Silas Marner is a study of alienation and redemption Essay Example

Silas Marner is a study of alienation and redemption Paper Silas Marner is the story of a skilful but unfortunate weaver, who has much misfortune in his life, as he is mis-treated by a close friend called William Dane, during his time as a member of the Lantern Yard sect. After which he was forced to move to the town of Raveloe, which is a small but picturesque village, where he lives a quiet and madesonate lifestyle as a weaver for a long period of fifteen years. In this novel Eliot uses different ways of characterisation for the different characters she uses during the story. Silas Marner, who is the leading figure pf the novel, is a lonely middle-aged bachelor with a small build and protruding, myopic eyes. By trade he is a weaver but more importantly, he is an ordinary man not leading an ordinary life. Throughout the novel we are shown that Silas is a loving and trusting person. These remain constant in Silas, even through the development of his character, the betrayal by his closest friend William Dane and the disgrace of him being found guilty of theft and his exclusion from the Lantern Yard sect have made him unable to have human company for a long period of time. We will write a custom essay sample on Silas Marner is a study of alienation and redemption specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Silas Marner is a study of alienation and redemption specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Silas Marner is a study of alienation and redemption specifically for you FOR ONLY $16.38 $13.9/page Hire Writer At every stage in the development of his character, Eliot has something else to prop Silas up on, that he is very dependant on, something that is outside of himself. His religion at Lantern Yard, his work and gold for the first fifteen years of his life in Raveloe and then after his gold is stolen he finds Eppie and it is then her which he is very dependant on. Silas is very gentle by nature, and he even tells Jem Rodney to return his gold and he will take no action. When Eppie is young he is very lenient with her and cannot even bring himself to hit her when she is naughty. But for all this gentleness he is still not lacking in strength of confidence to defend himself, we see this when he sees injustice, as shown with his little outburst at Lantern Yard and angry reproaches to Godfrey Cass. He also possesses an immense capacity for love. He takes in the child and he never questions will he keep her and love her, he just does this without a thought given to it. Silas is loving enough towards Eppie, that when Godfrey attempts to reclaim Eppie in later life Silas says she can go if she chooses. Even the miserliness that he shows, by him hoarding the gold, is an attempt to fill the void that is left by his lack of love. Even though he remains poor and uneducated throughout the novel. Silass nature is far finer than any other character in the novel including the gentry. Even though he removes himself from religion when he reaches the village of Raveloe, his knowledge and belief is still far superior to that of the Raveloe villagers, as he knows in his heart that in spite of all the doubts along the way, his faith is not based on the unquestioned doctrines. There are many instances of alienation in this novel and most of them happen to Silas. He is at first an influential member of Lantern Yard and not initially alienated but after the betrayal by his closest friend William Dane and Silas is found guilty of theft, the sects leaders and its members turn their backs on him and he becomes alienated from them and their religion and work. Silas does not gain redemption from this sect until the end of the book. Upon arriving in Raveloe Silas self imposes alienation as he feels that he is unable to trust anyone after his closest friend had betrayed him. The people around Silas that belong to the village are very superstitious and uneducated. When he treats Sally Oakes with his knowledge of medical lore they believe that he is a healer but they also think that if he is a healer, he can also hurt people too. He is unwilling to get involved in village life for this reason and also his physical characteristics and his digital dexterity with the loom, play a big part in the fact that they do not trust him, his large protruding eyes and the fact that he has catalepsy go along way towards the people thinking he is not able to be trusted. It is self imposed for a number of reasons, he no longer feels that he can trust anybody after the events at Lantern Yard and he also no longer believes in what he is told because he thinks that it is all lies. Evidence that he alienated himself from the village: He was generally spoken of as a poor mushed Creature and that avoidance of his neighbours, which Had before been referred to his ill-will, and to a Probable addiction to worse company, was now Considered mere craziness There is still one thing that he will trust and believe in and that is his gold. He believes this because it is not a living things and does not have feelings so it will not be able to betray him. The milieu has a large part to play in this alienation due to the setting that Silas has found himself in. There are great differences between the two settings that Silas has lived in, he was never really alienated from Lantern Yard until right at the very end of his membership, but in Raveloe he is because of the superstitious characteristics that the village people posses. The way in which Silas marner is alienated can also be linked with novels structure is cyclical and it is also almost liturgical to the Christian calendar year, as time is the crucial factor in the novel as the more time that passes the more changes it brings. The alienation can also be linked with the narrative voice of George Eliot; she is motivated by the theme of this novel and guides the views of the readers towards her views. There is an autobiographical element in this writing as Eliot herself once suffered alienation from her father because he did not speak to her for a number of years and also out caste her because of her unorthodox belief in the Christian religion and her relationships with married men. There are also many examples of redemption in this novel, which Eliot also received when her father began to talk to her again. Redemption is where one starts to regain a sense of ones worth. Silass life had become like a spiders web, because he was in the middle and everything span outwards from him and his loom. One day after the New Year had began Silas had been out for a walk, he came back to his cottage and he fell into one of his cataleptic fit whilst standing at his door. He awoke with blurry eyes and saw gold locks on the floor, at first he thought it was his gold but then he touched it and it was the feel of the hair of a baby girl, this was a sign of a new beginning and a miraculous event in his life and this began to make up for all the misfortune that he had experienced and begins to express to the reader that miracles do happen and the wheel will turn a full circle in the end and everybodys luck changes. There is almost something biblical about the moment where he finds the baby girl on the floor in his cottage. Silas begins to find new belief when he finds her on his floor and instantly finds love in his heart for her. There is also a sub plot to this story that also included alienation and redemption was the fact that Godfrey became alienated from both of his wives at different times in the story. Firstly it was self imposed to become alienated from his wife and child because he thinks that it will ruin his chances with Nancy Lammeter and also that she has a drug addiction that he is paying for. Secondly he again imposes the alienation upon himself but this time it was not from his second wife Nancy but from her affections towards him. He begins to think that their marriage is pointless as she is unable to have children and is unwilling to adopt because she is a very superstitious woman and thinks if she cannot have them, then she was not made to have them. There is redemption for him too though on both occasions. On the same night that Silas gains redemption, Godfrey also gains redemption from his alienation from his first wife. His wife was found frozen to death after she had gone out to show up at Squire Casss New Years party but had not made it all the way, she was found outside Silass cottage and her daughter had wandered off into Silass cottage and he claimed her for his own. There is redemption on the second occasion for Godfrey but it is then taken harshly away from him, when he offers Eppie a chance to come and live in his house, with all the luxuries that she would never experience while with Silas and she refuses. Godfrey would have been happy to take her away from the man she has called dad for all those years, without even giving it a second thought. He begins to realise that this is very selfish and it is his own fault, unlike when Silass gold was stolen. Throughout the novel the readers response is guided by the narrative voice, this is because of the explicit moralizing during the persona that is adopted by Eliot and this guides the didactic element to the novel. The persona throughout this novel is on of a sensitive and a wise commentator upon the human life. The narrator is both sympathetic and humane towards the characters. The didactic elements are very simple to see and should be picked up by even the simplest of readers, they are homely and are observations based upon natural imagery. The narrative structure is divided up into two parts. The development of Silas Marners character is put into part one and this has a main and a sub plot. The main is Silas Marner and his life and the sub plot being Godfrey and Dunsten. The second part involves a main and a sub plot also. The main plot being Silas and Eppie, with the sub plot again involving Godfrey and his wife Nancy. The different parts that structure the novel are forever changing in the novel and this guides the reader to a much better understanding of Silass character and the divine power of providence, which involves the wheel of life that will always turn a full circle to change peoples luck. The understanding of this is vital to the plot and understanding of the story. All this contributes and conveys the impression to the reader the views held by George Eliot that human life is very much conveyed by didactic intentions.

The 5 Sectors of the Economy

The 5 Sectors of the Economy A nation’s economy can be divided into various sectors to define the proportion of the population engaged in different activities. This categorization represents a continuum of distance from the natural environment. The continuum starts with primary economic activity, which concerns itself with the utilization of raw materials from the earth, such as agriculture and mining. From there, the distance from natural resources increases. Primary Sector The primary sector of the economy extracts or harvests products from the earth, such as raw materials and basic foods. Activities associated with primary economic activity include agriculture (both subsistence and commercial), mining, forestry, grazing, hunting and gathering, fishing, and quarrying. The packaging and processing of raw materials are also considered to be part of this sector. In developed and developing countries, a decreasing proportion of workers is involved in the primary sector. Only about 2 percent of the U.S. labor force is engaged in primary sector activity today, a dramatic decrease from the mid-19th century when more than two-thirds of the labor force consisted of primary-sector workers. Secondary Sector The secondary sector of the economy produces finished goods from the raw materials extracted by the primary economy. All  manufacturing, processing, and construction jobs lie within this sector. Activities associated with the secondary sector include metalworking and smelting, automobile production, textile production, the chemical and engineering industries, aerospace manufacturing, energy utilities, breweries and bottlers, construction, and shipbuilding. In the United States, a little less than 15 percent of the working population is engaged in secondary sector activity. Tertiary Sector The tertiary sector of the economy is also known as the service industry. This sector sells the goods produced by the secondary sector and provides commercial services to both the general population and to businesses in all five economic sectors. Activities associated with this sector include retail and wholesale sales, transportation and distribution, restaurants, clerical services, media, tourism, insurance, banking, health care, and law. In most developed and developing countries, a growing proportion of workers is devoted to the tertiary sector. In the United States about 80 percent of the labor force is tertiary workers. The Bureau of Labor Statistics puts non-agriculture self-employed into its own category, and that accounts for another 5 percent of workers, though the sector for these people would be determined by their job. Quaternary Sector Although many economic models divide the economy into only three sectors, others divide it into four or even five sectors. These final two sectors are closely linked with the services of the tertiary sector. In these models, the quaternary sector of the economy consists of intellectual activities often associated with technological innovation. It is sometimes called the knowledge economy.   Activities associated with this sector include government, culture, libraries, scientific research, education, and information technology. These intellectual services and activities are what drives technological advancement, which can have a huge impact on short- and long-term economic growth. Quinary Sector Some economists further subdivide the quaternary sector into the quinary sector, which includes the highest levels of decision making in a society or economy. This sector includes top executives or officials in such fields as government, science, universities, nonprofits, health care, culture, and the media. It may also include police and fire departments, which are public services as opposed to for-profit enterprises. Economists sometimes also include domestic activities (duties performed in the home by a family member or dependent) in the quinary sector. These activities, such as child care or housekeeping, are typically not measured by monetary amounts but contribute to the economy by providing services for free that would otherwise be paid for.

Somali Food Security Crisis Essay Example | Topics and Well Written Essays - 750 words

Somali Food Security Crisis - Essay Example Based on the UNHCR reports almost a million of its citizens are internally displaced. The food price crisis in the country is on the rise due to a wide range of macroeconomic shocks which are principally driven by the increase in civil insecurity, and conflict which has been the worst the state has seen ever since its collapse in the early 1990s. The most overwhelming macroeconomic surprise is the dramatic devaluation of its currency. Following unrestrained and excessive printing of the shilling currency, notes began to deluge the markets in 2007, quickly increasing the money supply and sending the worth of the Somali currency into freefall. The Somali Shilling deflated by 145% in opposition to the US dollar in 2007 and by 150% in the following year. Due to this, imports have become more expensive, and the amplified costs have resulted in high prices borne by consumers. Apart from the soaring food prices, little rainfall is also to be blamed for the increase in the food crisis. Somal ia is located at the Horn of Africa where little or no rainfall is experienced in the country. Majority of the country’s land is arid or semi-arid within limited areas being fertile for farming. Lack of rainfall coupled with minimal farming activities has resulted in the lack of food that can sustain the population; hence, the crisis. Military conflicts have resulted in mass displacement, in addition to blockades of a number of big towns. This has restrained the availability of both locally produced staples and imported.

Hamilton Term Paper Example | Topics and Well Written Essays - 1750 words

Hamilton - Term Paper Example In 1815, there was a chopping mill that became the forts industry in this area. The area grew speedily which was aided in 1827 by a channel to Burlington Bay that is in line with Lake Ontario. In 1833, Hamilton was incorporated as a police village where a legislature was thereafter passed where it was able to establish a market1. When the town of Hamilton was first incorporated in 1833, its first order of business was to establish place for its board to meet where they met at local taverns like Thomas Wilson Inn at Jackson Streets. Hugh Cossart Baker established the first life insurance company in Canada.2 It later became the first functioning railway that transformed Hamilton into a major center for the immigration route from Boston and Newyork to Chicago. In 1856, the town saw the first locomotives built. In 1862, Hamilton town invested in the Great Western Railway and at the end of the Depression in 1862, the population in the town had dwindled since it was not able to meet the interests on its bonds held by British investors. In the 1870s era the town started to have a financial edge and shifted to an economic strategy of attracting the industry. It saw the birth of working class in 1872 and unionists that created the Nine Hour Movement that was to fight for limited hours to nine daily by the government. The same era saw the Bank of Hamilton established which lasted until 1924. It merged with The Commerce that later became the Canadian Imperial Bank of Commerce. In 1847, the town established the first department store. The town played a huge role in the telephone development. In 1877, Hugh Cossart Baker Jr established the first commercial telephone in Canada in the town of Hamilton. He also established the first telephone exchange in the British Empire. He made the town to be the first commercial site for long distance telephone line in the British Empire. This paved

Developments of West End Musical Scene

Developments of West End Musical Scene Discuss the recent developments in the west end musical scene; this should include an analysis of the mega-musical mania, the trend to create new musicals based on existing songs (song migration) and stage transfers of successful films. From Sophocles through William Shakespeare to Eminem, writers have sought to use the rhythms of language to accentuate the story they are seeking to share. The pre-Caxton society relied on an oral tradition to deliver stories of fact and fiction. Cultures spanning the entire globe and all ages of civilization have instinctively adopted musical storytelling; it is prominent in various forms even now – be it around a camp fire, at a tribal ceremony, an inner city playground or on a West End stage. In todays world, language and music are at our fingertips. They are both instantaneous. And they can be married in a second. Technically, music is intricate. Most writers will say the same about language. But in an inspired moment they can conjoin and express something wonderful both sonically and linguistically. The act of constructing such a moment can be the end result of many less fruitful moments – but there is always the chance that it could just happen instantaneously. Our logistical minds tell us that it just is not possible; that we would never be able to express ourselves beautifully and eloquently in musical form. And yet the compulsion to try and do so has arrested most people, even if only for a quickly aborted solitary moment. So perhaps here lies the fascination with musicals. They show life as we know it happily residing in an alternate reality – where music and language are easy bed partners and everything goes to extremes. Or does it? The West End is one of Londons most popular tourist attractions. It has built its reputation, in tandem with New Yorks Broadway, as the commercial mecca of musical theatre. Las Vegas has the showgirls but Broadway and the West End share the showtunes. Indeed, while their identities are undeniably distinct, the relationship between them is close; same sex twins rather than identical ones. Each has their own nuances of behaviour – the younger twin Broadway hunts that bit more keenly for the next off-beat musical whirlwind; the older West End plays percentages but plays them with palpable success. The term West End was originally coined as a geographical short cut – a way of describing a part of London synonymous with theatre. Since its inception into London vernacular the phrase West End has mutated to describe something meta-geographical. While once upon a time it merely represented an actual place, now it also describes the gateway to an invented world of glitz, glamour and show. The West End may still be the home of theatre, but the kind of theatre that it houses has become very easily classifiable. The listings do not lie. And neither do they try to. The West End is a haven for small ideas done big; big names, big shows, big spectacles, big budgets, big risks. The social and artistic significance of theatre as an art form has not suffered in the time since the West End theatres were constructed. But the immediacy of rival entertainments, chiefly television and film, has undoubtedly provided so comfortable an alternative for the borderline theatregoing public that its popularity has. Ultimately, the publics relationship with theatre has somewhat inverted itself; once the entertainment of the people, theatre has become high-brow, elitist, exclusive even. Or so we are led to believe. Every year the people entrusted with running the countrys theatres are ensconced in attempts to make theatre more accessible. Nicholas Hytner at the National Theatre has incorporated a sponsorship deal with Travelex with the express purpose of enabling its shows to be available to people for as little as  £10 a ticket. Theatrical output is continuing to diversify in new directions. The National Theatre still produces the time-honoured classics that will appease their traditional supporters. But they also invited outside companies including Theatre de Complicite, Improbable, Shunt and Kneehigh to co-develop their new work. Arts Council funding dictates a certain amount of programming for in-house producing theatres throughout the country. It is impossible to equate the artistic worth of a proposed project while it exists solely as an outline on a piece of paper. But it is easier to quantify the greater social import of the same project. Therefore the involvement in various local outreach initiatives including young peoples theatre and new writing programmes serves duplicate purposes. But in doing so it runs the risk of wrestling a certain amount of control from the artistic directors, or at least diluting the intent of their work. But the West End is not really concerned with any of this. The theatres are privately owned and have little social obligation. West End theatre is a notoriously unpredictable money market. Make a big success of yourself and you can eventually buy it up – which is exactly what Andrew Lloyd Webber and Cameron Mackintosh have ended up doing. Lloyd Webbers Really Useful Group are the proprietors of twelve of the capitals larger theatres. By January 2006 Delfont Mackintosh will control another seven, and will have begun constructing the Sondheim Theatre – the first theatre to be built on Shaftesbury Avenue since 1931. The long-term plan of Delfont Mackintosh is to refurbish and modernise theatreland. But one cannot help but think that their extreme makeover will be restricted to the facilities and layout – and that the entertainment will remain as traditional as ever. The musical-as-we-know-it grew out of the 19th Century tradition of music hall, which itself was the bastard son of drink and rowdiness. After removing the alcohol from drunken singalongs, and relocating from the pub to theatres, the 1860s saw the popularity of the newly-arrived music hall go from good idea to massively popular entertainment. The humbling beginnings of the musical cannot help but reveal the nucleus of the idea; it was born of accident – of people seeking to have pure, unadulterated entertainment. In that respect, it has no one form; no one philosophy; indeed no real sense of philosophy; no real sense of purpose other than fun, fun, fun! As the musical was developing it was the bastion of popular music of the time. Through Gilbert and Sullivan, Irving Berlin, Bertolt Brecht and Kurt Weill and Cole Porter, the men and women behind musical were the most revered song writers at work in the Western world. Ten years into the post-war era there was a marked shift. The musical standards that made dry, wry and witty observations about upper middle class were about to be trumped by rock and roll. And John Osbournes 1956 kitchen-sink-drama Look Back In Anger was going to have repercussions outside the world of the well-made play. The birth of transmittable media was only going to swell the amount of music being produced. In the early days of the wireless radio, families gathered to listen to the songs of Ivor Novello or Noel Coward. By the mid-1960s many families had television sets in their front rooms; radio broadcasts were a competitive business; and air transport links had made the world traversable for all those who could afford it. Music was a commodity that could be sent from one side of the world to the other. And in the slipstream of the music were the musicians themselves. Through television and radio, songwriters and musicians had an identity. They became icons – the most celebrated people on the planet. And their music was nowhere near the West End stage. For the first time since their inception musicals were not using the popular music of the time. Rocknroll was being held in musical purgatory by traditionalists unhappy at its low-brow ideals. While cinema was running as fast and far as it could with the concept of the film musical, the stage was seeking to deliver variations on earlier themes. Elvis Presley made numerous musical films – as did The Beatles. In the 1960s the West End was awash with Broadway imports – the influence of Leonard Bernstein, Rodgers and Hammerstein, Lerner and Loewe and other transatlantic success stories was diluting the integrity of the West End as the older brother of the musical. But the psychedelic overtones of that time were to create musical anomalies; while some composers flirted with the conce pt of rock, others werent afraid to dive headlong into its bottomless pit. After its anti-Vietnam stance and inclusion of group nudity caused outrage on Broadway, Hair opened in the West End in 1968. From being the chosen playground of mild-mannered conservatives, the musical was being politicised – and modernised. Within five years, the Age of Aquarius had been further capitalized upon by Godspell, Oh Calcutta and even Jesus Christ Superstar – which proved to be the foundation on which the new dawn of the musical would be built. Todays twin Godfathers of musical composition for Broadway and the West End carry the bright torch of yesteryear; Stephen Sondheim represents his forefathers fascination with the off-beat, with Andrew Lloyd Webber never straying from the musically conservative beat. There are various factors that dictate the recent successes and failures in West End theatre. But the starting point for every West End production is money – a fact beautifully demonstrated by the plot of one of the West Ends most popular current productions The Producers. Essentially, the capitalist dawn that swallowed up free love has made currency the new leading man in musical theatre. Producers need big ideas and big songs to legislate for big budgets. So instead of trying to predict what people may like and creating a musical story around it, the West End decided to reduce the risk and simply take the music that people already like and create a story around that. In some ways the origin of song migration is old revue style shows – popular hits belted out with no real desire to create an accompanying piece of drama or comedy. Coupled with the screen to stage success of musical films like The Lion King, a producer was now able to weigh up potential West End shows safe in the knowledge that a stable of worldwide smash hits could enable a musical to run for years, even with a bad review. Suddenly the sheer bankability of Lloyd Webber was looking like an outlandish risk alongside the music of Abba, Queen or even (the critically lauded but never supergroup status) of Madness. Negotiations are in process for the trend to continue, with Bob Marley, The Beatles and Elton John just some of the musical legends in line to have their songs shoe-horned into some money-spinning stage extravaganza that makes almost no sense at all. Not that the public really care. They want to go and sing-a-long like the pub dwellers of the 1840s that unknowingly help ed begin the process of musical theatre. And who shall we choose to lead the sing-song? Well, preferably someone famous off the telly, of course. The West End is a remarkably lucrative place. For his unscheduled stint in the opening cast run of The Producers at the end of 2004, Nathan Lane was being paid  £42,000 a week for the lead role as Max Bialystock. It is a clear indication of the simple transaction between moneymen and talent; the star name guarantees the box office receipts. The West End has been flooded with stars – some of whom have no musical pedigree – because celebrity is deemed to have finally overridden talent. The good, bad and ugly (in no particular order) of recent years include David Hasselhoff, Martine McCutcheon and Denise Van Outen. And if you dont want to spend money on star names, then youd better be sure to have some seriously impressive stage gimmicks; Miss Saigon famously had a helicopter, Chitty Chitty Bang Bang got in to hot water when the eponymous flying car failed to take off in previews, and Phantom of the Opera has a plunging chandelier moment that will wake up anyone snoozing in the stalls. So with standard tickets averaging out at around  £40, the theatregoer demands a truly amazing experience. But amazing and original are poles apart – and thats why when the formula is right, all you need to do is repeat it. There are exceptions. The Bombitty of Errors was a rap interpretation of Shakespeares Comedy of Errors, and was a small but perfectly-formed global success. Stomp became a phenomenon through gradual word of mouth and because it is a different kind of spectacle. Jerry Springer: The Opera began life as an idea at a scratch night at the Battersea Arts Centre and grabbed the attention of every newspaper and fundamentalist Christian in the Western World. But such shows grow from humble beginnings and are swept away on public curiosity. As in any art form, there are people willing to take risks because they believe their work has a market. Bombay Dreams and The Far Pavilions identify a recently developed appreciation of Asian music and culture. The off-Broadway hit Batboy continues in the tradition of earlier pacesetters The Rocky Horror Picture Show and Hedwig and the Angry Inch for kitsch rock operas. But some of these are accidental intruders in the world of the West End. They werent sure if they were really invited but came anyway. One group that certainly were invited are blockbuster films; whether they have songs in them or not. Seemingly the films dont even have to have been that successful. The Witches of Eastwick had a successful run in the West End. But more than likely, the film will have a readymade audience. The Full Monty was relocated to middle America from Sheffield to make it a Broadway success. Billy Elliott is well into previews, but the advance word is that it will be a significant hit. Or better still, just take a film with songs already in them – you dont stand to make as much money, but the guarantee of an audience is that much stronger. Mary Poppins has been well-received by most, and Chitty Chitty Bang Bang is in its third year. There are currently 36 theatres in the West End of Londons theatreland. As of Monday 2 May 2005, 27 are currently housing a production. 17 of those are musicals. This ratio is fairly consistent – and shows no signs of relenting. Essentially a hit West End musical needs a hook; star name, hit songs, hit movie, famous composer, popular revival. Something that can be reduced to a two-word phrase. If you havent got any of those, then heaven help you. Because the West End public certainly wont.

Agatha :: Character Analysis, Brother Grimm

In Brother Grimm’s â€Å"Brother Lustig†, the main character, Brother Lustig, is initially portrayed as an honest, inexperienced and stupid young man, who shares all his possessions with others. For this reason, when analyzing Brother Grimm’s tale form a Jungian psychoanalytic perspective, will become a prime example of a character experiencing individuation, for he eventually becomes a more selfish, cunning and independent person. Through meeting his archetypes, Brother Lustig goes from an honest, stupid and generous person, who shares his wealth and possessions with the less fortunate ones to a cunning, selfish and self-sufficient trickster. Brother Lustig’s burgeoning conscious is demonstrated through an analysis of his Jungian archetypes, with the shapeshifting beggar, acting as his positive shadow, and St. Peter personifying as his symbolic Self. An analysis if Lustig’s positive shadow, St. Peter as the poor shapeshifting beggar, is particularly useful in understanding the various challenges which the main character of the story will eventually have to face later on. In the folk tale, the beggar is portrayed as a cunning and intelligent trickster, who changes his appearance every time he â€Å"begged a gift [form Lustig]†(368). Every time the disguised beggar â€Å"placed himself in another shape† and asks for charity, Brother Lustig will always fall in his trap and give him â€Å"a quarter of the loaf of his bread and one kreuzer† (368), for he eventually have nothing left. By the end of the story, Brother Lustig becomes an intelligent trickster, capable of surviving alone thanks to his ability to smart and trick other people. In this context. It is evident that St.Peter as the shapeshifting beggar is a positive shadow since he embodies the qualities that the independent and grown up Lustig nee ds. By becoming more selfish and cunning, Lustig is finally capable of helping people by using his intelligence against â€Å"the nine devils†(376) by putting them in his knapsack†(376). By the end of the story, it becomes clear that his cunning and intelligence help him to become a more independent person capable of to survive without the help of others. He is no longer tricked by others and this shows clearly that he is on a further step towards individuation. The most important step in Lustig’s maturation to a man capable of surviving alone is the realization of Self, personified once again by St. Peter. Through his journey with St. Peter, Brother Lustig eventually maturates. At the very beginning of the story, he was a stupid, honest, selfless soldier who does not care about how to survive the day after.

Sensation and Perception Article Review

In this study, researchers examined the effects of exposure to mercury and lead on children’s attention. From this study, researchers found that children exposed to higher levels of mercury or lead are three to five times more likely to be identified as having problems associated with Attention Deficit Hyperactivity Disorder. This study originated in a group of Inuit children in Quebec who were found to have a high rate of ADHD due to their exposure to mercury in their mother’s womb. These levels of mercury were likely caused by the consumption of seafood meat.Besides the link between mercury and ADHD, children with low levels of lead also were found to be more likely diagnosed with having an attention deficit. Children exposed to lead also were associated with behavioral problems in school. These findings could help teachers and parents identify the cause of their child(s) attention deficit, and more importantly, help prevent their exposure to mercury and lead at an ea rly age. Knowing that mercury exposure is caused from the consumption of whale meats in arctic regions could open awareness to those living in those areas, and reduce the amount of consumption of those particular foods.To further the development of this study, it would be beneficial for researchers to examine a wider range of children across the world, and even increase the age range. Another question researchers could consider would be whether or not teens and adolescents who were exposed to mercury or lead as a child, but maintained the level, were still just as likely to show the same attention deficit results. Although this study examined the effects of lead and mercury in two groups (U. S. children and the Inuit children), to strengthen this study, it would have been more valuable and applicable had the researchers compared different regions.By looking at the effects across multiple regions or areas, the results could have been compared to see if specific areas had higher level s resulting in more children with ADHD. For example, the article discussed the Inuit children from arctic Quebec having higher exposure to mercury, and therefore, more children affected by attention deficits; so would there possibly be differences between say the east coast and the west coast? Or Alaska compared to Texas? This article intrigued me because it broadened my understanding of the causes of ADHD, and the consequences of mercury and lead exposure.