Stereotypes In Disney Movies About Princesses - Free Essay Example

Sample details Pages: 8 Words: 2448 Downloads: 4 Date added: 2019/04/12 Category Society Essay Level High school Tags: Stereotypes Essay Did you like this example? I have been watching Disney movies since I was very young. However, as Ive grown up watching these movies Ive noticed the pressure it puts on young girls to look and act the way the princesses are portrayed in these movies. Imagine young girls looking up to heroines in movies who have a perfect body, perfect face, fantastic singing voice and are always trying to find her true love. These ideal stereotypes have girls all around the world mesmerized by the ideation of trying to be that perfect girl they see in Disney Princess movies. These movies also portray stereotypes concerning the role of a female including cleaning, cooking, and always having the male as the dominant role. Because of these stereotypes, younger girls are putting on lots of makeup, dying there hair, and trying to have the perfect body by working out or even cutting back on the food they eat. These social norms create a false sense of self-esteem that can give younger girls the wrong message, and create a situation where if a young girl is criticized, her self-esteem may drop even more. My concern with Disney Princess movies following stereotypes is mainly based off of young children believing they need to succeed these expectations. T hese claims even affect boys as much as girls. Although many young girls and boys idolize Disney princesses, they promote stereotypical behavior and therefore female characters should be changed in upcoming movies. Don’t waste time! Our writers will create an original "Stereotypes In Disney Movies About Princesses" essay for you Create order Media, due to stereotypes have been influencing all generations poorly for many years. In fact, the history of stereotypes in Disney dates back to 1937 in Disneys film, Snow White and the Seven Dwarfs. Snow White stereotypes girls by showing them that cleaning is there job, they will one day be rescued by a prince, and they always have to take care of others. By showing young girls a perspective of a female role model that they look up to, may teach them to try to achieve the stereotypes that they portray. The impact of movies on young childrens perception of their body images has also been a continued concern within the history of Disney Princess stereotypes. As I was reading an article on DoSomething.org, I learned that, Approximately 91% of women are unhappy with their bodies and resort to dieting to achieve their ideal body shape. Unfortunately, only 5% of women naturally possess the body type often portrayed in these movies by Americans in the media (11 Facts about Body Image). The majority of girls have a problem with their body types, which is a major problem because girls should not be ashamed of their bodies. The Washington post did a study in 2002 about how princess culture affects 198 preschoolers and Elementary girls. The one main point they got out of this research is that the more the princess culture affects girls, the more they behaved in stereotypical feminine ways. As well as stereotypes being portrayed in the older Disney Princess Movies, there are still signs of stereotypes in the newer movies. The newer movies that portray less stereotypes is Frozen, Moana, and Beauty and The Beast. Although these movies consist of less stereotypes, they still display stereotypes that can affect girls perspective on their bodies and what a relationship should not consist of. The Disney movie Frozen, has many stereotypes including the fact that girls have to have a man in there life to solve all their problems. Anna displays a girl who thinks her sister is better than her because shes more perfect. As I was reading an article on theguardian.com, I was enlightened that Elsa portrays a character that thinks she can do whatever she wants, Shes dancing in the snow, complaining of how hard it is to play by the rules and conceal her inner self. She climbs the mountain(Frozens Elsa in a Racy Dress). Not only is there stereotypes in Frozen, there are stereotypes in B eauty and the Beast. As I was reading an article on theodysseyonline.com, it became clear that ,Belle can be compared to the stereotypical woman in todays society because women today are forced to give up their own hopes and dreams to be the main caretakers of the home and children(Gender Roles: As Told By Beauty And The Beast). Women in todays society still face challenges in these stereotypical categories. As you can see there are many negative stereotypes portrayed by your movies that need to change. As a society we need to encourage our youth to be the best individual that they can be. We need to encourage our young impressionable youth that dreams do come true and that they should always pursue their dreams. Ethically, it is imperative that we teach our young girls correct self images. We need to teach self reliance, strength, confidence, compassion, empathy, and persistence among others. All of these attributes are sometimes portrayed in your Disney Princesses, but seemingly the story lines dont focus on this, they usually focus on a subordinative role for the Princesses, always being saved by a male hero. When young girls are subjected by the ideal princess, it makes them feel as if they need to meet those expectations. Many parents of young girls are worried about them behaving like Disney Princesses and one parent expressed her opinion by stating that the Disney Princess empire was the first step down a path to scarier challenges, from self-objectification to cyberbullying to unhealthy body images (Little girls or little women? The Disney princess effect). Self objectification is very wrong and should not be acted upon at a young age. Keira Knightley (actress) was talking to Ellen De generes on her show about Disney Movies and Keira stated how the 1950s Cinderella waits around for a rich guy to rescue her. Dont! Rescue yourself. Obviously! Keira Knightley is giving us commentary on the fact that women dont need men to save them from there issues. Young girls should be taught that it is okay to not be perfect, its okay to put themselves first, and its okay for them to step up and to take action. As well as young girls being affected by stereotypes within the Disney Princess culture, many young boys have been affected too. Disney Princess Movies portray male characters as strong, handsome, brave, and saviors. With these stereotypes, many boys who watch Disney Princess Movies might subconsciously emulate these male figures. An example of a stereotypical male character is Gaston from the movie Beauty and the Beast, he is stereotypical because he is the rich bachelor that the entire village female population seems to drool over because hes big, strong, rich, and handsome. This right away forms an ideal image for men that they will only get womens attention by obtaining those attributes (Disney Gender Analysis). When young boys are exposed to these types of stereotypical expectations, they may want to pursue the roles of these male characters that may be seen as ideal. Ideally, balance is best for both genders to work toward. For boys, who are already immersed in a hyper-masculin e culture, becoming more feminine is becoming more well-rounded, according to (Disney Princesses Do Change Girls † and Boys, Too). Another big topic is the concern with homosexuals not being incorporated into Disney Princess Movies. A man by the name of Alex Kritselis stated his views by saying,Sadly, most Disney films are built upon a solid heterosexist foundation boys chase girls and vise versa, case closed. In Disneys world, there is little room for variation (What Disney Movies Teach Men). It is not just young girls that are affected, its young boys that can get the wrong message about how Disney portrays there women and men characters within there attributes. Although Disney princesses portray these types of stereotypes, there are still traits in Disney Princess movies that educate kids and show how they can be brave and embrace their own values. The newer movies display more of a brave and powerful female role, unlike the older movies. Moana is an example of a Disney movie which interprets a princess that breaks most of the female stereotypes portrayed in Disney Princess Movies. Moana is a princess that is brave, fearless, and she stands up to people just to protect her community. Even though she broke many stereotypes, she still is an ideal princess because she shows weakness in some parts of the movie. Stereotypes in Disney Princess Movies have been decreasing throughout the years, but have not dissolved all the way. Tangled is a prime example of stereotypes decreasing but not all the way. The movie Tangled was a big transition into Disney breaking multiple stereotypes. As I was reading an article on medium.com, they explained that, Ta ngled is a good movie that somewhat breaks these gender roles. Rapunzel doesnt really need Flynn to save her. She has to save him a couple of times throughout the movie(Disney Princess Movie: Gender Roles and Stereotypes). Even though she broke stereotypes, she also displays many because she is imprisoned within the tower since a child, she is a waif-like female with big eyes and a teeny-tiny waist who sings about doing chores with the refrain, wonder when my life will begin. Rapunzel is stereotypically overly emotional, swinging from one end of a mood swing to another as often as she (and others) swing from her long golden locks (Disneys Racist Stereotyping and Gender Roles Remain Un-Tangled). This is a prime example of a Disney Princess Movie that is both a negative and positive impact on the younger community. Among with current Disney Princess movies being a controversial topic dealing with stereotypes, there are still many problems due to the princesses that Disney aspires to be role models. In many of the Disney Princess movies, the woman are seen to be strong, loving, and kind people. As children watch these movies they learn these attributes and act upon it in their own life. These Disney princesses may teach children to be less selfless and shy away from any cruel acts. Although these are ideal traits for society, there are still many traits in these princesses that the younger generation should not follow. The ideal women should be praised for many of her attributes and not just beauty. Even though some of the male characters fall in love with the princesses for their personality including Tangled, Beauty and the Beast, and Mulan, there are still Disney Princess Movies that portray male characters falling in love with the princesses due to mostly there beauty such as Aladdin, The Li ttle Mermaid, and Cinderella. Most of the Disney Princess movies that show the male character fall in love with the princess for just her beauty, do not get to know each other and do not have a deeper connection besides there appearance. Therefore, Disney Princesses should proceed to show the attributes of a kind, loving and strong women and not show that the only beauty is on the outside. My objective of this letter was to persuade you to address my views of these Disney Princess stereotypes. My perspective on these stereotypes is that they should not exist and should not be put out there for the younger generation to follow. The younger generation should not profile women to be a typical Disney Princess. If there was more diversity and stereotype breaking traits incorporated in Disney Princess movies, then there would be less controversy and more content that the younger generations can look up to. If there was more attributes shown in princesses such as being strong, kind, supportive, and smart, then the more parents will want their kids to pursue these traits and look up to them as role models. As well as incorporating more positive attributes, I believe you should establish a balance of both heterosexuals and homosexulas and incorperate them into one of your Disney Princess Movies. I am aware that if you incorporate these traits into Disney Princess Movies, not ev eryone will be satisfied, but more people who have either seen a Disney Princess Movie or have not, will be confident that the traits these princesses will acquire are an excellent way of teaching the younger generation that women are strong and independent in any situation. Bibliography 11 Facts About Body Image. DoSomething.org Volunteer for Social Change, www.dosomething.org/us/facts/11-facts-about-body-image. After Long-Criticized Diversity Issue, Film Academy Votes To Change. Weekend Edition Saturday, 23 Jan. 2016. Student Resources In Context, https://link.galegroup.com/apps/doc/A442019298/SUIC?u=ft78414sid=SUICxid=f9360985. Accessed 30 Oct. 2018. Brockes, Emma. Frozens Elsa in a Racy Dress: This Is the Menace of Disney | Emma Brockes. The Guardian, Guardian News and Media, 5 Oct. 2017, www.theguardian.com/commentisfree/2017/oct/05/frozen-elsa-dress-menace-disney-stereotypes. DOyley, Demetria Lucas. TV Too Diverse? Why Its Only a Start (Opinion). CNN, Cable News Network, 5 May 2015, www.cnn.com/2015/03/29/opinions/doyley-race-and-television/index.html. DellAntonia, Kj. Disney Princesses Do Change Girls and Boys, Too. The New York Times, The New York Times, 27 June 2016, well.blogs.nytimes.com/2016/06/27/disney-princesses-do-change-girls-and-boys-too/. Gender Roles: As Told By Beauty And The Beast. The Odyssey Online, Odyssey, 30 Jan. 2018, www.theodysseyonline.com/gender-roles-as-told-by-beauty-and-the-beast. Joho, Jess. Study Finds Almost No Increase in Diversity in Popular Films over the Last Decade. Mashable, Mashable, 1 Aug. 2018, mashable.com/article/annenberg-inclusion-study-hollywood-popular-films-diversity/#U1QmnCJagiqW. Kritselis, Alex. What Disney Movies Teach Men. Bustle, Bustle, 13 Nov. 2018, www.bustle.com/articles/17264-7-problematic-lessons-disney-movies-teach-boys-about-masculinity. Lets press pause on reality TV. London Evening Standard [London, England], 15 Aug. 2018, p. 13. Global Issues in Context, https://link.galegroup.com/apps/doc/ A550330972/GIC?u=ft78414sid=GICxid=3ac98dc6. Accessed 26 Oct. 2018. Leydon, Joe. 10 Most Important Movies to Understand Racism and Fascism in America. Variety, 19 Aug. 2017, variety.com/gallery/racism-facism-10-movies-white-dog/#!2/birth-of-a-nation-4. Little Girls or Little Women? The Disney Princess Effect. The Christian Science Monitor, The Christian Science Monitor, 24 Sept. 2011, www.csmonitor.com/USA/Society/2011/0924/Little-girls-or-little-women-The-Disney-princess-effect. Lopez, Ricardo. Despite Dollars in Diversity, Hollywood Still Averse to Making Inclusive Films. Variety, 6 Nov. 2017, variety.com/2017/film/news/diversity-box-office-winners-hollywood-1202603438/ Los Angeles Film Festival Highlights Diversity In Film Industry. Weekend All Things Considered, 4 June 2016. Student Resources In Context, https://link.galegroup.com/apps/doc/A455356095/SUIC?u=ft78414sid=SUICx Male Stereotypes. Disney Gender Analysis, disneyanalysis.weebly.com/male-stereotypes.html. Merritt, Alisha. Disney Princess Movie: Gender Roles and Stereotypes. Medium.com, Medium, 27 June 2016, medium.com/@alisha9193/disney-princess-movie-gender-roles-and-stereotypes-e2122b0c83c6. Ramos, Dino-Ray RamosDino-Ray. Study Finds Diversity In Television On The Rise, But Not Representative Of American Population. Deadline, 24 Apr. 2018, deadline.com/2018/04/diversity-inclusion-representation-television-tv-time-1202375787/. UCLA. Hollywood Diversity Report 2018. Social Sciences, socialsciences.ucla.edu/hollywood-diversity-report-2018/. Wilson, Natalie. Disneys Racist Stereotyping and Gender Roles Remain Un-Tangled. Alternet, www.alternet.org/story/149045/disney%E2%80%99s_racist_stereotyping_and_gender_roles_remain_un-tangled.

Technology And The Educational System - 977 Words

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The Last Dance Chapter Ten Free Essays

It is Palmer who makes the first contact, toward the end of September. He tells Cynthia on the telephone that he’s had a transatlantic call from Norman Zimmer, who’s producing a musical based on Jenny’s Room, is she familiar with . . We will write a custom essay sample on The Last Dance Chapter Ten or any similar topic only for you Order Now . ? â€Å"Yes, he’s been in touch,† Cynthia says. â€Å"I hate to bother you this way,† he says, â€Å"but from what I understand, the project may be stalled because of your father’s intransigence.† â€Å"Yes, I know.† â€Å"It does seem a shame, doesn’t it?† he says. â€Å"All these people who’d stand to earn a little money.† â€Å"I know,† Cynthia says. â€Å"Couldn’t you talk with him?† â€Å"I have,† she says. â€Å"He won’t budge.† â€Å"It does seem a pity.† â€Å"He’s protecting Jessica, you see.† â€Å"Who’s that?† â€Å"Jessica Miles. The woman who wrote the original play. He feels she wouldn’t have wanted the musical done again.† â€Å"Really? 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He tells her he works for â€Å"the last of the publishers in Bedford Square,† a line she surmises he has used often before. In fact, there is something about the way he speaks that makes everything sound studied and prepared, as if he has learned a part and is merely acting it. A lack of spontaneity, she supposes, something that makes whatever he says seem artificial and rehearsed, as if there is nothing of substance behind the words. â€Å"Have you seen him again?† he asks. â€Å"Several times,† she says. â€Å"And?† â€Å"Dead end.† â€Å"Mmm.† â€Å"He won’t listen to reason. He says the play is a sacred trust. . .† â€Å"Nonsense.† â€Å"It’s what he believes.† â€Å"She must have written it in the year dot.† â€Å"Nineteen twenty-three.† â€Å"Norman tells me it’s bloody awful.† â€Å"My father thinks it’s simply wonderful.† â€Å"Well, as the old maid said when she kissed the cow . . .† â€Å"It’s a shame this had to come along just now, though. The opportunity, I mean. To have the musical revived.† â€Å"How do you mean?† â€Å"Well †¦ ten years from now would have been so much better.† â€Å"I don’t under . . .† â€Å"Never mind, I shouldn’t have said that.† â€Å"I’m sorry, I still don’t . . .† â€Å"It’s just . . . my father isn’t in the best of health, you see.† â€Å"That’s too bad.† â€Å"And 7 certainly don’t have the same problems he has.† â€Å"Problems? What . . . ?† â€Å"With the play. With it being done as a musical. I have no emotional ties to Jessica Miles, you see. I never even met the woman. What I’m saying is I don’t give a damn about her play. In fact, I’d love to see the musical revived.† â€Å"But what’s ten years from now got to †¦ ?† â€Å"My father’s leaving the rights to me.† â€Å"Oh?† â€Å"To her play. When he dies. It’s in his will.† â€Å"I see.† â€Å"Yes.† There was a long silence. â€Å"But† she said. â€Å"It isn’t ten years from now, is it?† â€Å"No, it isn’t,† Palmer says. â€Å"It’s now,† she says. â€Å"Yes,† he says. â€Å"So it is.† He calls her again on the eighteenth of October. It is midnight here in America, he tells her it’s five a.m. there in London, but he hasn’t been able to sleep. â€Å"I’ve been thinking a lot about your father,† he says. â€Å"Me, too,† she says. â€Å"It seems such a pity he won’t let go of those rights, doesn’t it? Forgive me, but have you made your position absolutely clear to him? Have you told him your feelings about having this musical done?† â€Å"Oh, yes, a thousand times.† â€Å"I mean †¦ he must realize, don’t you imagine, that the moment he’s passed on †¦ forgive me †¦ you’ll do bloody well what you like with the play. Doesn’t he realize that?† â€Å"I’m sure he does.† â€Å"It does seem unfair, doesn’t it?† â€Å"It does.† â€Å"Especially since he’s in bad health.† â€Å"Two heart attacks.† â€Å"You’d think he’d hand over the play immediately, why wouldn’t he? With his blessings. Here you are, Cynthia, do with it as you wish.† â€Å"His only child,† Cynthia said. â€Å"One would think so.† â€Å"But he won’t.† â€Å"Well, when they get to be a certain age . . .† â€Å"It isn’t that. He’s just a stubborn old fool. Sometimes I wish . . .† She lets the sentence trail. He waits. â€Å"Sometimes I wish he’d die tomorrow,† she says. There is another silence. â€Å"I’m sure you don’t mean that,† he says. â€Å"I suppose not.† â€Å"I’m sure you don’t.† â€Å"But I do,† she says. There is a Jamaican named Charles Colworthy who works in the mail room with Palmer, and he knows another Jamaican named Delroy Lewis, who knows yet another Jamaican named John Bridges, who by all accounts is what they call a â€Å"Yardie,† which Palmer explains is British slang for any young Jamaican male involved in violence and drugs. â€Å"I wouldn’t want him hurt,† Cynthia says at once. â€Å"Of course not.† â€Å"You said violence.† â€Å"He’s assured me it will be painless.† â€Å"You’ve met him?† â€Å"Several times.† â€Å"What’s his name?† â€Å"John Bridges. He’s quite ready to do it for us. If you still want to go ahead with it.† â€Å"I’ve given it a lot of thought.† â€Å"So have I.† â€Å"It does seem the right thing, doesn’t it, Gerry?† â€Å"Yes.† There is a long silence. It all seems to be happening too quickly. â€Å"When . . . when would he do it?† â€Å"Sometime before the end of the month. He’ll need an introduction. You’d have to arrange that.† â€Å"An introduction?† â€Å"To your father.† â€Å"Is he black?† â€Å"Yes. But very light skinned.† â€Å"I don’t know any black people, you see.† â€Å"Very pale eyes,† Palmer says. â€Å"A lovely smile. All you need do is introduce him. He’ll take care of the rest.† â€Å"It’s just that I don’t know any black people.† â€Å"Well . . .† â€Å"I wouldn’t know what to say.† â€Å"Just say he’s a friend of yours from London.† â€Å"I’ve never been to London.† â€Å"A friend of a friend, you could say. Who’ll be there for a few days. Who you wanted your father to meet. Is what you could say.† â€Å"Why would anyone want to meet my father?† â€Å"You could say he once worked in a hospital here. Just as your father did. That would give them something in common. I’ll give you the name of a hospital here in London.† â€Å"I’ve never introduced my father to anyone in my life.† â€Å"It would just be to put him off guard.† â€Å"He’d be suspicious.† â€Å"Just someone you’d like him to meet. A nurse. Just as your father was.† â€Å"He won’t hurt him, will he?† â€Å"No, no, you needn’t worry.† â€Å"When did you say it would be?† â€Å"Well, he’ll come as soon as we authorize it. He’ll want half of his fee beforehand, half after it’s done.† â€Å"How much did he say?† â€Å"Five thousand.† â€Å"Is that a lot?† â€Å"I think it’s reasonable. Dollars, that is. Not pounds.† â€Å"I wouldn’t want him hurt,† she says again. â€Å"No, he won’t be.† â€Å"Well.† â€Å"But I have to let him know.† â€Å"What do you think we should do?† â€Å"I think we should go ahead with it. Twenty-five hundred dollars is a lot of money to me, but I look upon this as a serious investment. . .† â€Å"Yes.† â€Å". . . an opportunity to advance myself. I can’t speak for you, of course . . . but. . .I’ve never really had very much in my life, Cynthia. I work in the post room, I don’t get invited to very many balls at Windsor. If this show is a hit, everything would change for me. My life would become . . . well . . . glamorous.† â€Å"Yes,† she said. â€Å"I think we should do it,† he said. â€Å"I truly do.† â€Å"Well then . . .† â€Å"What I’ll do, if you agree, I’ll give John my half of the fee just before he leaves London, and you can pay him the rest when he’s done it. There in America. Afterward. Would you be happy with that?† â€Å"I guess so.† â€Å"Shall I call him then?† â€Å"Well . . .† â€Å"Tell him we’re going ahead with it?† â€Å"Yes.† Now, sitting in the lieutenant’s office with her lawyer and the detectives, she lowers her eyes and says, â€Å"John was very charming. He and my father hit it off right away. But he caused me a lot of trouble later. Because he said it would look like an accident, and it didn’t.† Gerald Palmer called the British Consulate the moment the cops told him what charges they were bringing against him. The consul who came over was named Geoffrey Holden, a somewhat portly man in his mid-forties, stroking a bristly mustache that made him look like a cavalry colonel. He took off his heavy overcoat and hung it on a corner rack. Under it, he was wearing a somber gray suit with a vest and a bright yellow tie. He told Palmer this was his first DBN of the week, which letters he jovially explained stood for Distressed British National. â€Å"Murder, eh?† he said. â€Å"Who’d you kill?† â€Å"I haven’t killed anyone† Palmer said. â€Å"Don’t be a bloody fool.† â€Å"Let me explain how American law works,† Holden said. â€Å"If you actually hired someone to kill someone else, then you’re as guilty as the person pulling the trigger. Murder for hire is first-degree murder, and the penalty is death by lethal injection. They use Valium. A massive dose that stops the heart. Conspiracy to commit murder is another A-felony. If you did either or both of these things . . .† â€Å"I didn’t.† â€Å"I was about to say you’d be in very deep trouble. If you did these things. Which you say you didn’t.† â€Å"That’s right.† â€Å"Being British is no excuse, by the way. It doesn’t entitle you to immunity.† â€Å"I don’t need immunity. I haven’t done anything.† â€Å"Well, good then. D’you know anyone named John Bridges?† â€Å"No.† â€Å"They seem to think you know him.† â€Å"I don’t.† â€Å"How about a man named Charles Colworthy?† Palmer’s eyes opened wide. â€Å"Supposed to work with you at Martins and Grenville. Good publishers, eh? D’you know him?† Palmer was thinking it over. â€Å"The way they have it,† Holden said, â€Å"Colworthy knows someone named Delroy Lewis, who put you in touch with this Bridges chap to whom you and Cynthia Keating together paid five thousand dollars to kill her father. But that isn’t so, is it?† â€Å"Well, I know Colworthy, yes. But . . .† â€Å"Ah, you do?† â€Å"Yes. We work together in the post room. But I certainly didn’t hire . . .† â€Å"That’s good. I’ll just tell them they’ve made a mistake.† â€Å"Where’d they get those names, anyway?† â€Å"From the woman.† â€Å"What woman?† â€Å"Cynthia Keating,† Holden said, and hooked his thumbs into his vest pockets. â€Å"She’s ratted you out.† Palmer looked at him. â€Å"But if you had nothing to do with this . . .† â€Å"Just a minute. What do you mean? Just because she gave them the name of someone I work with . . .† â€Å"The other man as well. Delroy Lewis. The one leading directly to Bridges. Who killed her father.† â€Å"Well, the only one / know is Charlie. He’s the one I work with. I may have mentioned his name to her. In casual conversation. If so, she must have contacted him on her own.† â€Å"Ah,† Holden said, and nodded. â€Å"To ask if he might know anyone who’d help kill her father, is that it?† â€Å"Well, I †¦ I’m sure I don’t know what she asked him.† , â€Å"Called London to arrange his murder, is that how you see it?† â€Å"I don’t see it any way at all. I’m merely trying to explain . . .† â€Å"Yes, that you, personally, had nothing to do with this.† â€Å"Nothing whatever.† â€Å"So Mrs Keating is lying to them. Has lied to them, in fact. She’s accepted a deal, you see. They’ve dropped the conspiracy charge and lowered the murder charge to second degree. Twenty to life, with a recommendation for parole.† Holden paused. â€Å"They might even offer you the same deal. Then again, perhaps not.† Palmer looked at him. â€Å"Because of the related murder.† Palmer kept looking at him. â€Å"They seem to think you did that one personally. The old lady. Martha Coleridge. I have no idea where she fits into the scheme of things, but apparently she was threatening a plagiarism suit. Do you know the woman I mean?† â€Å"Yes,† Palmer said. â€Å"That would constitute a second count of first-degree murder,† Holden said, and stroked his mustache. â€Å"So I doubt if they’d offer you the same deal, after all.† â€Å"I’m not looking for a deal.† â€Å"Why should you be? You haven’t done anything.† â€Å"That’s right.† â€Å"I’ll just tell them to forget it.† â€Å"Of course. They have no proof.† â€Å"Well, they have the woman’s confession. Which implicates you, of course. And our chaps may get something more from Bridges, if ever they find him. They’re looking for him now, apparently. In Euston. He lives in Euston.† Palmer fell silent again. â€Å"You won’t be granted bail, you realize,† Holden said. â€Å"You’re a foreigner implicated in murder, no one’s going to risk your running. In fact, till the dust settles one way or another, they’ll want your passport.† He sighed heavily, said, â€Å"Well, I’ll see about finding a lawyer for you,† and went to the corner where he’d hung his overcoat. Shrugging into it, buttoning it, his back to Palmer, he said, â€Å"You wouldn’t possibly have anything to †¦ offer them, would you?† â€Å"How do you mean?† Holden turned toward him. â€Å"Well,† he said, â€Å"I must tell you, with the woman’s confession, they have more than enough for an indictment. It’ll go worse for you if they catch up with the Jamaican and flip him as well, but even so they’ve got a quite decent case.† â€Å"But I haven’t done anything.† â€Å"Right. Keep forgetting that. Sorry. Let me talk to them.† He opened the door, hesitated, turned to Palmer again, and said, â€Å"You wouldn’t know anything about this little black girl who got stabbed up in Diamondback, would you?† Palmer merely looked at him. â€Å"Althea Cleary? Because they like to tidy things up, you see. If you can tell them anything about that murder . . . they’re not trying to implicate you in it, by the way, they seem to think the Jamaican did that one all on his own. Got into some sort of argument with the girl, lost his temper. Whatever.† His voice lowered. â€Å"But if he mentioned anything about it to you . . . perhaps before he went back to London †¦ it might be worth a deal, hm?† Palmer said nothing. His voice almost a whisper, Holden said, â€Å"He’s just a Yardie, y’know.† Palme’r sat as still as a stone. â€Å"Well, I suppose not,† Holden said. It suddenly occurred to him that the man was simply very stupid. He sighed again, and went out of the room. In the squadroom, they were speculating about what might have happened to Althea Cleary. â€Å"She takes the Jamaican back to her apartment,† Parker suggested. â€Å"He drops the rope in her drink, figures he’s home free. But while he’s waiting for it to take effect, she casually mentions she’s a working girl and this is gonna cost him two bills. He’s offended because he’s never had to pay for it in his life, male or female. So he stabs her.† â€Å"That’s possible,† Brown said, â€Å"but you’re forgetting something.† â€Å"What’s that?† â€Å"He’s gay.† â€Å"He’s bi.† â€Å"He thinks he’s bi.† â€Å"He wouldn’ta been there if he wasn’t bi,† Parker insisted. â€Å"He gets into the apartment,† Brown said, undaunted, â€Å"drops the pills, and starts moving on her. Trouble is he’s gay. She doesn’t excite him. He can’t perform. So he loses his temper and jukes her.† â€Å"Well, that’s a possibility,† Meyer said, â€Å"but something else could’ve happened, too.† â€Å"What’s that?† â€Å"Bridges drops the pills, right? Five minutes or so, the girl starts feeling funny. She accuses him of having put something in her drink. He panics, grabs a knife from the counter, lets her have it.† â€Å"Yeah, maybe,† Kling said, â€Å"but here’s what / think happened. He gets in the apartment . . .† â€Å"Who’s for pizza?† Parker asked. â€Å"They profile a Yardie as someone who enters the country carrying a forged or stolen British passport,† Carella said. â€Å"Usually – but not necessarily – he’s a black man from Jamaica, somewhere between the ages of eighteen and thirty-five. He’s either got a record already . . .† â€Å"Does Bridges have one?† Byrnes asked. â€Å"Nobody by that name in their files. They said he may be a new kid on the block, there’s a constant flow. Most of them are in the drug trade. Getting rope would’ve been a walk in the park for him.† â€Å"Is he wanted for anything?† â€Å"Not by the Brits. Not so far, anyway.† â€Å"Give him time,† Byrnes said. â€Å"Meanwhile, he’s running around London someplace.† â€Å"Or Manchester.† â€Å"Or wherever. Actually, we don’t need him, Pete. Nellie says the overt act is enough.† â€Å"Conspiracy and the overt act, yes.† â€Å"Which she’s already got.† â€Å"So let the Queen’s mother worry,† Byrnes said. Ollie felt very nervous, like a teenager about to ask for a first date. He dialed the number on the card she’d given him, and let the phone ring three, four, five . . . â€Å"Hello?† â€Å"Miss Hobson?† he said. â€Å"Yes?† â€Å"This is Detective Weeks. We talked about piano lessons, do you remember?† â€Å"No. Detective whoT â€Å"Weeks. Oliver Wendell Weeks. I was investigating the murder of Althea Cleary, do you remember? Big Ollie, they sometimes call me,† he said, which was a lie. â€Å"I wanted to learn five songs, remember?† â€Å"Oh. Yes,† she said. â€Å"I still do.† â€Å"I see,† she said. â€Å"I got a list we can pick from,† he said. â€Å"Did you find him?† â€Å"Who do you mean, Miss Hobson?† â€Å"Whoever killed Althea.† â€Å"He’s in London just now. We’re leaving it to the bobbies there, they’re supposed to be very good. When can we start, Miss Hobson?† â€Å"That depends on which songs you want to learn.† â€Å"Oh, they’re easy ones, don’t worry.† â€Å"That’s so reassuring,† she said drily. â€Å"But which ones are they exactly?† â€Å"Guess,† he said, and grinned into the mouthpiece. They had no idea they were in the middle of a race riot until it was full upon them. Until that moment, they’d been peacefully watching television and drifting off to sleep, Kling knowing he was due back in the squadroom at eight tomorrow, Sharyn knowing her day would start at about the same time in her office at 24 Rankin Plaza, neither anticipating an explosion, each surprised when it came. A panel of talking heads was offering its collective opinion on the war, the election, the wedding, the crash, the trial, the disaster, the game, the whatever because in America, it wasn’t enough merely to present the news, you then had to have half a dozen commentators parading their thoughts on what the news had just been all about. Over the background din, Kling was telling Sharyn there’d been an extraordinary number of people informing on other people in this case they’d just wrapped, a veritable chorus of rats singing to whoever would listen, when all at once a blond woman on the panel said something about the â€Å"so-called blue wall of silence,† and Sharyn said, â€Å"Shhh,† and someone else on the panel, a black man, shouted that the blue wall of silence wouldn’t be holding in the Milagros case if the victim had been white, and someone else, a white man, shouted, â€Å"This poor victim you’re talking about is a murdererl† and Kling said, â€Å"Milagros is one of the guys I mean,† and Sharyn said â€Å"Shhh† again, when all he’d wanted to say was that Hector Milagros had been given up by Maxie Blaine who’d been given up by Betty Young in a case virtually defined by perpetual snitchery. â€Å"You don’t know whether those men who went in there were white or black!† someone on the panel shouted. â€Å"You don’t even know if they were actually copsl† someone else shouted. â€Å"They were cops and they were whitel† â€Å"I’ll bet they were,† someone else said, but the voice wasn’t coming from the television set, it was coming from the pillow next to Kling’s. He turned to look at her. The blonde on television very calmly said, â€Å"I do not believe that any police officer in this city would maintain silence in the face of such a brutal beating. The police . . .† â€Å"Oh, come off it,† Sharyn said. â€Å". . . simply don’t know who went in there, that’s all. If they knew . . .† On the television set, the black man said, â€Å"The guy who let them in knows.† â€Å"Every cop in this city knows,† Sharyn said. â€Å"I don’t,† Kling said. And now there was a veritable Babel of voices pouring from the television set in a deluge of conflicting invective that rose higher and higher in volume and passion. â€Å"Instead of maintaining their ridiculous posture of. . .† â€Å"There are black cops, too, you know. I don’t see any of them . . .† â€Å"Would you come forward if †¦ ?† â€Å"You’re asking them to be rats.† â€Å"It’s not informing if the person †¦Ã¢â‚¬  â€Å"Milagros was in custody!† â€Å"He’s a criminal!† â€Å"So are the cops who beat him up!† â€Å"A murderer!† â€Å". . . almost killed him!† â€Å"He’s blackl† â€Å"Here we go,† Kling said. â€Å"That’s why they beat him up!† â€Å"Hang on, honey,† Sharyn said. Together, they huddled against the angry voices. At last, Kling said, â€Å"Wanna dance?† How to cite The Last Dance Chapter Ten, Essay examples

Darkness At Noon World Lit Paper Essay Example For Students

Darkness At Noon World Lit Paper Essay Purpose Statement: The fundamental believes of the Party explained by Arthur Koestler were oppressive to the ideological believes of the individual. In return the revolution failed to reach a utopian society due to the oppression of the individual. The party describe in Darkness at Noon by Arthur Koestler represents the governmental and economic system of communism in the Soviet Union during the 1930s and 40s with the main intend of reaching a utopia in the real world. The sacrifice of the individual was necessary to carry out the will of history in the eyes of the party. The ideology of the party creates a conflict in Darkness at Noon where the ideologies of the party undermined the ideas of the grammatical fiction with a result of a failed revolution. An individual perception is needed to help the rest of humanity, without it nothing can be done to change society. Koestler uses Rubashov as a vehicle to describe the struggle between the ideas of the party and of the individual. The transformation from despising the silent partner to an overall understanding of the necessity to acquire it can explain the flaw of the party. As Rubashov is slowly accepting his grammatical fiction he is getting closer to understanding why the party needed the ideologies of the grammatical fiction. The trance-like state of mind that Rubashov experiences is describe as a feeling of uniqueness but at the same time an awareness of a spiritual feeling of oneness with the entire human race. This state of mind is reference to an oceanic sense; modern psychologists had recognized this state as a fact and called it the oceanic sense. And indeed, ones personality dissolved as a grain of salt in the sea; but at the same time the infinite sea seemed to be contained in the grain of salt (Koestler, 206-207). This complex paradoxical idea describes how the individual is connected to the human race. Ones personality is also the personalities of the entire human race. Without understanding ones own individuality, how can the party understand the needs of others and reached a utopia? The fundamental difference is highlighted, as the party is unable to sympathize with the human race due to the resistance to understanding its own silent partner or individual entity. The party is unable to make decisions that are able to benefit a large population of people. The partys main objective is sound and concrete in the beginning were the goal was to gain a utopia on the world. However, the method the party has used to obtain it was slowly undermined and flawed. Extreme rationalism, logic, and the sacrifice of ethical decisions had hindered the revolution. The idea of vivi-section where all means justify the ends and the individual is needed to be sacrifice like an experimental lamb highlights the opposition of the party towards the grammatical fiction. (Koestler, 128). Rubashov has followed this method his whole life and has done many unethical actions were he has lost his only love of his life. He has sacrificed many individuals in his life, but what is more compelling is the scarification of Arlova. The abstract idea to obtain a utopia on the world by logical means has altered the perception of Rubashov. The pain of his eyetooth represents his altered perception where it only starts to hurt when he feels guilty about his betrayals to save the party. Rubashovs pain is a symbolism to the idea that the only way one can help another individual one must relied on his own individual feelings to help the other. The party stood against that and only relied upon logic and any means necessary. The party distance itself from the people it was intended to help. The leaders of the party had altered perceptions and harmed the revolution. The deterioration of the party was caused by the oppression of the individual. .u40fae7de2025a24b718c83f2fb013754 , .u40fae7de2025a24b718c83f2fb013754 .postImageUrl , .u40fae7de2025a24b718c83f2fb013754 .centered-text-area { min-height: 80px; position: relative; } .u40fae7de2025a24b718c83f2fb013754 , .u40fae7de2025a24b718c83f2fb013754:hover , .u40fae7de2025a24b718c83f2fb013754:visited , .u40fae7de2025a24b718c83f2fb013754:active { border:0!important; } .u40fae7de2025a24b718c83f2fb013754 .clearfix:after { content: ""; display: table; clear: both; } .u40fae7de2025a24b718c83f2fb013754 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u40fae7de2025a24b718c83f2fb013754:active , .u40fae7de2025a24b718c83f2fb013754:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u40fae7de2025a24b718c83f2fb013754 .centered-text-area { width: 100%; position: relative ; } .u40fae7de2025a24b718c83f2fb013754 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u40fae7de2025a24b718c83f2fb013754 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u40fae7de2025a24b718c83f2fb013754 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u40fae7de2025a24b718c83f2fb013754:hover .ctaButton { background-color: #34495E!important; } .u40fae7de2025a24b718c83f2fb013754 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u40fae7de2025a24b718c83f2fb013754 .u40fae7de2025a24b718c83f2fb013754-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u40fae7de2025a24b718c83f2fb013754:after { content: ""; display: block; clear: both; } READ: Los Tres Cochinitos EssayRubashov explains that the party has replace their moral compass with logic and rationality. The ideologies of the grammatical fiction are being replaces with the ideologies of the party. Rubashov explains Perhaps it did not suit mankind to sail without ethical ballast. And perhaps reason alone was a defective compass, which led one on such a winding, twisted course that the goal finally disappeared in the mist (Koestler, 210). The party ideal has leaded the revolution to an atrocious ending where it began as a plan to end despair and bring about equality by any means possible. Due to the exclusion of the grammatical fiction which includes morality, feelings, psyche, individualism, limitless space and time, consciousness, the objective has been altered and the revolution has ultimately failed. Without a moral compass the lives of others have been destroyed because of the revolution. The misunderstanding of the individuals feelings and the misconnection to the oceanic sense gave the party the inability to connect to the masses. The decisions made by the party had no morality behind it. Every decision hindered the progression to a utopia. Instead of leading the masses to a better place the party has taken them to a society full of corruption and despair. The altered perception of the leaders of the party made it possible to create corruption because they taught logically about everything. The pursuit for their own personal gain was unable to be stopped because they did not believe in morality. The only people that benefited from the revolution were the leaders of the party because they were the ones that were in charge. Without a deep understanding of the grammatical fiction and the oceanic sense, the leaders were unable to meet with the demands of the masses. Instead, the masses were being prosecuted and sacrificed for the livelihood of the party. In conclusion, Darkness at Noon Arthur Koestler highlights the main ideologies of the communist party in Russia and their goal for a new Utopia. However, he argues that the revolution ultimately failed due to the oppression and disregard of the individual and the goal for a new utopia was altered. The understanding of the silent partner or the individual can connect to a humanitarian level were one makes choices that benefit everyone, not make decisions based on pure logics that benefit most but forget others. The misunderstanding of the individual leads one to the path of selfishness and close-mindedness that creates dictators and corrupt leaders. The idea that we are all trapped in the grain of salt speaks volume to my ideas. I truly feel that we need to understand ourselves fully in order to help others because we are the same and harming others directly or indirectly can result in harming our own selves.