Tanti At The Oval Analysis

When Sykes aggravated her, Delia “seized the iron skillet from the stove and struck a defensive pose, which act surprised him greatly, coming from her. It cowed him and he did not strike her as he usually did.” (Sweat 2). This powerful moment displays the focus of Delia’s growing self confidence. To start, the repetition of strong verbs, such as “seized”, “struck”, and “cowed” show how unusual this is.

Throughout the album there is a constant beat made up of common Cuban instruments with exciting melody’s and fast paced solos with flaring instruments, none more evident than the very song of “Afro

Adnan talks about how he isn’t in her car. Hae always goes to her little cousin’s school to go pick them up. “I would-- wouldn’t have asked for a ride after school. I’m-- I’m sure that I didn’t ask her because, well immediately after school because I know she always-- anyone who knows her knows she always goes to pick up her little cousin, so she’s not doing anything for anyone right after school. No-- no matter what.

This is when Mr. Shiflet first started to show interest in the car. “Mr. Shiflet’s pale sharp glance had already passed over everything in the yard…and moved to a shed where he saw the square rusted back of an automobile. “You ladies drive?”

El Anatsui is an African contemporary artist, who uses art to expresses the culture of Africa post colonialization. Anatsui uses natural materials such as wood, clay, and discarded bottle caps in his artwork. Many of his pieces reflect the Ghanaian culture, by using inspirations from Kente cloth, a traditional West African cloth made from woven textiles with multiple patterns. He uses his art to take a stand by informing people on the issues that Africa currently faces. Anatsui’s art references many historical events from Africa and around the world.

In paragraph eleven, the author states, “She appointed officials and advisors; dealt with the priests; appeared in public ceremonies first behind, then beside, and eventually in front of her nephew.” The

In Small Island, Hortense is ridiculed in London by the host society for her aspirations despite being a Black woman. Hortense trained as a teacher in Jamaica and ‘was the talk of the college for several weeks.’ Hortense’s privileged upbringing is a reflection of her high hopes for England and the educational advantages she feels she will be entitled to in Britain. Although, Hortense is well-respected feelings of superiority often interject Hortense’s outlook on the opportunities available to her in Britain. Thus, she is alienated in the British educational system due to institutionalised racism and nowhere will hire her because she is black.

She achieves her aim in highlighting that the prohibitive laws which reduce people like her to mere sexual bodies is a psycho-social remnant of the colonial past. She addresses a number of audiences within the piece, including the human rights community, the governments of both her native Trinidad and Tobago and The Bahamas, and by extension all citizens of the Caribbean and wider world who have been disenfranchised by laws that diminish their humanity and highlight their perceived iniquity. The implication of her essay is clear: if not just any body can be a citizen, the democracy which we have set up is in need of some adjustment. It relates to us because it reminds us that for every time we deny any body rights, we have failed to live up to the principles on which are postcolonial societies are supposed to be

One such example is a common stereotypical female role, the cook. Some instances of this included when Francis, Scout and Jem’s cousin, repeats what his grandma says, “...That all men should learn to cook...be careful with their wifes and wait on ‘em when they don’t feel good”(68). This implies two things, that men should learn to cook along with the women, but that they should only cook when the women is not able too. Thus, the women has to cook every time unless she is sick. Another smaller example of this is when Scout is talking with Francis about his grandma teaching him how to cook ,Scout responds with, “‘Boys don’t cook.’

Michelangelo famously carved many sculptures throughout his lifetime. One of his most famous pieces is the Rome Pietà. The French cardinal Jean de Bilhères Lagraulas commissioned Michelangelo to carve a memorial piece for his own burial in 1497 (Wallace, 243). The Pietà is currently on display in St. Peter’s Basilica on a pedestal as an altarpiece. William Wallace’s article “Michelangelo’s Rome Pietà: Altarpiece or Grave Memorial?” discusses whether the Pietà should be viewed as an elevated altarpiece or at eye level as a memorial through historical context and the intention of how the work was made to be viewed by an audience.

Through having both feminine and masculine qualities, Gaskell was subtly showing that a female character could be more than just a household saint or a callous imposter. When Paul describes his first sight of Phillus, he uses very romantic, poetic language to paint a picture of Phillis: “The westering sun shone full upon her, and made a slanting stream of light into the room within [...] And such white skin as it was! I have never seen the like” (162). However, Paul later says when he hears Cousin Holman speaking, “I thought I could rather speak to the owner of that voice than to the girl before me” (162).

In Jamaica Kincaid’s essay “On Seeing England for the First Time”, she clearly voices her animosity towards the one place her whole life surrounded as a child in hopes of persuading her audience into understanding that there is a fine line between dreams and realities. As an adult, Kincaid finally is able to travel to England to witness firsthand what all the hype was about and why her childhood and education happened to be based around the fantasy customs of this country. Noticing that every detail of her life revolved around England, from the way she ate her food to the naming of her family members, Kincaid found her hatred growing more and more. Coming from a British colony, the obsession with England drove Kincaid crazy to the point that she finally traveled there one day. She says, “The space between the idea of something and its reality is always wide and deep and dark” (37).

I will be looking at Hector Belioz’s Symphonie Fantastique’s Fifth movement known as “Dream of a Witches’ Sabbath” (Taruskin, 2005: 327). In this movement, Berlioz sees a horrific crowd of spirits, sorcerers, and monsters of every description, united for his funeral (Kamien, 2014: 296). Unfamiliar sounds, groans, shrieks of laughter, distant cries, which other cries seemed to answer and then through all of this the melody of his beloved is heard — the distorted Idée fixe melody.

In some parts he also uses ironic phrases to help visualize the description being made. Tone shifts when the woman singer comes in

The second example in which dominance of patriarchy plays a role and impacts the perception of justice is through the characterization and image of the Furies. The Furies try to achieve justice but an obstacle, male dominance or Apollo, prevents them from taking justice. The Furies mention, We are the Furies, yes, but now are rage that patrolled the crimes of men, that stalked their rage dissolves – we loose a lethal tide to sweep the world! (lines 514-517).