 Words à |à 248 Pages/* /*]]*/ THE AWAKENING Vampire Diaries Volume 1 By Lisa J. Smith Contents Chapter One Chapter Two Chapter ThreeChapter Four Chapter FiveChapter Six Chapter Seven Chapter Eight Chapter NineChapter Ten Chapter ElevenChapter Twelve Chapter ThirteenChapter Fourteen Chapter FifteenChapter Sixteen Are you having a good time? Elena asked. I am now. Stefan didnt say it, but Elena knew it was what he was thinking. She could see it in the way he stared at her. She had never been so sure of
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