We Cannot Live in It Can We Live Without It Essay Example for Free

We Cannot Live in It Can We Live Without It Essay Water is very important to us. Period. We will die without it, but unfortunately we also can not live with too much water. Our bodies are not designed to handle too much water. Our infrastructures also can not withhold massive amounts of water. Therefore we hope things like tsunamis, or hurricanes or typhoon or heavy snowfall or blizzard would not occur in an extreme manner. We all know our resources are depleting and I am going to encourage you to find ways to safe water. We have too much water this year, thats true. At the moment, despite of too many chaotic problems happening in the Arabian countries, other countries are trying to stay alive fighting with the environment. Australia has so much water, flood upon floors. Brazil as well, also flood. Many parts of Europe are having so much snow this winter, and even in US, many states are just struggling to keep their home premises snow-free. So why should we start to save water? and How? Good old days. In the good old days, people collect rain water. I remember my grandmothers garden had 3 huge vase like the picture on the right at the corner of the house where the pipes would hang out from the roof. When it rains the rainwater would flow down to these huge vase. Save money my grandmother replied whenever I ask her why she had those three huge vases in the garden. I dont have to use clean water to water plant. They dont need drinking water, rainwater is the best for them. Very natural, good for me and for them. When she washed the rice, she would not just throw away the rice water, she would pour it over her plants. Or when she washed fish or shrimps. she would do the same. Very nutritious for them. She would tell me. The good old days, people then would look at the resources around them and then think about how the resources can benefit humans and nature. Now, what happen between good old days and now? Water is an increasingly and precious topic of discussion worldwide. The irrational use and pollution from major sources (rivers and lakes) can cause a lack of fresh water very soon, if no action is taken. Soon there will be a lack of water for irrigation in many countries, especially in poor countries. The continent hardest hit by water shortages are: Central Asia, Africa and the Middle East. The need for fresh water increased about two times more than the world population. This was caused by high consumption of water for industrial and agricultural areas. Unfortunately, only 2.5% of Earths water is fresh water. The main causes of deterioration of rivers, lakes and oceans are pollution and contamination by pollutants and sewage. Humans have caused all this damage to nature, through the waste, sewage, industrial waste and mining without control. Aquifers (large underground reserves of fresh water) have already been explored. In South America, we have one of the largest aquifers in the world. Much of the water of this aquifer is located in the Brazilian underground. Studies of the World Water Commission and other international agencies show that billions of people on our planet are living without the bare minimum of health conditions. Millions of persons have no access to drinking water. Given these serious problems, several diseases such as diarrhea, hepatitis and many others are spread. Haiti According to the Center for Infectious Disease Control (CDC), based in Atlanta, United States, approximately 1.3 million Haitians are still living in relief camps after the January earthquake, hindering access to drinking water, health conditions and health care. The first cases of the disease, transmitted through contaminated water or food, were recorded at the river Arbonite, in the north. Cases of cholera have been identified in all ten regions of Haiti. About 1,100 people have died from the disease last month. In total at least 17 000 cases of the disease have been recorded. It is necessary that the public be informed that the disease is treatable. Cholera causes diarrhea and vomiting, leading to acute dehydration. The disease can kill quickly, but is easily treated with antibiotics and hydration. Simple measures can help us avoid the water-borne diseases: Bathe daily; Using the toilet; Wash hands thoroughly before and after using the toilet; Wash hands thoroughly before eating; Trim fingernails and keep them clean; Only drink water that has been filtered and / or boiled; Wash fruits and vegetables before eating them; It is estimated that 76% of Haitians live on less than $ 3 per day and 50% have less than $ 1 a day. A bar of soap costs in normal times, $ 0.50 in most markets and Haitians, for many families, washing hands turned a potentially fatal dilemma between using the little money to buy soap or buy food. The head of the NGO Doctors without Borders in Haiti, the Italian Stefano Zannini, in a tone of relief and frustration in an interview last Wednesday, said that the workload is stressful. It is not easy to work with the smell, the noise and pressure of so many patients. He said they are working 24 hours a day and they are overloaded. Zannini also says none of the measures to contain the epidemic is meant to doctors. They depend on washing hands; have clean water and be provided by suitable target to corpses and human feces.

Home vs. The Exotic in Shakespeares The Tempest Essays -- Shakespeare

Home vs. The Exotic in Shakespeare's The Tempest Home. Just the word conjures up feelings of familiarity and comfort, a place that is welcoming and memorable. Does home necessarily have to represent a place? Rather, can it encompass a multitude of feelings and objects that represent comfort and ease? The post-colonial novel often strives to strike a balance, whether it be uneven, between what is considered foreign and exotic and that which is homely and familiar. Post-colonial literature frequently is representative of the interplay between characters' experiences in an exotic environment versus those at home. With this interplay between home and the exotic comes a dynamic complexity that explores themes such as fears and desires, freedom, gender roles, and sexuality. With an overarching comparison between home and a foreign environment, the many layers of the meaning of post-coloniality can be filtered out and explored in depth. Shakespeare's play, The Tempest, serves as an excellent example of the interaction between the ideas of home and the exotic. These ideas are not only displayed in setting, but also represented by many of the main characters in the play. The study of this play can be considered a re-interpretation of a canonical text in light of post-colonial themes. The story is one of intrigue that explores the personalities of individual characters and their role in relation to what they consider as home and foreign. The characters that are most important in explaining these ends include Prospero, his daughter Miranda and Prospero's two servants, Ariel and Caliban. Each one has a set of separate experiences on the island that shape their ability to determine what they find comforting and homely and what is exoti... ...sa. This somewhat simple observation has resounding qualities in this post-colonial text as it blurs the defining line between home and the exotic. It can be concluded from these observations that the ideas of homeliness and exoticness are not necessarily balanced in the post-colonial text, but rather blurred so the definitions are defined with each other instead of against each other. Apparent from this play, the post-colonial text ties in the features of home and the exotic while incorporating various post-colonial themes. The Tempest, being considered a canonical text, has undergone re-interpretations in a post-colonial light to display varied themes central to texts written and referring to time periods during and after colonization. Through the character's experiences, the ideas of home and the exotic are exposed, revealing post-colonial meanings and ideas.

Symbolism in English Literature

Archetypal figures present in Chaucer’s â€Å"The Miller’s Tale† By Jose Luis Guerrero Cervantes According to Swiss psychiatrist Carl Jung, an archetype is a symbolic formula that begins to work wherever there are no conscious ideas present. They are innate universal psychic dispositions that form the substrate from which the basic themes of human life emerge[1]. The archetype is experienced in projections, powerful affect images, symbols, moods, and behavior patterns such as rituals, ceremonials and love. Jung[2] compared the archetype, the pre-formed tendency to create images, to a dry river bed. Rain gives form and direction to the flow, we name the river, but it is never a thing located in any place, it is a form but never the same, it is always changing but it is still a river. Following this analogy, the archetype would be the dry river bed that motivates and modifies our conscious understanding of ourselves and the world (the water of the river) from which emotions, attitudes and ideas arise. It is possible to track the use of archetypes in universal literature, according to Joseph Campbell[3], from the origins of human civilization. Archetypes help Chaucer to his main purpose when writing The Canterbury Tales: to reflect on the personal concerns and solutions of the evolving medieval society of his time. Characters with strong archetypal features has an automatically and unconsciously effect in the reader’s mind, allowing his mind to recognize experiences, emotions, and typical patterns of behavior, establishing a â€Å"dialog† or â€Å"unconscious link† between the reader and the text. The purpose of the present essay will be to identify such archetypal characters and situations and their impact in the reader’s psyche. [4] It is possible to recognize in Nicholas’ behavior elements that match with the archetype of the â€Å"Trickster†. In mythology, and in the study of folklore and religion, a trickster is a god, goddess, spirit, man, woman, or anthropomorphic animal that plays tricks or, otherwise, disobeys normal rules and conventional behavior[5]. In modern literature, the classical figure of the trickster survives as a character not necessarily supernatural or divine, but as a clever, mischievous man or creature, who tries to survive the dangers and challenges of the world using trickery and deceit as defense. For example, many typical fairy tales present kings who want to find the best man for his daughter by setting a trial to obtain the hand of his daughter. Brave knights are not able to overcome the trial until a poor and simple peasant comes. Armed only with his wits and cleverness, instead of fighting, he evades or fools the obstacles between him and the desired object. This way, the most unlikely candidate passes the trials and receives the reward. One example of this character in English Literature is Shakespeare’s Bassanio in The Merchant of Venice who, in order to marry Portia, must pass a trial set by Portia’s father. In this case, Nicholas is described similarly to this archetype: This lad was known as Nicholas the Gallant, And making love in secret was his talent, For he was very close and sly, and took Advantage of his meek and girlish look[6]. Nicholas is characterized as somebody whose main attributes are not physical strength or economic power, but cleverness in managing the weak points of people for his own benefit (expressed in the words â€Å"talent†, â€Å"sly†, â€Å"took advantage†) hidden under a humble figure (expressed in the word â€Å"meek†). Here it is possible to identify the breaking of conventional behavior that it is proper of the classical tradition when it is said that Nicholas makes love â€Å"in secret†. In addition, in order to gain Alison, he must figure out a trick, otherwise, both might die if caught together. Alison’s behavior, on the other hand, shows characteristics that matches with the â€Å"Anima† archetype developed at the level of â€Å"Eve†. The Anima and Animus, in Carl Jung's school of analytical psychology, are the unconscious or true inner self of an individual, as opposed to the outer aspect of personality. In the unconscious part of men’s mind, it finds expression in a feminine inner personality. Anima, in contrast, is in the unconscious of women and it is expressed as a masculine inner personality. It can be identified as the totality of the unconscious feminine psychological qualities that a male possesses; or the masculine ones possessed by the female. The positive anima qualities of a man are tenderness, patience, consideration, kindness and compassion; then the negative anima qualities of a man are vanity, moodiness, bitchiness, and easily hurt feelings[7]. Jung believed anima development has four distinct levels, which he named Eve, Helen, Mary, and Sophia. Eve level is named for the Genesis account of Adam and Eve. It deals with the emergence of a male's object of desire, yet simultaneously generalizes all females as evil and powerless. This means that when an object of desires arises, the archetype shows an opposite behavior from that she had shown previously[8]. In the preliminary description of Alison, Chaucer describes Alison (with ecstasy and accuracy) this way: She was a fair young wife, her body as slender As any weasel’s, and as soft and tender; She used to wear a girdle of striped silk; Her apron was as white as morning milk Over her loins, all gusseted and pleated. White was her smock; embroidery repeated Its pattern on the collar, front and back, Inside and out; it was of silk, and black. The tapes and ribbons of her milky mutch Were made to march her collar to a touch; She wore a broad silk fillet, rather high, And certainly she had a lecherous eye. And she had plucked her eyebrows into bows, Slenderly arched they were, and black as sloes; And a more truly blissful sight to see She as than blossom on a cherry-tree, [†¦] Her mouth was sweet as mead or honey –say A hoard of apples lying in the hay. Skittish she was, and jolly as a colt, Tall as a mast and upright as a bolt Out of bow. [†¦] She was a daisy, O a lollypop For any nobleman to take to bed Or some good man of yeoman stock to wed. [9] Everything in her is lovely. Chaucer centers his attention on the physical description and little is said about her character. However, the adjectives â€Å"skittish†, â€Å"jolly†, â€Å"tall† and â€Å"upright† describe her as someone irreproachable in any sense. After she falls in love with Alison, all the marvelous image of Alison disappears when she decides to play a cruel joke to Absalon: Absalon started wiping his mounth dry. Dark was the night as pitch, as black as coal, And at the window out she put her hole, And Absalon, so fortune framed the farce, Put up his mouth and kissed her naked arse Most savorously before he knew of this. [10] As it can be observed, Alison’s attitude changes dramatically after meeting Nicholas (the object of desire). This desire unleashes those feelings that are the negative counterpart of the male â€Å"Animus†. â€Å"Eve† development of â€Å"Anima† helps to generalize all women as evil, and Alison attitude towards Absalon reinforces this belief. John represents the archetypal of â€Å"The Child† in the developed degree of â€Å"The abandoned†. In Jungian psychology, it refers to an instinctual pattern of thought or symbolic imagery derived from the past collective experience (Jung referred to this as â€Å"the collective unconscious†), and present in the individual unconscious. We were all children at one time and we can remember the freedom of being a child, the unconditional love we received from our parents, the spontaneous laughter, how we innocently accepted things as they were and let our imaginations run wild. All those experiences left a mark in the unconscious and arise under certain conditions. In this case, the condition is the fear of losing Alison what makes this feeling to arise[11]. The Abandoned (Orphaned) Child archetype can easily be seen in characters like Dorothy in the Wizard of Oz or Oliver in Oliver Twist. The fear of losing a caretaker and the feeling of vulnerability makes the character to proceed in a blind, precipitously way. Jealous he was and kept her in the cage, For he was old and she was wild and young; He thought himself quite likely to be stung. It is possible to notice here that John’s fear for losing Alison makes him to keep her out of the sight of the rest, â€Å"in the cage†. Nicholas takes advantage of this fear and uses it to deceive him in a childish way. ‘This world’ he said, ‘in just about and hour, Shall all be drowned, it’s such a hideous shower, And all mankind, with total loss of life’. The carpenter exclaimed, ‘Alas, my wife! My little Alison! Is she to drown? ’ And in his grief he very near fell down. As it was explained before, innocence is a mark of our childhood, and here innocence is incarnated by John. Absalon represents the archetype of the â€Å"Shadow†. In Jungian psychology, the shadow or â€Å"shadow aspect† is a part of the unconscious mind consisting of repressed weaknesses, shortcomings, and instincts. It is a link to the most primitive animal instincts, which are superseded during early childhood by the conscious mind. According to Jung, the shadow, in being instinctive and irrational, is prone to project: turning a personal inferiority into a perceived moral deficiency in someone else. It is the link to the most primitive animal instincts that are superseded during early childhood by the conscious mind, like the survival instinct. Absalon plans his vengeance for the cruel joke played on him and reacts in a even more violent way than his aggressors: Said Absalon, all set to make a launch, ‘Speak, pretty bird, I know not where thou art! ’ This Nicholas at once let fly a fart As loud as if it were a thunder-clap. He was near blinded by the blast, poor chap, But his iron was ready; with a thump He mote him in the middle of the rump. This way, Absalon fulfills his vengeance by recalling his most instinctive, irrational feelings. In the situations present in the tale it is also possible to identify two archetypal situations: â€Å"The Task† and â€Å"The love Triangle†. â€Å"The Task† is that situation in which a character is required to perform a task that will restore balance. It is commonly found n literature in the situations like to save a kingdom, to win the fair lady, the identification of the hero so he may reassume his rightful position, etc[12]. Examples of this archetypal situation in English literature are when Arthur pulls Excalibur from the stone or when Beowulf slays Grendel. In this case, the task set for Nicholas is to consume his union with Alison using his cleverness to deceive his husband who has her â€Å"in a cage†. The reader is not told about the plan, so the reader and the fooled characters go hand-in-hand in the discovery and the development of the plan, holding the attention of the reader. The â€Å"love triangle† works in a similar way than â€Å"The task†, however the task appeals to the â€Å"logos† of the reader, while the â€Å"love triangle† appeals to the â€Å"ethos†. In addition, â€Å"the love triangle† works as the counterpart of the â€Å"Requited Love†, which is used to enhance the nobler feelings of human nature: sacrifice, loyalty, friendship, fidelity, etc. The â€Å"love triangle† enhances rivalry, fight, deceit, infidelity, etc[13]. It is possible to observe how the love triangle made Nicholas to figure out an ingenious trick to have sex with the John’s wife (infidelity), the showing of the darkest side of pure Alison, the wrath of easygoing Absalon, and the showing of the dumbest side of John. It is possible to conclude, after all this analysis that â€Å"The Miller’s Tale†, as the whole Canterbury Tales, explores the nature of human being life and behavior of the people of his time, making the reader to do an introspective view of his own life. The characters of â€Å"The Miller’s tale† are very likely to common people, functioning as a mirror in which society can see itself. The empathy that Chaucer is able to establish between the characters, their situations and the readers is possible because he appeals to those universal characteristics that human beings seem to share beyond race, distance, culture and time. These pre-figured behavior, or archetype, causes an unconscious reaction on the reader, putting them in the same, Jung would say, â€Å"psychogenetic frequency†. Therefore, it possible to explain why the Canterbury Tales is a universal piece of work: because it will never lose validity. It appeals to values and characteristics that do not seem to change in time, since it is possible to identify them in the universal literature of all times. BIBLIOGRAPHY Brunel, Pierre. Companion to Literary Myths, Heroes and Archetypes. New York. Routledge. 1992. Chaucer, Geoffrey. The Canterbury Tales. Translated by Nevill Coghill. Penguin. London. Penguin. 2003. Franz, Marie-Louise von. Archetypal Patterns in Fairy Tales. Toronto. Inner City. 1997. Herz, Sarah K. , and Donald R. Gallo. From Hinton to Hamlet: Building Bridges Between Young Adult Literature and the Classics. 2nd ed. Westport. Greenwood. 2005. Holman, C. Hugh, and William Harmon. A Handbook to Literature. 6th ed. New York. Macmillan. 1992. Johnson, Terry D. , and Daphne R. Louis. Bringing It All Together. Portsmouth. Heinemann. 1997. Joseph Campbell. The hero with a thousand faces. California. New World Library. 2003. Jung, C. G. The Archetypes and the Collective Unconscious. Princeton. Bollingen. 1981. Jung, C. G. â€Å"Phenomenology of the Self† in The Portable Jung. New York. Penguin. 1976. Stevens, Anthony. â€Å"The archetypes† in The Handbook of Jungian Psychology. Renos. Papadopoulos. 2006. ———————– [1] Anthony Stevens. â€Å"The archetypes† in The Handbook of Jungian Psychology. Renos. Papadopoulos. 2006. p. 20. [2] C. G. Jung, The Archetypes and the Collective Unconscious. , Princeton. Bollingen. 1981. p. 9. [3] Joseph Campbell. The hero with a thousand faces. California. New World Library. 2003. p. 23. [4] C. G. Jung. â€Å"Phenomenology of the Self† in The Portable Jung. New York. Penguin. 1976. p. 147 [5] C. G. Jung. Op. cit. p. 18 [6]Geoffrey Chaucer. The Canterbury Tales. Translated by Nevill Coghill. Penguin. London: Penguin. 2003. p. 89. [7] C. G. Jung. Op. cit. 19. [8]. Idem. p. 20. [9] Geoffrey Chaucer. Op. cit. 90. [10] Ibid. p. 103. [11] C. G. Jung. Op. cit. p. 29. [12] Marie-Louise von Franz. Archetypal Patterns in Fairy Tales. Toronto: Inner City, 1997. p. 107. [13] Ibid. p. 89.

Morals And Morals In Homers The Odyssey - 1614 Words

Morals in The Odyssey Each generation is raised with different morals and ethics, and ideas that were once valued become obsolete while other new ideas come to light. The Odyssey, written by Homer, is a collection of stories that were only told orally until Homer wrote them down in the 8th Century. It continues to be a classic greek text taught in classrooms to this day. Homer wrote about a character named Odysseus’ epic journey of taking ten years to get back to his home, after he got out of prison for ten years. The themes that occur throughout the story reflect the characters morals and ethics in the time period and world that they live in. Reading this piece of literature in our current 21st century can convey completely different†¦show more content†¦A few examples of this includes Odysseus sharing stories of his time at the Trojan war, Agememon telling how he was murdered at the Underworld, and Menelaus and Nestor telling their journey from Troy. These stories give background of the characters and reveal an important message. The majority of what the characters in the story know about each other is through the gatherings they have where they tell each other about their exciting whereabouts. Looking at the modern world, stories are not as important to us. More times then not, when an individual wants to say something they use social media so they can let everyone know at once. This is useful because everyone can see what any person has to say or where they go, all just by looking online. On the downside, with social media practices like that personal meaning tends to get lost in communication. While the modern world does still tell stories orally, it is much simpler and faster to simply post the announcement somewhere for everyone to see, or to tell it via text. One theme that definitely illustrates the differences between our morals is the theme of death and afterlife. In the Odyssey, death is a lot more prevalent to the characters. The stories describe a vast paranormal underworld called Hades where people go after death, which is differing to us because in reality we have no idea what comes after our death and do not have a clearShow MoreRelatedEssay on Homers Odyssey as a Moral Epic2528 Words   |  11 Pagesnumber of the works of ancient poetry and literature have been said to carry a moral undertone. Homers Odyssey is no exception. This essay explores the moral positions that the poem seems to adopt. Subsequently, it will show that while the Odyssey is indeed a moral epic, the moral position of the main characters themselves, namely Odysseus and the Gods, can, at times, be questionable.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Loyalty is one moral value that is evident throughout the poem. 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