The Waste Land by T. S. Eliot Essay Example for Free

The Waste Land by T. S. Eliot Essay The Waste Land is a modernist poem by T. S. Eliot caused a sensation when it was published in 1922. It is today the most widely translated and studied English-language poem of the twentieth century. This is perhaps surprising given the poems length and its difficulty, but Eliots vision of modern life as plagued by sordid impulses, widespread apathy, and pervasive soullessness packed a punch when readers first encountered it. Pounds influence on the final version of The Waste Land is significant. At the time of the poems composition, Eliot was ill, struggling to recover from his nervous breakdown and languishing through an unhappy marriage. Pound offered him support and friendship; his belief in and admiration for Eliot were enormous. Pound, like Eliot a crucible of modernism, called for compression, ellipsis, reduction. The poem grew yet more cryptic; references that were previously clear now became more obscure. Explanations were out the window. The result was a more difficult work but arguably a richer one. Eliot did not take all of Pounds notes, but he did follow his friends advice enough to turn his sprawling work into a tight, elliptical, and fragmented piece. Once the poem was completed, Pound lobbied on its behalf, convincing others of its importance. He believed in Eliots genius, and in the impact The Waste Land would have on the literature of its day. That impact ultimately stretched beyond poetry, to novels, painting, music, and all the other arts. John Dos Passoss Manhattan Transfer owes a significant debt to The Waste Land, for example. Eliots take on the modern world profoundly shaped future schools of thought and literature, and his 1922 poem remains a touchstone of the English-language canon. Major Themes Death Two of the poem’s sections â€Å"The Burial of the Dead† and â€Å"Death by Water† refer specifically to this theme. What complicates matters is that death can mean life; in other words, by dying, a being can pave the way for new lives. Eliot asks his friend Stetson: â€Å"That corpse you planted last year in your garden, / Has it begun to sprout? Will it bloom this year?† Rebirth The Christ images in the poem, along with the many other religious metaphors,  posit rebirth and resurrection as central themes. The Waste Land lies fallow and the Fisher King is impotent; what is needed is a new beginning. Water, for one, can bring about that rebirth, but it can also destroy.. Hence the prevalence of Grail imagery in the poem; that holy chalice can restore life and wipe the slate clean; likewise, Eliot refers frequently to baptisms and to rivers – both â€Å"life-givers,† in either spiritual or physical ways. The Seasons The Waste Land opens with an invocation of April, â€Å"the cruellest month.† That spring be depicted as cruel is a curious choice on Eliot’s part, but as a paradox it informs the rest of the poem to a great degree. What brings life brings also death; the seasons fluctuate, spinning from one state to another, but, like history, they maintain some sort of stasis; not everything changes. In the end, Eliot’s â€Å"waste land† is almost seasonless: devoid of rain, of propagation, of real change. The world hangs in a perpetual limbo, awaiting the dawn of a new season. Lust Perhaps the most famous episode in The Waste Land involves a female typist’s liaison with a â€Å"carbuncular† man. Eliot depicts the scene as something akin to a rape. This chance sexual encounter carries with it mythological baggage – the violated Philomela, the blind Tiresias who lived for a time as a woman. Love The references to Tristan und Isolde in â€Å"The Burial of the Dead,† to Cleopatra in â€Å"A Game of Chess,† and to the story of Tereus and Philomela suggest that love, in The Waste Land, is often destructive. Tristan and Cleopatra die, while Tereus rapes Philomela, and even the love for the hyacinth girl leads the poet to see and know â€Å"nothing. Water The Waste Land lacks water; water promises rebirth. At the same time, however, water can bring about death. Eliot sees the card of the drowned Phoenician sailor and later titles the fourth section of his poem after Madame Sosostris’ mandate that he fear â€Å"death by water.† When the rain finally arrives at the close of the poem, it does suggest the cleansing of sins, the washing away of misdeeds, and the start of a new future; however,  with it comes thunder, and therefore perhaps lightning. History History, Eliot suggests, is a repeating cycle. When he calls to Stetson, the Punic War stands in for World War I; this substitution is crucial because it is shocking. At the time Eliot wrote The Waste Land, the First World War was definitively a first the Great War for those who had witnessed it. There had been none to compare with it in history. The predominant sensibility was one of profound change; the world had been turned upside down and now, with the rapid progress of technology, the movements of societies, and the radical upheavals in the arts, sciences, and philosophy, the history of mankind had reached a turning point.Eliot’s poem is like a street in Rome or Athens; one layer of history upon another upon another. The five parts of The Waste Land are titled: 1. The Burial of the Dead 2. A Game of Chess 3. The Fire Sermon 4. Death by Water 5. What the Thunder Said - The Waste Land Section I: â€Å"The Burial of the Dead† The first section of The Waste Land takes its title from a line in the Anglican burial service. It is made up of four vignettes, each seemingly from the perspective of a different speaker. The first is an autobiographical snippet from the childhood of an aristocratic woman, in which she recalls sledding and claims that she is German, not Russian. The second section is a prophetic, apocalyptic invitation to journey into a desert waste, where the speaker will show the reader â€Å"something different from either / Your shadow at morning striding behind you / Or your shadow at evening rising to meet you; / [He] will show you fear in a handful of dust† (Evelyn Waugh took the title for one of his best-known novels from these lines). The almost threatening prophetic tone is mixed with childhood reminiscences about a â€Å"hyacinth girl† and a nihilistic epiphany the speaker has after an encounter with her. These recollections are filtered through  quotations from Wagner’s operatic version of Tristan und Isolde, an Arthurian tale of adultery and loss. The third episode in this section describes an imaginative tarot reading, in which some of the cards Eliot includes in the reading are not part of an actual tarot deck. The final episode of the section is the most surreal. The speaker walks through a London populated by ghosts of the dead. He confronts a figure with whom he once fought in a battle that seems to conflate the clashes of World War I with the Punic Wars between Rome and Carthage (both futile and excessively destructive wars). The speaker asks the ghostly figure, Stetson, about the fate of a corpse planted in his garden. Analysis Eliot’s opening quotation sets the tone for the poem as a whole. Sibyl is a mythological figure who asked Apollo â€Å"for as many years of life as there are grains in a handful of sand† (North, 3). Unfortunately, she did not think to ask for everlasting youth. As a result, she is doomed to decay for years and years, and preserves herself within a jar. Having asked for something akin to eternal life, she finds that what she most wants is death. Death alone offers escape; death alone promises the end, and therefore a new beginning. Eliot’s poem, like the anthropological texts that inspired it, draws on a vast range of sources. Eliot provided copious footnotes with the publication of The Waste Land in book form; these are an excellent source for tracking down the origins of a reference. Many of the references are from the Bible: at the time of the poem’s writing Eliot was just beginning to develop an interest in Christianity that would reach its apex in the Four Quartets. The Waste Land Section II: â€Å"A Game of Chess† This section takes its title from two plays by the early 17th-century playwright Thomas Middleton, in one of which the moves in a game of chess denote stages in a seduction. This section focuses on two opposing scenes,  one of high society and one of the lower classes. The first half of the section portrays a wealthy, highly groomed woman surrounded by exquisite furnishings. As she waits for a lover, her neurotic thoughts become frantic, meaningless cries. Her day culminates with plans for an excursion and a game of chess. The second part of this section shifts to a London barroom, where two women discuss a third woman. Between the bartender’s repeated calls of â€Å"HURRY UP PLEASE IT’S TIME† (the bar is closing for the night) one of the women recounts a conversation with their friend Lil, whose husband has just been discharged from the army. She has chided Lil over her failure to get herself some false teeth, telling her that her husband will seek out the company of other women if she doesn’t improve her appearance. Lil claims that the cause of her ravaged looks is the medication she took to induce an abortion; having nearly died giving birth to her fifth child, she had refused to have another, but her husband â€Å"won’t leave [her] alone. Analysis The first part of the section is largely in unrhymed iambic pentameter lines, or blank verse. As the section proceeds, the lines become increasingly irregular in length and meter, giving the feeling of disintegration, of things falling apart. As the woman of the first half begins to give voice to her paranoid thoughts, things do fall apart, at least formally: We read lines of dialogue, then a snippet from a nonsense song. The second half of the section is a dialogue interrupted by the barman’s refrain. Rather than following an organized structure of rhyme and meter This is perhaps the most poetically experimental section of the entire poem. Eliot is writing in a lower-class vernacular here that resists poetic treatment. This section refutes the prevalent claim that iambic pentameter mirrors normal English speech patterns: Line length and stresses are consistently irregular. The two women of this section of the poem represent the two sides of modern sexuality: while one side of this sexuality is a dry, barren interchange inseparable from neurosis and self-destruction, the other side of this sexuality is a rampant fecundity associated with a lack of culture and rapid aging. The comparison between the two is not meant to suggest equality between them or to propose that the first woman’s exaggerated sense of high culture is in  any way equivalent to the second woman’s lack of it; rather, Eliot means to suggest that neither woman’s form of sexuality is regenerative. The Waste Land Section III: â€Å"The Fire Sermon† The title of this, the longest section of The Waste Land, is taken from a sermon given by Buddha in which he encourages his followers to give up earthly passion (symbolized by fire) and seek freedom from earthly things. A turn away from the earthly does indeed take place in this section, as a series of increasingly debased sexual encounters concludes with a river-song and a religious incantation. The section opens with a desolate riverside scene: Rats and garbage surround the speaker, who is fishing and â€Å"musing on the king my brother’s wreck.† The river-song begins in this section The speaker then proclaims himself to be Tiresias, a figure from classical mythology who has both male and female features (â€Å"Old man with wrinkled female breasts†) and is blind but can â€Å"see† into the future. Tiresias/the speaker observes a young typist, at home for tea, who awaits her lover, a dull and slightly arrogant clerk. The woman allows the clerk to have his way with her, and he leaves victorious. Tiresias, who has â€Å"foresuffered all,† watches the whole thing. After her lover’s departure, the typist thinks only that she’s glad the encounter is done and over. A fisherman’s bar is described, then a beautiful church interior, then the Thames itself. These are among the few moments of tranquillity in the poem, and they seem to represent some sort of simpler alternative. Queen Elizabeth I in an amorous encounter with the Earl of Leicester. The queen seems unmoved by her lover’s declarations, and she thinks only of her â€Å"people humble people who expect / Nothing.† The section then comes to an abrupt end with a few lines from St. Augustine’s Confessions and a vague reference to the Buddha’s Fire Sermon (â€Å"burning† ). Analysis This section of The Waste Land is notable for its inclusion of popular poetic forms, particularly musical ones. The more plot-driven sections are in Eliot’s usual assortment of various line lengths, rhymed at random. â€Å"The Fire Sermon,† however, also includes bits of many musical pieces’ the use of such â€Å"low† forms cuts both ways here: In one sense, it provides a critical  commentary on the episodes described, the cheap sexual encounters shaped by popular culture (the gramophone, the men’s hotel). But Eliot also uses these bits and pieces to create high art, and some of the fragments The opening two stanzas of this section describe the ultimate â€Å"Waste Land† as Eliot sees it. The wasteland is cold, dry, and barren, covered in garbage. Unlike the desert, which at least burns with heat, this place is static, save for a few scurrying rats. Even the river, normally a symbol of renewal, has been reduced to a â€Å"dull canal.† while Buddha can only repeat the word â€Å"burning,† unable to break free of its monotonous fascination. The poem’s next section, which will relate the story of a death without resurrection, exposes the absurdity of these two figures’ faith in external higher powers. That this section ends with only the single word â€Å"burning,† isolated on the page, reveals the futility of all of man’s struggles. The Waste Land Section IV: â€Å"Death by Water† The shortest section of the poem, â€Å"Death by Water† describes a man, Phlebas the Phoenician, who has died, apparently by drowning. In death he has forgotten his worldly cares as the creatures of the sea have picked his body apart. The narrator asks his reader to consider Phlebas and recall his or her own mortality. Analysis While this section appears on the page as a ten-line stanza, in reading, it compresses into eight: four pairs of rhyming couplets. Both visually and audibly, this is one of the most formally organized sections of the poem. It is meant to recall other highly organized forms that often have philosophical or religious import, like aphorisms and parables. The alliteration and the deliberately archaic language (â€Å"o you,† â€Å"a fortnight dead†) also contribute to the serious, didactic feel of this section. The major point of this short section is to rebut ideas of renewal and regeneration. Phlebas just dies; that’s it. Like Stetson’s corpse in the first section, Phlebas’s body yields nothing more than products of decay. However, the section’s meaning is far from flat; indeed, its ironic layering is twofold. The Waste Land Section V: â€Å"What the Thunder Said† The final section of The Waste Land is dramatic in both its imagery and its events. The first half of the section builds to an apocalyptic climax, as suffering people become â€Å"hooded hordes swarming† and the â€Å"unreal† cities of Jerusalem, Athens, Alexandria, Vienna, and London are destroyed, rebuilt, and destroyed again. A decaying chapel is described, which suggests the chapel in the legend of the Holy Grail. Atop the chapel, a cock crows, and the rains come, relieving the drought and bringing life back to the land. Curiously, no heroic figure has appeared to claim the Grail; the renewal has come seemingly at random, gratuitously. Eliot launches into a meditation on each of these aspects of the thunder’s power. The meditations seem to bring about some sort of reconciliation, as a Fisher King-type figure is shown sitting on the shore preparing to put his lands in order, a sign of his imminent death or at least abdication. The poem ends with a series of disparate fragments from a children’s song. Analysis The final stanzas of The Waste Land once again link Western and Eastern traditions, transporting the reader to the Ganges and the Himalayas, and then returning to the Thames and London Bridge. Eliot’s tactic throughout his poem has been that of eclecticism, of mixing and matching and of diversity, and here this strain reaches a culmination. The relevant Upanishad passage, which Eliot quotes, describes God delivering three groups of followers -– men, demons, and the gods -– the sound â€Å"Da.† The challenge is to pull some meaning out of this apparently meaningless syllable. For men, â€Å"Da† becomes â€Å"Datta,† meaning to give; this order is meant to curb man’s greed. For demons, â€Å"dayadhvam† is the dictum: these cruel and sadistic beings must show compassion and empathy for others. Finally, the gods must learn control – â€Å"damyata† – for they are wild and rebellious. Together, these three orders add up to a consistent moral perspective, composure, generosity, and empathy lying at the core. The initial imagery associated with the apocalypse at this section’s opening is taken from the crucifixion of Christ. Significantly, though, Christ is  not resurrected here: we are told, â€Å"He who was living is now dead.† The rest of the first part, while making reference to contemporary events in Eastern Europe and other more traditional apocalypse narratives, continues to draw on Biblical imagery and symbolism associated with the quest for the Holy Grail. The repetitive language and harsh imagery of this section suggest that the end is perhaps near, that not only will there be no renewal but that there will be no survival either. Cities are destroyed, rebuilt, and destroyed, mirroring the cyclical downfall of cultures. The meditations upon the Upanishads give Eliot a chance to test the potential of the modern world. Asking, â€Å"what have we given?† he finds that the only time people give is in the sexual act and that this gift is ultimately evanescent and destructive: He associates it with spider webs and solicitors reading wills. Just as the poem’s speaker fails to find signs of giving, so too does he search in vain for acts of sympathy—the second characteristic of â€Å"what the thunder says†: He recalls individuals so caught up in his or her own fate—each thinking only of the key to his or her own prison—as to be oblivious to anything but â€Å"ethereal rumors† of others. The third idea expressed in the thunder’s speech—that of control—holds the most potential, although it implies a series of domineering relationships and surrenders of the self that, ultimately, are never realized.

Body and Nature as Signifying System in Jane Smileys A Thousand Acres :: Smiley Thousand Acres Essays

Body and Nature as Signifying System in A Thousand Acres The fascinating aspect of theories about the bodies, is that our bodies lie somewhere in the grey area between the physical and the intellectual realm (in itself testifying to the falsity of such dichotomies). On the one hand, they are biological; genetically programmed flesh. On the other, they are continuous sites of signification; embodying (no pun intended) the essentially textual quality of a human subject's identity. A Thousand Acres foregrounds issues raised by the perspective that one's body can be the vehicle for understanding of the self and the world. One of the ways this is done, is a part of a larger project of ecofeminist rhetoric, creating numerous analogies between the body and nature. This is first seen when Ginny utilizes nature by the Scenic. Not only are "the cattails green and fleshy-looking"(7, italics mine), but the natural scene forms a signifying system like her own body, a way to metaphorically internalize the problems of human interaction. Wonderfully incorporated into this is also the intertextual body created by A Thousand Acres and King Lear. In the storm scene, Lear calls Regan and Goneril "those pelican daughters" (III.iv.75, meaning that they feed on the parent's blood). By the Scenic, Ginny sees pelicans reemerging after supposedly being annihilated by her farmer ancestors, foreshadowing the reemerging of her self after a life of suppression. She can read nature like a text about her own suppression and the suppression and hiding of what is actually going on between the characters in this novel: "The view along the Scenic, I thought, taught me a lesson about what is below the level of the visible" (9). Nature, for Ginny, is understood by way of the intertwining of its and her body's past. She "was always aware [...] of the of the water in the soil, the way it travels from particle to particle", an awareness that eventually evolves into an understanding and identification. She reflects upon the millions of years and billions of "leaves, seeds, feathers, scales, flesh, bones, petals, pollen" (131) that constitute the soil they live on. The hope is that this is a large-scale development of corporeal transformation that transcends the petty exploitative farming of a patriarchal society, and that she is a part of it. After all, her body is not only a part of the soil, and vice versa, but of the poisoning of nature: "My inheritance is with me, sitting in my chair. Body and Nature as Signifying System in Jane Smiley's A Thousand Acres :: Smiley Thousand Acres Essays Body and Nature as Signifying System in A Thousand Acres The fascinating aspect of theories about the bodies, is that our bodies lie somewhere in the grey area between the physical and the intellectual realm (in itself testifying to the falsity of such dichotomies). On the one hand, they are biological; genetically programmed flesh. On the other, they are continuous sites of signification; embodying (no pun intended) the essentially textual quality of a human subject's identity. A Thousand Acres foregrounds issues raised by the perspective that one's body can be the vehicle for understanding of the self and the world. One of the ways this is done, is a part of a larger project of ecofeminist rhetoric, creating numerous analogies between the body and nature. This is first seen when Ginny utilizes nature by the Scenic. Not only are "the cattails green and fleshy-looking"(7, italics mine), but the natural scene forms a signifying system like her own body, a way to metaphorically internalize the problems of human interaction. Wonderfully incorporated into this is also the intertextual body created by A Thousand Acres and King Lear. In the storm scene, Lear calls Regan and Goneril "those pelican daughters" (III.iv.75, meaning that they feed on the parent's blood). By the Scenic, Ginny sees pelicans reemerging after supposedly being annihilated by her farmer ancestors, foreshadowing the reemerging of her self after a life of suppression. She can read nature like a text about her own suppression and the suppression and hiding of what is actually going on between the characters in this novel: "The view along the Scenic, I thought, taught me a lesson about what is below the level of the visible" (9). Nature, for Ginny, is understood by way of the intertwining of its and her body's past. She "was always aware [...] of the of the water in the soil, the way it travels from particle to particle", an awareness that eventually evolves into an understanding and identification. She reflects upon the millions of years and billions of "leaves, seeds, feathers, scales, flesh, bones, petals, pollen" (131) that constitute the soil they live on. The hope is that this is a large-scale development of corporeal transformation that transcends the petty exploitative farming of a patriarchal society, and that she is a part of it. After all, her body is not only a part of the soil, and vice versa, but of the poisoning of nature: "My inheritance is with me, sitting in my chair.

Graffiti & art Essay

The word graffiti is basically used to refer to a form of art that involves making of images, scrawls, scratches or painting letters on surfaces in various ways. It has been in existence for years. The use of graffiti has sparked debate from two camps. It is regarded both as unsightly and unwanted by critics who claim that defacing anything under the pretext of graffiti is simply a form of vandalism while its supporters claim that it is a worthy way of displaying their messages. Introduction Graffiti traces its history to the ancient Greece and the Roman Emperor. It has since evolved from a simple scratch to the modern spray paints and markers. Graffiti has been used to pass social and political messages for quite along time. But though used as such, it still remains an illegal practice in most countries in the world. This has led to a lot of protests and debates from simple artists and scholars alike on whether to legalize it or not. Questions on the safety of the society with legalized graffiti form headlines in such debates. This essay will therefore try to state reasons why graffiti should be left to be in our societies due to its numerous positive impacts that surpass the negatives. Reasons to Support Graffiti †¢ To Preserve Memories The graffiti that are put on stone carvings can stay for years and years to help pass a message to the future generation on how the history of some ancestral practices. A massage that could have required several words to explain can just be put in a single drawing using graffiti. These practices helped revolutionary soldiers to curve their names as well as those of them who died during the war on monuments for remembrance. Cultures have developed and traditions have been preserved, thanks to the graffiti practice. To add onto this it is also reported in (Reda Joseph, 2006) that those countries that are actively involved in the promotion of graffiti have even earned themselves international recognition for example Brazil, which boasts of unique and rich graffiti scenes This has made the country to be considered a centre of inspiration for modern graffiti artists (Lost Art & Caleb Neelon, 2007, 7). †¢ Source of Income The art has been used for decades and decades for the economic advantage of its players. Those individuals that need to have some information sent to the public, or want to uplift the facial look of their premises, cars or any other asset of theirs have to part with some money in return for the services done to them. The artists in this case have therefore benefited a great deal from such payments. There have been reported cases of schools being established to teach those who aspire to have graffiti as a professional course. This has in turn made the instructors to change the societal perception of graffiti apart from gaining from the payments of the courses. The spread escalated in the years 1960s when it was incorporated in the hip hop, rap and rock culture by the then artist (Peter Shapiro) . With this positive reception of the graffiti culture, a lot of exhibitions have been organized leading to staggering sums of money for the artists as well as organizers. Graffiti culture has been picked up by almost everyone in the society. Reported of late in most if not all countries is the graffiti sported on buildings, trains and cars. This shows that the business is not just about to fade away, but needs to be embraced in the modern society then defined well enough to fit perfectly in any given modern setting. This spread has also led to a newly founded wave of creativity and a more professional approach to graffiti. Graffiti also sparks innovation. With the emerging nature of competition in the practice, only technology can help one artist to ride over the others. Modern experimentation has seen the incorporation of some additional arts and technologies as those seen in the graffiti writers in the latest media, where they use projected images and magnetic light emitting diodes (K. Varnedoe and A. Gopnik, 1991). †¢ Radical and Political Use For the voiceless, the oppressed, the socially challenged and all these people who feel disadvantaged in one way or another, graffiti offers a way out to help them address their views. Graffiti is just one tool of expressing resistance to a system of for example governance. In 1990s, graffiti resurfaced with a new look and a refreshed objective, it became more focused on political matters more than social oppression. †¢ Academic and other Uses of Graffiti Contemporary analysts as well as art critics both agree on the artistic value of graffiti and are acquainted with it as a public art which making it a basic necessity for social emancipation or for achievement of a political goals. In case of a conflict in the society, graffiti can be used to bring dialogue and address cleavage between the warring groups. The Belfast and Los Angeles murals have been used to this effect to offer a mode of â€Å"communication and self expression† for those who feel ethnically, socially and racially alienated. Campaigns against moral degradation or any other unaccepted social practice can easily be done using graffiti. When coupled with a bit of stenciling of one or more colors the, the message appears more concrete. This form of advance graffiti was used by artists like Mathangi Arulpragasam, John Fekner and Lucy Lippard, to address decaying environmental concern, political and social issues in their times. Conclusion The life of all human beings is influenced by three main factors: that is, the need to act in a socially accepted manner, to do what one feels good about at that particular time and to maximize ones resources. Without motivating people to act responsibly in any social setting, the first two factors become top priorities. These are the reasons why graffiti has taken a strong root in the current society and has made a stable foundation; instead of just fading away it is seen to be spreading with time. Graffiti has helped people who seek anonymity, but want to give out an opinion to the public on a sensitive matter. Since permanent graffiti is considered a criminal offense, one can resort to the use of non-permanent paints to make it hard for the police to apprehend. Because after all there is a possibility that such temporary graffiti can as well last for a long time than even the permanent works depending on how the community view the artist’s work. Graffiti has evolved to an elaborate painting of letters which is taken as a complete art form with its own aesthetics, particularly the graffiti murals. But it still faces a major opposition from several quarters, from those who treat it as public nuisance†¦to them; it means to deface the good landscape and degrades the community. And the fact that it is illegal makes it unpopular in the eyes of the public. The commercial billboards and numerous advertisements that are spotted in the public space have to be considered if graffiti should be banned. And if the relevant authorities claim that such companies who own them pay tax, then they need to allow graffiti on walls if graffiti artists can find some sponsors like stores, restaurants and other businesses. Or alternatively, such authorities should just let the so called â€Å"public spaces† be made use of by graffiti without charging them. As a final remark, it can be said that, yes! Graffiti is a revolution, and just like any other revolution it might be taken to be a criminal offense. But it also has to be in everyone’s mind that people who are oppressed, depressed or suppressed require an outlet, and graffiti offers them this. So let these people write on walls. Just like clearing the homeless off the streets is not sustainable solution homelessness, erasing graffiti in itself is an act in futility. (Sara Rudin) Work Cited â€Å"Art Crimes† by Sara Rudin: http://www. wm. edu/so/jump/spring96/graffiti. html. â€Å"Is the Writing on the Wall for Graffiti†, PR News Wire (2004-07-28). And â€Å"Jail for leader of graffiti gang†. BBC News (2008-07-11). Retrieved on 21st November, 2008. En Cams â€Å"A History of Graffiti in Its Own Words†, New York Magazine: Press release. K. Varnedoe and A. Gopnik. â€Å"High and Low: Modern Art and Popular Culture. New York: The Museum of Modern Art, 1991. Lost Art & Caleb Neelon: â€Å"Graffiti Brazil†. London: Thames and Hudson, 2005, 7. Peter Shapiro: â€Å"Rough Guide to Hip Hop†, 2nd. ed. , London: Rough Guides, 2007. Reda, Joseph (April 25, 2006). â€Å"Bill/Resolution: O06037†. County Council: Passed Legislation. Council of New Castle County, Delaware: Retrieved on 21st November 2008. Thematic strategy on the urban environment — European Parliament resolution on the thematic strategy on the urban environment (2006/2061(INI))

The Apology in the Cheeseburger Essay - 2030 Words

Going to the park always gave Rick Castle a chance to think while he watched Alexis play. The first times he would come with her, he didnt part from her not for a second, not wanting to miss the any of the fun- and maybe to keep an eye on her too-. However, recently she had started to demand more independence, stating it was silly for her to play with other kids if her father was following her too. It was a bittersweet feeling for him, admiring his kid,but also knowing the little things that marked her baby as such would soon be a part of the past. His baby was growing older, and hed try to hold on to the little moments as if his life depended on it. And in some ways it did. Escaping from the single mothers that always seemed†¦show more content†¦Its not ready. Shes not ready. Detective Beckett. Hes not sure if he will ever understand that woman. Even if shes so reserved, he detects things about her, specially by watching -not staring- her while she works. Theres something almost magnetic about her, hes intrigued. Hes a mystery writer, and intrigued is a force that pulls him. Which is why hes begun to pay close- closer- attention to her as a cop, like source of inspiration And the repercussions of that choice terrifies and exhilarates him. A wail cut his reveries short, he snapped his view towards his little read head, noticing she was on the ground. His fatherly instinct had him running towards Alexis in record speed. What happened sweetheart? He asked though he could see she had scraped her elbow. Thankfully it wasnt anything major. I.. I fell Alexis cried. The pain clear in her watery eyes, she showed him her injured elbow. Nothing serious, maybe a band aid and an extra scoop of ice cream will do the trick. I see. Its ok baby, youre just fine. Rick tried to soothed her. It hurts I know, Im sorry. He kneeled in front of her, grabbed her arm and place a gentle kiss below the scrape There, better? No Alexis said stubbornly. Oh he gasped in mock horror. It appears my magical powers have been drained, maybe we should go home. Will you come with me, mlady? he asked, standing up and extending his arm for her daughter to take.Show MoreRelatedThe Apology in the Cheeseburger Essay1504 Words   |  7 Pagesexpectantly. I, erhm. Sorry about that. I was just embellishing truth a bit for the press He apologized giving her a sheepish look.. How much more time is that interview going to last? She asked, not without first rolling her eyes first at his apology. I dont know why? He asked, noting that the detective was mad. Need I remind you that you come here to fulfill a punishment established by the law. Its not a recreational place, where you can just take the liberty of conducing an interviewRead MoreShort Story : You Know Nothing About Me 1468 Words   |  6 Pages The man leans against the counter with his arms folded, waiting for his wife to disappear back into the bedroom. The man opens a drawer in the kitchen and counts exactly forty-five cents in pennies, nickels, and dimes. Not even enough for a cheeseburger from the dollar menu at McDonald’s. With a rumbling stomach, the man shuffles over to the couch and crumples onto the leather cushions then he reaches for the wool blanket that never stops shedding. As he lies in the darkness, the man can onlyRead MoreImportance of the 4 Ps in Marketing Essay3809 Words   |  16 Pagesadvertising, there will always be bumps in the road. As mentioned in Marketing: The Core, they may have insulted the Greeks when they turned the marble columns of the Parthenon in Athens into coke bottles in a TV ad but the issue was resolved with an apology and hopefully a better understanding of cross cultural advertising. As one of the largest beverage producers in the world, Coca-cola should have no problem being around for years to come. A successful marketing strategy does not always mean successRead MoreEssay on Mc Donald’s Customer Service7936 Words   |  32 Pagesto business. In 1948 brothers Dick and Mac McDonald remodelled their McDonald’s drive-in restaurant in San Bernardino, California, creating the prototype for the modern fast-food restaurant. The menu was limited to nine items: hamburgers, cheeseburgers, and three types of soft drinks, milk, coffee, potato chips, and pies. French fries and milkshakes were soon added. By focusing on efficient production and service, McDonald’s cut the price of their hamburgers from 40 cents to 20 cents. Read MoreCustomer Care10655 Words   |  43 Pagescustomer’s expectations during customer recovery, dissatisfied customers can become even more loyal to McDonald’s than before their complaint 3. Sympathise Be genuine. Tell the customer you understand and put yourself in their position. Repeat your apology as much as needed to please the customer. The customer will be pleased that somebody has taken his or her complaint seriously. Customers will feel happy that somebody cares. You will please the customer by agreeing and confirming a course of action