Gender Roles Essay Example | Topics and Well Written Essays - 750 words - 1

Gender Roles - Essay Example This paper describes the observations of male and female actions, relationships and behaviours under the experiment held by the author. To conduct the experiment, the author puts together a small shopping list for a local convenience store that has multiple chains across the country and frequently attracts the same overall clientele. The shopping list was to provide a basic reason for his being there as well as an excuse to wander all around the store and make observations without arousing suspicion on the part of the store employees. The ‘shopping list’ also assisted with data collection in that it provided him with an easy checklist for data collection. It was necessary to visit the store two separate times in order to observe a male employee on the floor and a female employee on the floor (i.e. assisting customers). It was as important to observe both a male and a female employee at work in order to determine the role gender played in whether or not a customer would r eceive service as it was to observe the service received by male and female customers. However, because these visits were made during comparable times of the weekday, the number of customers was approximately equal and the demands on the employees’ time were also approximately equal (both had ample time to personally assist each customer that entered the store). In addition, the two employees observed were of similar age range, each appearing to be in their early 20s and both talking with customers and other employees of college issues.

17th Century Treatment of Woman in Literature Essay Example for Free

17th Century Treatment of Woman in Literature Essay By the Middle Ages, it was commonly accepted that Eve was principally to blame for the disobedience that led to the fall of humanity. Greek ideas had replaced Jewish in Christian thinking, including the notion that the soul was good but the body evil. Heretical though this might have been, it didn’t stop sexuality being regarded as somehow evil. One of the few recorded medieval women writers, the mystic Margery Kempe, aspired to celibacy even within marriage. As it becomes apparent in a few select works representing women in medieval literature, includingThe Book of Margery Kempe, Beowulf, Sir Gawain and the Green Knight, and Le Morte Darthur, in the middle ages or medieval period, restrictions placed on women underwent a significant change. At the beginning of this period, women’s roles were very narrowly prescribed and women did not have much to do with life outside of the home. As this age went on, however, women gradually began to express more opinions and have a greater and more equal role in society. Two earlier medieval texts, Beowulf and Sir Gawain and the Green Knight offer readers two simple categories of women, those who are or are not confined. Later, with the writings of Margery Kempe, the strict duality begins to disappear and the reader is confronted with a woman who is blend of each of these ideas of women. While she is confined by her society, she is unconfined by its conventions such as marriage and traditional gender roles. In general, however, each text presents an example of a â€Å"proper† and confined woman as well as the complete opposite; almost so that the reader can see what evils can occur if a woman is not confined. The women in Beowulf, at least on first glance, might appear to be glorified waitresses and sexual objects, but their role is far more complicated than this. When it is stated in one of the important quotes from â€Å"Beowulf† that, â€Å"A queen should weave peace† As confined in a marriage, women in Beowulf are assigned the role of peace weaver, â€Å"queen and bedmateAll of the human women in Beowulf are queens and adhere to their duties as such with grace and obedience. The only exception to this model of medieval femininity is Grendel’s mother who is technically a woman but is so hideously described that the idea of gender becomes grossly distorted. Sir Gawain and the Green Knight even though it was written some years after Beowulf. In this text, the reader is first confronted with the ideal woman, Guenevere, who is confined and is serving her role as peace weaver and object for the male gaze. â€Å"the goodly queen gay in the midst/ on a dais well-decked and duly arrayed / with costly silk curtains†¦all broidered and bordered with the best gems† Chaucer’s womenAlthough women feature strongly in Chaucer’s earlier works, such as The Boke of the Duchess and Troilus and Criseyde, we only find three women on the pilgrimage described in The Canterbury Tales: * The Wife of Bath * The Prioress * ‘Another nun’ who accompanies her but is hardly mentioned again. The two principal women reflect the only ways that women at the time could achieve independence and status: in the Church or in a trade. The Wife of Bath represents those whose skills, such as weaving, gave them financial independence, though Chaucer’s character seems to have grown wealthy mainly by marrying a series of rich old men. is tempting to see the Wife as a champion of female rights, and her Tale brings out the idea that women should have maistrieover men, but the Wife is of course a character in a story written by a man. She has had five husbands, like the woman of Samariawho is challenged by Jesus (in John 4:17-18), ’withouten oother compaignye in youthe’. Her fifth husband, whom she married for love rather than riches, proved to be less compliant – and very well read. She claims to have put him in his place eventually, but Chaucer enjoys making the Wife recount (and try to refute) all the misogynistic tales with which he has assaulted her.  Women in Renaissance and after: Throughout the sixteenth and seventeenth centuries, the social standing and the legal and economic rights of women continued to be restrictive, limiting them to the domestic sphereDuring the Protestant Reformation of the sixteenth century and the resulting Catholic Counter-Reformation, the depiction of women in domestic roles became increasingly important. The social system of patriarchy matured during the early modern period, particularly during the Reformation. The concept of patriarchy involved male control over nearly all facets of society. The assigned works from the English Renaissance primarily portray women unrealistically. Despite a few exceptions, these works depict women as being idealistically beautiful, as having perfect virtue, or, conversely, as exercising hyperbolically negative traits. The few exceptions to this rule do depict women in a more realistic light. For instance, in its first six stanzas, the female speaker of John Donne’s â€Å"The Bait† praises Marlowe’s â€Å"Passionate Shepherd,† but in the final quatrain, she acknowledges how foolish she is for biting at his bait, saying, â€Å"That fish that is not catched thereby, / Alas, is wiser far than I† (1247). William Shakespeare also paints a realistic picture of a woman in Sonnet 130, debunking the florid Petrarchan conventions that elevate women’s beauty almost beyond comprehension but asserting that his mistress is â€Å"as rare† (1041) as any Petrarchan subject nonetheless. Among the male authors, Shakespeare also presents the most substantive and realistic female character of these works with Cordelia in King Lear. Although her honesty at first brings disownment and exile, she emerges as one of the few characters in the play who remain true to their convictions throughout the course of the narrative. Cordelia’s realistic portrayal is rivaled only by the highly personal poetry of the only female author assigned, Katherine Philips. In â€Å"A Married State,† Philips also debunks the popular perspective favoring of marriage, especially with its benefits for women, noting to her audience of young women that the single life yields â€Å"No blustering husbands to create your fears; / No pangs of childbirth to extort your tears; / No children’s cries for to offend your ears† (1679). Another of her poems, â€Å"On the Death of My First and Dearest Child, Hector Philips,† provides an equally realistic yet exponentially more emotional account of the uniquely maternal experience of losing a child. Despite the success of these works in presenting realistic depictions of women, they are the exceptions to the rule, as the majority of the assigned works portray women quite unrealistically. Perhaps the most common of the exaggerated portrayals addresses women’s physical beauty. Sonnet 64 of Edmund Spenser’s Amorettidescribes his subject with the inflated Petrarchan conventions satirized by Shakespeare, likening each detail of her physical appearance to a different flower, and claiming that â€Å"her sweet odour did them all excel† (866)—an obviously impossible feat. The bride of Spenser’s Epithalamion is sung as having similarly cosmic beauty, with â€Å"eyes like stars† (870) or â€Å"Saphyres shining bright† (872). In fact, Spenser describes â€Å"all her body† as â€Å"like a pallace fayre† (872) in a highly exaggerated comparison, the meaning of which almost defies interpretation. Even in a poem addressing the neo-Platonic ideal of finding virtue in beauty, Sir Philip Sidney’s Astrophil still relapses to using the common Petrarchan convention comparing Stella’s eyes to the sun in Sonnet 71 before concluding with the confession that he fails in his attempt to elevate his attention from her physical beauty to her underlying virtue. These last two works also invoke the fallacy of women as having unadulterated virtue. Again, Astrophil lauds the inherent goodness that Stella’s beauty reflects. Not only does she possess this virtue, but she also seeks to improve all with whom she comes in contact: â€Å"And not content to be Perfection’s heir / Thyself, dost strive all minds that way to move, / Who mark in thee what is in thee most fair† (926). Spenser describes one example of the flawless disposition of the bride ofEpithalamion by recounting her humility, even shyness, in the face of the adoring stares of all the guests at her wedding and the unsullied virginity she brings to her marriage bed. In another work, the virtuous Celia of Ben Jonson’s Volpone finds her faith and integrity unrewarded with an attempted affair forced upon her by her husband and a false conviction for allegedly seducing yet another man. Finally, in a highly complex simile, Donne draws a parallel between his love and â€Å"the fixed foot† (1249) of a compass in â€Å"A Valediction: Forbidding Mourning. † The woman he addresses is so constant, so faithful, so flawlessly virtuous, that she is as the tool that produces the circle, the shape of perfection. Just as common as excessively positive characterizations of women are the excessively negative. Two of the assigned plays include women whose primary activity is political scheming: Goneril and Regan in King Lear and Lady Politic Would-Be in Volpone. Goneril and Regan present flattering platitudes to their father, Lear, that do not reflect their true feelings for him. In fact, after receiving their inheritances of half the kingdom each, they want nothing more to do with him and turn him out into the stormy night. Lady Politic also schemes in an effort to increase her social status, leveling false accusations of adulterous seduction against Celia in order to advance her and her husband’s own chances of inheriting Volpone’s fortune. The speaker of Donne’s â€Å"Song† might have been hurt by such women as these, for he denies the existence of any faithful and virtuous woman. If his addressee were to find a seemingly true woman, Donne laments that â€Å"Though she were true when you met her, / . . . / Yet she / Will be / False, ere I come, to two, or three† (1238). Another of Donne’s poems, â€Å"The Flea,† contains another common criticism of women: that they too often deny their suitors. The listener of this dramatic monologue, in killing the flea, casually rejects the speaker’s elaborate analogical argument for a relationship between them, and in response, the speaker insults her honor, which amounts to as much â€Å"as this flea’s death took life from thee† (1236). â€Å"The Nymph’s Reply to the Shepherd† also counters an elaborate argument, this one an appeal more emotional than rational. Sir Walter Ralegh’s nymph responds to each point from Marlowe’s shepherd with the argument that all his promised goods and pleasures will fade with time, including his own youth and love. This reply to a heartfelt attempt to win her love establishes the nymph as cold and self-centered, as opposed to the devoted and emotionally expressive shepherd. The speaker of Andrew Marvell’s â€Å"To His Coy Mistress† experiences a similar rejection from his intended lover. Rather than praise her beauty and virtue, he mocks them as fleeting and meaningless, respectively, saying, â€Å"Thy beauty shall no more be found, / . . . in thy marble vault . . . † (1691) and â€Å". . . then worms shall try / That long-preserved virginity, / And your quaint honor turn to dust† (1691-92). Perhaps the strongest indictments of women in these works charge them with an opposite sin: the base corruption of formerly virtuous men. Arcasia, in Spenser’s The Faerie Queene, attracts and seduces good men only to turn them into wild beasts doomed to her service. Shakespeare’s Sonnet 144 describes a similar woman, close contact with whom carries damning effects: â€Å"To win me soon to hell, my female evil / Tempteth my better angel from my side, / And would corrupt my saint to be a devil† (1042). The most â€Å"accomplished† female corrupter of these works affects not only the man in her life but all of humankind. John Milton’s Eve, after ignoring the counsel of her wiser husband, inflicts sin upon all her descendents as a result of her inferior reason, virtue, and faith—according to Adam and Milton. The sinful history of humanity to follow owes itself to the weakness of a woman. The enormity of this last example typifies how the unrealistically exaggerated portrayals of women in English Renaissance literature far outweigh the few examples of more realistic and moderate depictions. This subject culminates in the image of Miltons Eve in the epic poem Paradise Lost. Although Miltons Eve comes, in the mid-seventeenth century, at the end of the Renaissance in England, her image builds upon, and perpetuates, Renaissance antifeminist commonplaces, while it also questions and undermines them. Milton emphasizes Eves subordinate position in his description of Adam and Eve in Book 4: For contemplation he and valor formed, /For softness she and sweet attractive grace; /He for God only, she for God in him (11. 296-299). Eve herself articulates and generalizes that subservience: God is thy Law, thou mine; to know no more/Is womans happiest knowledge and her praise (11. 638-639). When she rebels against her secondary position, she separates herself from Adam in their Edenic tasks and thus is vulnerable to Satans temptations. When the Renaissance in England was at its height, in Edmund Spensers Elizabethan world, the great epic poet of the 1590s presents images of women that contrast with the shadowy or negative women of Miltons epic poem. While antifeminist views of female nature are embodied in the allegorical Error in Book 1 of Spensers The Faerie Queene, other females throughout the epic serve to celebrate women. In part because Spensers poem was written in praise of his own Queen Elizabeth, the positive images of women range widely. They include the gentle, yet forceful, Una, whose cry, Fie, fie, faint harted knight (1. x. 465) shocks the feeble Redcrosse Knight into action against the temptations of Despair. In the third book of The Faerie Queene, the virtue of Chastity is exemplified through the woman warrior Britomart. In this portrait, Spenser tells Queen Elizabeth that he is disguising praise of her, his own queen, since explicit celebration would be inadequate: But O dred Soveraine/ Thus farre forth pardon, sith that choicest wit/ Cannot your glorious pourtraict figure plaine/ That I in colourd showes may shadow it,/ And antique praises unto present persons fit (3. . 23-27). Throughout her reign, Queen Elizabeth provided a strong, positive image of a woman, through which poets from Peeles play, The Arraignment of Paris, through William Shakespeares Henry VI, Part 3 found opportunities to create dominant roles for woman. Yet Queen Elizabeth herself perpetuated some of the misogynist stereotypes that haunted her at her accession in 1558, in such tracts as John Knoxs Blast of the Trumpet against the Monstrous Regiment of Women. Queen Elizabeth ruled through her own alienation from her womanliness. She ruled as the Virgin Queen, continuing the idea of chastity as the norm and replacing in her still newly Protestant country the lost ideal of the Virgin Mary. The artifice of her costuming and the artfulness of her speeches both contributed to her power. During Elizabeths reign from 1558 to 1603, positive images of women include the female characters of Shakespeares comedies, like Rosalind of As You Like It and Beatrice of Much Ado about Nothing. After James Is accession, however, the Jacobean theater explored female characters who achieved tragic, heroic stature, like John Websters The Duchess of Malfi. In her closet drama, The Tragedy of Mariam, Elizabeth Cary explored the dilemmas facing strong women. In addition, in this later period of the Renaissance, such women writers as Elizabeth Grymeston, the author of the Miscelanea; Lady Mary Wroth, the author of the poetry and prose epic romance Urania; and Amelia Lanier, the author of a poetic defense of Eve, became creators of rich images of women, which we are only now beginning to recover.

The Minimum Wage Should Not Be Increased :: Argumentative Essay, Minimum Wage Essays

â€Å"An increase in the minimum wage will boost income for the poorest workers without the danger of creating more unemployment.†, stated President Obama in September 2014. Is this statement about an increase in minimum wage really true? There are two sides to the debate about minimum wage. The minimum wage is a major issue in the world of economics and politics. Political figures often prey on the public’s general ignorance of economics and promise to increase the minimum wage. Economists, on the other hand, view the long term effects and see the damage it can cause. David Card and Alan Kruegur, two economists at Princeton University conducted a study on New Jersey’s 18% minimum wage increase. They looked the impact on the New Jersey economy and compared the results to the state of Pennsylvania which did not make any change in the minimum wage during the period of the study.. David Card and Alan Kruegur measured the change in employment in New Jersey’s fast–food restaurants between February and December that year. Card and Kruegur found that the number of jobs grew in restaurants where pay had to rise, compared with those already paying more than minimum was and compared with restaurants in neighboring Pennsylvania, where the minimum did not change. The study also found no difference between high- and low- wage states. Most people would be delighted to here the above. They would receive more money and their standard of living would increase. But most people do not take into account the negative side effects of increasing the minimum wage. The survey taken by Card and Kruegur was done over the telephone. Fellow economists charge that the questions were vague and errors crept into the numbers. Another study was done using the businesses payrolls found that New Jersey fared far worse than Pennsylvania. Positive effects of the minimum wage can be the obvious; more money for people. They would have more money to spend , the economy would boom and everyone would be happy. Not so; in fact, this would only encourage inflation and increase prices. Money become lesser in value and producers would have no choice but to raise prices in order to make profit. Another negative aspect of raising the minimum wage is unemployment rising. Supply of workers would exceed the demand for workers.

Marriage-Comparison Essay

Marriage, the union of two people, is satirically presented by Evelyn Waugh in the novel ‘A Handful of Dust’ and by Edward Albee in the play ‘Who’s Afraid of Virginia Woolf?’ Both authors adopt a chilling approach to demonstrate the endemic of negative attitudes and pressures of 1930’s London and 1960’s American society placed on to moral institutions such as marriage, with the central protagonists exposed under a powerful ‘microscope’ to reveal the detrimental effects of society. Albee illustrates the emotional strains inflicted on to individuals and couples aspiring to the American Dream and more importantly the result of failing a dream that is unreachable by the majority. In Albee’s play, George and Martha are metaphysically exposed to the ‘peeling away’ of the illusion that surrounds their marriage to reveal the ‘murky opaque depths’ of reality. Waugh on the other hand shows the corrupt and barbaric upper class London society at the time of the Great Industrial Depression, evoking a story of Tony and his manipulative, ‘cat like’ wife Brenda’s failing marriage, and that of the culture and civilisation Waugh so admired. Both Albee and Waugh employ the use of irony in their chosen settings. In ‘Who’s Afraid of Virginia Woolf?’ as ‘large, boisterous’ Martha turns on the light the audience are subjected to an emotional battlefield. Set in a success driven university campus which is a microcosm of society, it is soon made clear it is not a place of learning, achievement and sophisticated culture, one of lust, deceptions and sadness, a place where ‘musical beds is the faculty sport’. People like Martha are motivated by greed and self interest; this indicates the threat of America being New Carthage, destroyed not by another country but by internal corruption and spiritual emptiness, as George reads from ‘The Decline of the West,’ Albee’s Cold War subtext is clear. In contrast Waugh gently eases the reader in to the amicable setting of rural England, with an absence of ‘harsh words’ and ‘scenes of domestic playfulness’ between the Last’s, indicating an external picture of a content marriage. The setting is an extended metaphor of their marriage. Set in Hetton Abbey, named after Arthurian Legend, indicates their marriage is similarly illusionary. With irony, Brenda is appropriately placed in to the bedroom, Guinevere, wife of King Arthur burnt for adultery; this gives the reader an ominous feel from the outset about the subsequent events. The novel depicts Tony’s love for the ancestral, primogeniture home, which like his marriage is ‘devoid of interest.’ Tony is trapped by the ‘huge and quite hideous house’ as Brenda is in the marriage, suggested by Waugh’s use of death imagery used when describing the house ‘like a tomb.’ The ‘damp had penetrated in to one corner’ further indicates the internal decay of the Last’s ‘not in perfect repair’ marriage. The fact Brenda resents Hetton as she has moved there and left her family home- ‘I shouldn’t feel so badly about it if it were a really lovely house- like my house for instance,’ quickly weaves a negative undercurrent to their apparent happiness. Illusions versus reality feature in the marriages in both Waugh’s and Albee’s works. In ‘Who’s Afraid of Virginia Woolf?’ George and Martha’s illusionary son provides escapism, acting as a ‘bean bag’ cushioning their tempestuous, ‘crushing’ marriage from reality. However as the son has been talked about the illusion has become reality too the extreme that the illusion now controls them. The son highlights the pretentious society in which George and Martha live, forced to create a son to fill societies illusions of perfection. The son is for Martha to feel she has fulfilled her role as a woman. However the ‘child’ is not only a desire for fecundity within their relationship but also a projection through which they expose their personal desires, needs and problems. Ironically the son that was supposed to bring the couple closer has become a reason to fight being used as a tool to undermine one another. By ‘killing the son,’ George is realising that the illusion has become out of control, Martha has broke the ‘rules’ by telling Nick and Honey, the ‘pawns’ in their games. The ‘child’s’ death signifies a milestone in their understanding of marriage, George no longer has to compromise his world of reality and Martha is no longer in danger of losing herself in a world of ‘Ilyria’. Symbolically this happens the day before the child would turn 21. Through the child, Albee as an absurdist is illustrating his view that a life of illusion was wrong because it created a false content for life. George and Martha’s empty marriage can clearly only survive if they abandon their illusions. Nick also embodies the illusion in ‘Who’s afraid of Virginia Woolf.’ Nick represents the Arian race with his ‘blondie’ hair and blue eyes are initially seen as†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ However his marriage to the slim- hipped ‘mouse’ is based upon pretence as the child they married for was only a phantom pregnancy. Added to this monetary gain, just as in the Polly Cockpurse of Waugh’s Belgravia, lies at the core of †¦Ã¢â‚¬ ¦ Waugh’s ‘A Handful of Dust’ similarly is based on illusion. The barbaric characters and emotionless buildings provide the reader with an external falsity. Mrs Beaver represents the destructive forces of modernity with her suggestion of ‘chromium plating.’ Mrs Beaver’s character conflicts with Tony’s as she destroys old buildings, Tony clings to every ‘glazed brick or encaustic tile’ at Hetton. Tony’s nostalgic ‘feudal’ nature is arguably one of he main reasons for the breakdown of his marriage. Described as ‘stiff white collar’ suggests he has a refusal to change and ironically at the end is left reading Dickens showing inevitable he is stuck in the past. Tony has been blinded by Hetton which provides him with ‘constant delight and exultation,’ however is ‘formerly one of the notable houses of the country’ and not in ‘perfect repair’ therefore ‘dev oid of interest’ to anyone except Tony. Romanticism dominates through Tony, his search for ideals that his parents possessed ‘inseparable in Guinevere’ are unattainable by Tony. Similarly George and Martha can not reach the ideals set by the American dream. George is symbolic of the past who simply ‘sift(s) everything’ plunging him in to a world of history which is as important to him as Tony’s ‘shining city.’ He is a ‘bog in the history department’ unable to compete with the ‘direct threat’ imposed by ‘well- put- together’ Nick who represents ‘the new wave of the future.’ As a scientist he signifies clinical facts and evidence; he is emotionless like his marriage. At ‘twenty eight’ Nick is successful and a high achiever unlike George at ‘fifty something’ who is still ‘in the History department’ and only ran it ‘for four years, while the war was on, but that was because everyone was away.’ Albee seeks to emphasise the sense of alienation, in modern men. George thus attacks the decay of individualism: ‘You’re the one who’s going to make all that trouble†¦making everyone the same.’ History presents a cynical view, George prophesises as he reads out ‘the west must†¦eventually fall’ materialism dominates over culture resulting in sterile intellectualism. However George bares one key element that Tony realisation does not. George recognises the flaws in his ‘dump’ of a marriage whereas Tony similar to Honey is blinded and does not grasp the ‘sad, sad, sad’ truth embodying his marriage. Tony refuses to accept how ‘warped and separated’ he and Brenda have become. The illusion of George and Martha’s marriage is portrayed through language, for when language stops reality exists. George and Martha’s continual battle of incessant banter and ‘total war’ masks a more sinister and damaging reality and therefore, their fear of silence. Truth is shown through non verbal, theatrical devices ‘throwing flowers’ and the use of a toy gun, creating desperate humour through deep anxiety and expectations. Speech is used to gain power and control in order to deceive others. Ironically George comments ‘Martha’s a devil with language’ showing she is manipulative with her acerbic speech and has dominance in the relationship, ‘(Martha) wears the pants in this marriage because someone has to.’ This use of clichà ¯Ã‚ ¿Ã‚ ½s shows a loss of capacity to speak the truth, ‘Your in a straight line†¦.and it doesn’t lead anywhere†¦.except maybe the grave’ underlined by t he root of terror in the play, the notion of life being meaningless. The regressive language is symbolic of the Martha and George being trapped by their childhoods and therefore they acquire attacking roles in a childish manner. However in contrast the callous Martha uses beautiful language when talking about their child, ‘And his eyes were green†¦green with†¦if u peered so deep in to them†¦so deep†¦bronze†¦bronze parentheses around the irises†¦such green eyes’ showing that when sincerity and love exists the aggressive language stops. At the end the simple, basic language, stripped of all metaphors and clichà ¯Ã‚ ¿Ã‚ ½s reflects the simple, basic reality that George and Martha now face. In contrast to Albee’s use of vibrant and destructive language, in ‘A Handful of Dust’ conventional, banal and ordinary language dominates. Similarly to George and Martha, Brenda and Tony are shown in scenes of childlike playfulness. The alphabet diet is cute and endearing, but has an underlying tension as they are confined by the constraints the diet creates. The emptiness of the emotionless, large dining room they dine in which ‘even today mild elsewhere, it was bitterly cold in the dining hall’ further shows a lack of warmth between characters. The reader’s first encounter of the Lasts boosts a content marriage ‘While he ate breakfast Brenda read to him from the papers’ however the reader is aware of the negative undertones of the monotonous marriage ‘These scenes of domestic playfulness had been more or less continuous in Tony and Brenda’s life for seven years.’ Waugh stylistically and subtly reveals problems through his use of setting ‘There seemed to be no way of securing an even temperature in that room.’ The reader is also lead to question the stab ility of the Lasts marriage through Mrs Beaver comments ‘everyone thought (Brenda) would marry Jock,’ and ‘(Tony’s) a prig. I should say it was time that she began to be bored.’ George and Martha, the quintessentially dysfunctional couple are emotionally trapped by their respective childhoods, as a consequence they both are exposed to low self image and esteem. The history of the couples past is slowly revealed by Albee to the audience. Martha tells Nick and Honey in Act One that her mother died when she was young and she became very close to her father, she married briefly but her father had the marriage annulled. After college she fell in love with George which she thought would please her father. However George is not the high achiever that would satisfy her father. Martha is a lost ‘Daddy’s girl’ who hasn’t left behind the prospect of his unconditional love. George is also revealed to have had a troubled childhood. The revealed plot of his failed novel where a teenager kills both his parents is later publicised by Martha that George was in fact the teenager in his novel. Although the audience doesn’t know whether this is true it does explain George’s guilt about his parents. Albee is suggesting through these parental bonds that human relationships stem from human vulnerability. In ‘A Handful of Dust’ parental roles do not strive in adultous ‘fashionable’ London. Brenda and Tony are ineffectual as parents and as John Andrew reveals he prefers the groom ‘Ben far more.’ Waugh uses John Andrew as a satirical tool to expose the falsity of upper class society. He also reveals Tony’s ineffectualness in disciplining his son and the emotionless Brenda as a direct contrast to Jenny Abdul Akbar who John Andrew is ‘infatuated’ by the attention she provides him with. John Andrew’s death acts as a watershed in the novel. For Brenda the death symbolises her last link with Tony and a chance to escape the world she is trapped by and ironically highlights Tony misjudgement as he does not ‘know Brenda so well’. As Brenda ‘burst in to tears’ this is arguably the realisation that she has thought of John Beaver over her own son and goes to the extremes of immorality of ‘Oh thank God ’ when she is told her son has died, not a reaction expected from a mother that has been told her son has died. The death simply signifies the end of the Lasts marriage ‘Don’t you see Tony, its all over.’ Brenda with her manipulative, ‘cat like’ ways who utilises her female charms to her full advantage and is arguably more responsible for the breakdown of her marriage. As she applies her make up it acts as a symbolic ‘mask’ to cover up the reality of the deceit. In order to get her flat she ‘sat close to Tony on the sofa and ate some sugar out of his cup’ and ‘rubbed against his cheek in the way she had,’ this seductive way highlights the weakness of men. By getting the flat Tony is compromising the repairs he wants to make to Hetton. On the other hand Waugh suggests that it is Tony that it is pushing Brenda in to a society of adultery. Portrayed as an ‘imprisoned princess’ in a castle as though a character in a fairytale, Brenda is frustrated by her limited role and Beaver acts as a lifeline to get her out of the ‘big house.’ She is clearly eager for information of London and ‘jokes that have been going around for six weeks.’ Brenda however stays in control of the marital breakdown. The letter that Brenda leaves is merely a pencil note showing her lack of commitment and respect for Tony. The pencil is symbolic of the marital vows that can easily be erased and irretrievable like death vows ‘Ashes to ashes, dust to dust.’ Waugh uses Tony’s search for a ‘hidden city’ to show Tony’s transition from one period of his life to another. Similarly Brenda moves to London in search of a new chapter in her life. Although we can argue that Tony’s decision to go on the exploration shows courage and strength, someone else has planned the trip therefore it is ineffectual. His journey to enlightenment is made in intellectual darkness symbolically leading to his worst nightmare. Added to this the fever he acquires on his journey is representive of his whole life being a grotesque hallucination. Tony ‘had a clear picture in his mind’ that the city he was searching for would be like a ‘transfigured Hetton’ illustrating that Tony is still trapped in the past, inspiring pathos from the reader. When Tony is faced with the harsh reality of life, his real world is destroyed. Romanticism can not save Tony from reality, it is not a refuge and cannot save a near innocent man from being sacrificed because of his complacency. Arguable through a number of short scenes in the jungle and London, Waugh is trying to show similarities of the two settings ‘her ladyship has gone to live in Brazil’ both uncivilised worlds are ‘oceans apart’ yet are both uncivilised and animalistic, inhabited by ‘savages’. Religion is an occurring theme in both Albee’s play and Waugh novel. Albee uses blasphemy ‘Goddam’ at both the start and end of act one. The audience may not be surprised at this language in the godless environment we are introduced however we are more concerned about Martha’s comment that she was an atheist at school and furthermore the uncertainty of whether she still is. Marriage as a religious bond makes the audience doubt the importance of religion when presented with a ‘sewer’ of a marriage. Religion is represented through Honeys father although it is corrupted by the mention of him having money which further questions Nicks motives for marrying Honey. At the end of the play the mystery of religion begins when language ends through the use of ‘Jesus Christ.’ Injuxtaposition Waugh makes little references to religion. Tony attends church on Sundays from which he gained ‘great satisfaction.’ ‘On days of exceptional clearness, the spires of six churches’ could be seen from Hetton instigating that it is Tony who includes religion in to his life not Brenda. Hetton is a city of romantism and fantasy rather than a city of God. Animal imagery is referred to in both texts, to emphasise the moral crudity of events taking place. As Nick ‘mount(s) (Martha) like a goddam dog’ in order to gain status, it shows the need to succeed overcomes morality. Martha an ‘earth mother’ is tolerant of the ‘lunk heads’ who strive for promotion using her in ‘totally pointless infidelities.’ Waugh however uses animal imagery to further his satirical approach and emphasise the farcical characters. Polly Cockpurse is referred to as being similar to a ‘monkey’ by John Andrew. Money orientated, she is a predator only acting for her own interests, after rich men for their money. Mrs Beaver similarly extends the satirical animal imagery by suggesting she like a beaver, digging for gossip. Both of these characters are deliberately ridiculous, highlighting the absurdity of the glamorous Belgravia backdrop in which these people are created. Similarly Waugh uses pathetic fallacy to emphasise characters’ emotions and relationships. Directly after commenting on the Lasts’ marriage, Waugh makes references to the weather around Hetton ‘mist in the hollows and pale sunshine on the hills†¦..the undergrowth was wet, dark in the shadows’ which directly suggests an ominous feel surrounding the Lasts’ marriage. When Tony goes ‘In search of a city,’ Waugh is suggesting that similar to the waves, Tony is ‘plunging†¦in to the black depths.’ In the same way ‘the sky- over head was neutral and steely with swollen clouds’ symbolically showing that Tony is ‘exposed’ in a world that is unclear. However when Tony has a liaison with Thà ¯Ã‚ ¿Ã‚ ½rà ¯Ã‚ ¿Ã‚ ½se de Vitrà ¯Ã‚ ¿Ã‚ ½ there was ‘A week of blue water that grew clearer and more tranquil daily, of sun that grew warmer’ presents the idea that Tony is happy although with no clear blue skies he is vulnerable and ‘lost.’ Likewise as Thà ¯Ã‚ ¿Ã‚ ½rà ¯Ã‚ ¿Ã‚ ½se de Vitrà ¯Ã‚ ¿Ã‚ ½ ‘said goodbye to Tony’ the ‘Blue water came to an end’ and ‘rain fell continuously’ showing Tony’s emotions are as changeable as the weather. The ‘light breeze’ and ‘brilliant, cool sunshine’ at Tony’s funeral represents that the turbulent emotions have come to an end. In one ‘liquor ridden night’ Martha and George have been forced to face their worst fears. As Martha ‘chews on her ice cubes’ the faà ¯Ã‚ ¿Ã‚ ½ade in which surrounds there marriage has been chipped away leaving inner truth and emotion that has previously been undisclosed. In the closing scene to the play, the audience endure a feeling of pathos for Martha and George, encouraged by the pace of the dialogue slowing down and the decrease in volume allowing the audience to reflect. The final images are of George and Martha left ‘just us’ in a state of unity. George sings at the end ‘Who’s afraid of Virginia Woolf?’ and Martha replies ‘I am.’ As the song represents being scared of life without illusion this response shows Martha is scared of a life of reality. In contrast ‘A Handful of Dust’ ends with a change of owner and the ending of the regime of tradition at Hetton that controlled Tony symbolising the end of Brenda and Tony’s tumultuous marriage. I agree with Rosa Flannery who suggests the breeding of silver foxes is ‘representative of the new breed of savages that roam England,’ Waugh is presenting a landscape of deceit and greed which prevails in a materialistic world; ‘They lived in pairs; some were moderately tame but it was unwise to rely upon them.’ It is not without sharp irony that Brenda survives, whilst Tony languishes in a†¦Ã¢â‚¬ ¦. In both texts the marriages presented are encapsulated by society’s expectations that they are blinded by illusion. When faced with reality Martha and George can unite, however Tony and Brenda Lasts marriage is as unsubstantial as ‘A Handful of Dust.’

Nutrition programs Essay

Traditionally, nutrition programs were targeted to the indigent and poor populations in developing countries. Many of today’s Americans are malnourished also, but they are inundated with unhealthy foods and require a multidisciplinary approach to nutrition education. What would be the three most important points to include in a public nutrition program? Provide current literature to support your answer and include two nutritional education community resources. Malnourishment is no longer an issue seen only in the indigent population and developing countries. Many Americans are also plagued with this issue, largely due to unhealthy food choices. Providing a multidisciplinary approach to public nutrition education will help in combating the problem. There are many aspects which should be covered in these programs, however, we will look at three top points. 1.) The relationship between eating behaviors and chronic diseases Several chronic diseases can occur in relationship to unhealthy eating. Cardiovascular disease, obesity and diabetes are a few. Eating foods high in fat can lead to coronary artery disease which can lead to heart blockage which can lead to death. High fat foods as well as over eating can lead to obesity, which can lead to cardiovascular disease and/or diabetes which can lead to death. Though most complications and/or diseases will manifest themselves in adulthood, looking back most will find the risk factors began in early childhood with poor food choices. As stated by Green Facts (n.d.), â€Å"The risks of developing chronic diseases begin in fetal life and continue into old age. Thus, adult chronic diseases reflect the combined effects of prior exposure to damaging environments.† As you can see, it is a vicious cycle we must be cognizant of throughout every stage of life. 2.) Mindful Eating Each time you prepare a meal your first thoughts should be on the nutritional value of the food and then â€Å"am I really hungry, or am I eating for some other reason?† For example, it is mid-afternoon at work and you are hungry and unable to wait until dinner time. Your choices are high calorie, high fat, nutrient dense items from the vending machine or a granola bar, fruit or yogurt. An appropriate snack choice would be the granola bar, fruit or  yogurt. Another example: you are sitting at home at 8:00pm on a Thursday night watching television. You go to your pantry and retrieve a bag of chocolate chip cookies. At this point, stop and ask yourself, â€Å"am I hungry or am I choosing to eat right now because I am bored?† If you are going to eat them out of boredom find something else to do to occupy your time, such as read a book, do a craft, or play a game with your family. As stated by Harris (2013), â€Å"The core principles of mindful eating include being aware of the nourishment available through the process of food preparation and consumption, choosing enjoyable and nutritious foods, acknowledging food preferences nonjudgmentally, recognizing and honoring physical hunger and satiety cues and using wisdom to guide eating decisions.† 3.) Cooking demonstrations When talking to individuals about healthy eating often times they say they do not know the proper foods to prepare or how to prepare them to maintain their nutritional value. Offering cooking demonstrations would offer a hands on approach to the issue. We also make sure we are teaching about foods that are affordable and easily accessible in the area. Nutritional education community resources in the greater Houston, Texas area: Houston Food Bank Portwall Headquarters 535 Portwall Street Houston, Texas 77029 713-223-3700 Texas Department of State Health Services, Women, Infants and Children Program (WIC) 711 N. Velasco, Ste. A Angleton, Texas 77515 1 (800) 942-3678 Reference: Harris, C. (2013). Mindful eating. Today’s Dietitian, 15. Retrieved from http://www.todaysdietitian.com/newarchives/030413p42.shtml Green Facts: Diet and nutrition prevention of chronic diseases. Retrieved November 17, 2014 from http://www.greenfacts.org/en/diet-nutrition/l-2/3-childhood-eating-habits.htm#1 Houston Food Bank: Nutrition education. Retrieved November 16, 2014 from http://www.houstonfoodbank.org/programs/nutrition-education/ Texas Department of State Health Services, Women, Infants and Children Program (WIC). Retrieved November 16, 2014 from http://www.dshs.state.tx.us/wichd/