In the article “Young Goodman Brown’s ‘evil purpose’: Hawthorne and the Jungian shadow,” written in 2005, the author D.J. Moores is writing towards an audience of people that care about psychology. His audience also includes people that have read the short story “Young Goodman Brown” and have thought about the changes in the main character's life and how it affected him psychologically. Moores is a credible author having written five books and many scholarly articles along with teaching ecstatic poetry at Kean University. Issue section: Moores is writing this article based on the Jungian theory, which is referring to an unconscious aspect of one’s personality that the unconscious ego doesn’t claim as itself.
Not only are these roles offensive, they also inaccurately represent an entire ethnic group. Asian culture is extremely beautiful and diverse; it deserves to be portrayed as such. Hollywood’s constant use of typecasting in it’s films contributes and reinforces stereotypes and racial biases towards the Asian American community. Historically, Hollywood does not have a very good track record of being kind to actors of color. The use of black and yellow face was quite popular in the early 20th century to portray people of color as unflattering.
These roles are based of erroneous stereotypes that further the media’s hegemonic agenda. The majority of main characters in the media are held by white actors and actresses. In the book Media and Minorities: The Politics of Race in News and Entertainment, Larsen talks about the stereotypes that commonly ail the asian community in the media. She states, "these include inscrutable evil foreigners, China dolls, dragon ladies, desexed sidekicks, criminals, nerds, and mystics" (Larsen, 2006, 67). These stereotypes portray the asian American community as bookworms, and submissive.
Vladimir Nabokov didn't intent to write Lolita as a purist because concentrating on a single genre would make the novel obvious and the complex vocabulary of the narrator pointless. Lolita itself makes a journey through different genres which surprisingly favors the reader's interest. The novel makes a significant transition in terms of genre the instant the reader associates it with a generic category. Including the ongoing satire throughout the story, there are many elements that reveal the mixed genre of Lolita. The utopian idea of romance draws the attention of the reader at the beginning but the surprise of the brutal truth behind the plot .
One’s perspective is affected by their environment, their surroundings, and the culture they choose to adapt. Due to everybody’s unique cultural identity, we are all different, however, to others, one might be viewed as simple-minded or alien, as shown in “An Indian Father’s Plea”. An example from the essay would be “...I can't understand why you have already labeled him a ‘slow learner’ ”. The son was stereotyped because he is different, darker, and unlike the other ‘white’ children. Both part of distinct culture, the Indians and white people, were educated and nourished differently.
Art is like that of a peacock’s tail, an extravagant display of beauty in an attempt to meet societal expectations. Yet, Oscar Wilde’s The Picture of Dorian Gray questions whether art is an expendable additive to humankind or if it has become the basis for human morality. Such a consideration draws its roots in the theory of Social Darwinism, an idea proposed by Herbert Spencer. Social Darwinism asserts that society is governed by the same laws of evolution that Charles Darwin observed in animals – that is, those who flourish are justified as being naturally fit for society, while the weak are intended to perish (Britannica). Wilde utilizes artistic forms to suggest the upper class’s obsession with materialism in order to critique their disregard for moral depravity.
He is an Asian American who talks about how racial profiling is disadvantaging people in general and how society is excluding the Asian society who were seen as outsiders. He’s not just referring to Asian American he mentioned to consider all races in this world, because that’s what makes this world so special an unique; the different types of character from all over the world. With his essay he points out to stop the stereotype thinking and to look behind the cliché. Yuri Kochiyama shows in her essay “Then Came The War” how she experienced racism and prejudice against the Japanese community. The different treatment from everyone else was only based on the individual’s race.
The given excerpt is extracted from the early section of the first part of the E. M. Forster novel ‘The Passage to India’: ‘The Mosque’. Up until now Forster has introduced us to some of the major characters in the novel, and this particular scene is dominated by Mrs. Moore and her son Ronny. In the given scene, Mrs. Moore and Miss Adela Quested are returning home after an evening at the Club with Ronny whom Adela is to be married to. The first part of the scene is quite enchanting with the Indian moon reflecting on the water of the Ganges; “Below them a radiance…appeared” (line 1). With “It belonged neither to water nor moonlight…luminous sheaf…fields of darkness” (line 1-2), Forster brings forth one of the many instances in the novel showing the ambiguous and baffling nature of India which a newcomer English has a hard time grasping.
INTRODUCTION: A Passage to India is a 1984 British period, drama film written and directed by David Lean. The play is based on the novel of the same name by E. M Forster. This was the final film of Lean 's career, and the first feature-film he had directed in fourteen years, since Ryan’s Daughter in 1970. A Passage to India received eleven nominations at the Academy Awards. In the film, Adela Quested, a young Englishwoman, travels to India in the late 1920s to visit her fiancé, a British magistrate posted in a small town; her traveling companion is his mother Mrs. Moore.
Hopefully, this paper would generate further readings into Forster 's novels, especially A Passage to India, that depict the problematic issues of identity formation, race relations and complexities of colonial discourse in hybrid contexts. Much has been written about Forster’s novel A Passage to India. However, the analysis of the text of the novel from a post-colonial perspective reveals the precision with which Forster depicted the socio-psychological dilemma of Anglo-Indians during the period of the British Raj. A close examination of Forster’s depiction of India will further our understanding of the psychological dilemma of Anglo-Indians who wish to call India home. In this article, I will highlight the process of ‘formatting’ (i.e.