Film, Fashion and Food in India Essay Example | Topics and Well Written Essays - 3250 words

Film, Fashion and Food in India - Essay Example The paper "Film, Fashion and Food in India" discovers the Indian fashion, food and film. The Indian film industry encompasses other language film industries because of the high number of languages spoken by most Indians hence most portions of the Indian film industry are fragmented. Although Bollywood leads India in the production of the film, its specialty is mainly Hindu movies other regions such as Chennai that was formally known as Madras produces films in Tamil and Kolkata is the Bengali movie capital. English, Hindu, and Urdu are among the popular languages in most Bollywood movies where you find an amalgamation of these languages in a single film be it a dialog, soundtracks or subtitles. Of significance however in these Indian films is the art of music that makes the films typically musicals that have catchy music interwoven in the script. Typically the plot of the Indian films is always melodramatic with features like unlucky lovers, love triangles, sacrifice, family attachme nts, devious villains, crooked politicians, and kidnappers, courtesans with golden hearts, theatrical rehearsals of destiny, opportune coincidences and siblings estranged by fate. However, the pattern is changing with the industry advancing to the production of technically advanced films with hilarious stunts in line with global changes in the movie industry. The major part of the creative isolation of early Indian cinema and development of their rules largely differ from the rest of worldly film.

English Literature Essays The Great Gatsby by F. Scott Fitzgerald.

English Literature Essays The Great Gatsby by F. Scott Fitzgerald. The Great Gatsby by F. Scott Fitzgerald. The Great Gatsby has become such a classic of American fiction that its literary merits easily obscure those qualities that also made it a favorite among readers. While critics have been quick to dismiss its thin plot and shallow characters as less important than Fitzgeralds brilliant depiction of the Jazz Age and his indictment of its shabby values, most readers take a different view. They praise the book because its plot is thin and its characters are shallow. These readers believe that this is precisely Fitzgeralds point, that the age itself could do no better than to produce shallow people living superficial lives. Academic critics speculated about the probable causes of this phenomenon, attributing it to the disillusionment brought on by World War I and the extreme measures taken to escape it. The aftermath of the war had brought, â€Å"a state of nervous stimulation†¦the generation which had been adolescent during the confusion of the War had now produced†¦ a whole r ace going hedonistic, deciding on pleasure†¦wherefore eat, drink, and be merry, for tomorrow we die.† Readers saw a culture wallowing in hedonism, high on jazz and bathtub gin, and living life as if it were one long party and there was no tomorrow. More importantly, they saw the heroic and sympathetic figure of Nick Carraway, the outside observer, whose function it was to observe and report on the American Dream within Fitzgerald’s novel. In The Great Gatsby, Fitzgeralds Nick Carraway becomes the outside observer that readers come to identify with. Nick has the sort of blessed innocence and shining ambition associated with heroes. There is a freshness about him, a basic goodness that appeals to that part of human nature that envies or craves or is irresistibly attracted to innocence. Beyond that, however, is the fact that, in the tradition of the hero, Nick goes forth into the world to encounter corruption and disillusionment and has to come to terms with this in reality. It is through Nick that we see the American Dream, as epitomized by Jay Gatsby, come crumbling down under the amoral pursuit of wealth. We, also, get a glimpse of the roles of class in distinguishing between the wealthy East and West Egg socialites, as well as, the stark contrast between two wealthy but different men, Jay Gatsby and Tom Buchanan. The following paragraphs will attempt to examine and analyze these issues more carefully as seen through the eyes of Nick Carraway. It is Nicks idealization of Jay Gatsby and his dreams that endear him to the minds of the readers. Gatsby on his own is not an easy character for readers to sympathize with without the special insight of the young and sympathetic Nick. If Nick can see the good in Gatsby, then the reader can dismiss the corrupt side as Gatsbys victimization by the system and dwell on the charming side, that side made all the more intriguing by the mystery surrounding this handsome, rich, and devastatingly detached personality. As Nick says of Gatsby, â€Å"His dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him somewhere back in that vast obscurity beyond the city.† Perhaps the best way to grasp the perspective of the American Dream in the twenties is to imagine Gatsby standing alone in the second-story bedroom of his gorgeous mansion in West Egg, looking out at the pool and the tent and the lavish party going on, at his expense, beneath his window; listening to the jazz band playing, seeing the shadows of the flappers against the sides of the tent, quietly watchingaloof, detached, amused, and powerful. This illumination of what the American Dream had become was seen by many as the new idealism that, â€Å"Prosperity in the twenties had come to mean a rate of advance rather than an actual state of affairs†¦more and more Americans were inclined to explain their society in terms of productivity, profits and stock quotes.† Not Gatsby, however. In recounting Gatsby’s dream, Nick remembers vividly coming home and seeing Gatsby standing in front of his mansion, looking intently at East Egg across the bay. His American Dream extended just across the bay and always seemingly beyond his reach, wrapped up in the beautiful idea of Daisy Buchanan. Daisy Buchanan was Nicks cousin, a lovely, exciting, but shallow young woman who once had an affair with Gatsby before the war. While Gatsby was away in the war, she married Tom Buchanan. He was a handsome, wealthy man, but cruel and insensitive. Gatsby wanted Daisy back and thought that his wealth, accumulated through shady transactions, would make Daisy admire him, but he overestimated her and underestimated himself. Unfortunately for Gatsby, the American Dream was only possible through materialism as the Roaring Twenties saw, â€Å"Americans easily assumed that spiritual satisfaction would automatically accompany material success.† Gatsby made the mistake of thinking this way, as well. He felt that by accumulating worldly possessions he could win Daisy back and give her the life she had dreamed of. At one point, Gatsby goes so far as to show her all his valuable belongings, throwing shirts into the air, â€Å"shirts with stripes and scrolls and plaids in coral and apple gr een and lavender and faint orange.† Daisy, crying at this point to indicate the materialistic values that had consumed America, exclaims, â€Å"It makes me sad because I‘ve never seen-such beautiful shirts before.† This remarkable scene represents the whole embodiment of what the twenties era had become. It was characterized as an age of excess, overindulgence, consumerism, materialism, and individualism. It was Gatsby’s dream of Daisy Buchanan that would eventually lead him from poverty to riches and finally to his death as his amoral pursuit of wealth would give rise to the shattering of his American Dream. In one sense Gatsby is the manifestation of a new prosperous society. His mysterious past and opportunistic illusions of a dream work to his favor in the new era of prosperity and abundance. Daisy is Gatsbys one dream, and the reason he bought his house and gives his parties is to get her back. Gatsby becomes overly obsessed with Daisy as symbolic of his aspirations and dreams. This points to how unrealistic in his expectations he had become as he begins to live in a sort of fantasy world. Fitzgerald emphasizes this well when he states, â€Å"There must have been moments even that afternoon when Daisy tumbled short of his dreams- not through her own fault but because of the colossal vitality of his illusion. It had gone beyond her, beyond everything.† He persuades Nick to bring him and Daisy together again, but he is unable to win her away from Tom. Nick can see this, but he is powerless to stop the chain of events that, for all their melodrama, seem necessary to act out the d enouement of shallow lives lived recklessly, of shallow dreams shattered pointlessly. Nick tries to convince Gatsby that his dreams are unrealistic because the past cannot be repeated, but Gatsby’s reply of, â€Å"Can’t repeat the past? Why of course you can,† serves to illustrate the illusion of a dream Gatsby is trying desperately to hold on to. In the end, however, it all comes crumbling down as Daisy, driving Gatsbys car, runs over and kills Toms mistress, Myrtle, unaware of her identity. Myrtles husband traces the car back to Gatsby and shoots him, who has remained silent in order to protect Daisy. Gatsbys friends and associates have all deserted him becoming symbolic of the superficial lives of the times and the desertion of a dream, as only Gatsbys father and one former guest attend the funeral with Nick to see an American Dream laid to rest. Everything that has happened seems surreal to Nick and almost pointless as he recalls, â€Å"everything that happened has a dim hazy cast over it.† Fitzgerald points out through Nick that whether Gatsby had died or not his dreams still would have been murdered, nonetheless. Though Gatsby took the time to reinvent himself and acquire enough money (though illegally) to be considered wealthy, he would still never have been accepted into the inner circles of the East Eggers and the Buchanans. What Fitzgerald has done in his book is to add the idea of class to the idea of materialism and the American Dream. He divided these into distinct groups- old money, new money, and the poor. Paul Fussell, in his book on social classes reports that, â€Å"Economically there are only two classes, the rich and the poor, but socially there is a whole hierarchy of classes.† Fitzgerald edifies this by making basically the rich and poor classes, as well, with the only distinction being socially between the wealthy and how they accumulated their money. This distinction would set apart the â€Å"old money† of East Egg luxury and the  "new money† of the West Eggers who had recently acquired their riches through the prosperity of the times. The kind of class that Fitzgerald attributes to Nick Carraway and his family is neither of these. Fitzgerald suggests that Nick descends from the great American cultural component that had its origin in its ideal of a comfortable, cultivated, stable existence, drawing sustenance, generation after generation, from a family business, and living out its generations in the same spacious but unostentatious house. Midwestern idealism then is the hard solid moral core of America, and it produces a Nick Carraway, whose virtues are tolerance and honesty. These are precisely the two virtues that Fitzgerald needs in his hero: the tolerance to become involved with Tom, Daisy, and Gatsby, all of whom he mistrusts in varying degrees but the honesty never to be deceived by them and, more importantly, never to be corrupted by them. Opposed to this specific virtuous Middle West is a rather indefinite degenerate East, although it is particularized in the one small section in which most of the novel takes place: West Egg and East Egg, New York City, and the axis-the valley of ashes, Wilsons garage, and the great staring signboard eyes of Dr. T. J. Eckleburg that connects them all. Both Eggs represent corruption, but it is a corruption of different orders, connected with inherited wealth on the one hand and with occupation on the other. East Egg is the home of inherited wealth, whose deeply tainted characters Fitzgerald manages to suggest in Tom and Daisy Buchanan. It is in this community that Tom, as if by instinct, settled, and when asked by Nick if he intends to stay in the East, he replies, in his best bit of self-analysis in the book, â€Å"Id be a God damned fool to live anywhere else. West Egg is populated by nouveau riche, all of whom have acquired their gains in shady or marginal activities: politicians, moving picture people, fight promoters, gamblers, and bootleggers. Farther reaches of Long Island, beyond the Eggs, are briefly suggested in the same manner. According to Nick, the Easterner inherits his money, while the Westerner works for his, but the West Eggers earn their money by gambling or bootlegging. If the essence of Nick Carraway, the essence of the East is summed up in the respective characters of those two expatriates, Tom and Daisy, who between them in his intolerance and her dishonesty. In Daisy further is embodied the beauty of the East, Tom the power, and in their union a vast irresponsibility that smashes the dream of Gatsby and finally murders the dreamer himself. Tom Buchanan then is power and intolerance, Daisy beauty and dishonesty. His financial power is mountainous, and his physique corresponds: you could see a great pack of muscle shifting when his shoulder moved under his coat. It was a body capable of enormom leverage a cruel body. But this power, financial and physical, does not extend to his mind, whose powerful limitations are compensated for by a thick-skulled inflexibility. For while a libertine in action, he is in opinion a prig, faintly nourished by the thinnest pap that twentieth-century knowledge has produced, popular scientific explanations. This powerful stupidity has as its soul mate the beauty and dishonesty of Daisy. Both these characteristics of the feminine side of the equation are repeated, reemphasized, and exaggerated But money for Gatsby is a kind of metaphysical mystery as well, and certainly it is a synonym for beauty. It was the mysterious beauty of Daisy and her life that cast the original spell. Jay Gatsby may be a bootlegger and a fraud, but he is only defrauding a system that is a bigger fraud, a system that advocates a farce like prohibition, that adores glittering surfaces, that cares only for the trappings of success and not for how the gains were got. But in the American tradition of trying to have your cake and eat it too, cult readers get to envy Gatsby while respecting Nick. Nick has his head on straight; Nick learns from what he sees; Nick acquires wisdom from his experiences and thus tells us a cautionary tale. Ah, but for one brief, shining moment, Gatsby illuminates the sky, and if his death is all a silly mistake, its sordidness is redeemed by his nobility. He dies, after all, for love, but it is a love that is unrequited. The success behind Jay Gatsby according him was Rise from bed. . . . Study electricity. . . . Work. . . . Practice elocution, poise and how to attain it. . . . Study needed inventions. West vs east Bibliography F. Scott Fitzgerald, the Great Gatsby. Publisher: Scribner (1995) Jack Clayton directed movie, The Great Gatsby. (1974) John Braeman, Change and Continuity in Twentieth Century America: The 1920S. Ohio State University Press (1968). Harold Bloom, Gatsby. Publisher: Chelsea House Publishers. Place of Publication: New York. (1991). Loren Baritz, The Good Life: The Meaning of Success for the American Middle Class. Perennial Library (1989).

Kawabata’s Beauty and Sadness and Murakami’s Hard-Boiled Wonderland and

Kawabata’s Beauty and Sadness and Murakami’s Hard-Boiled Wonderland and the End of the World Although wildly different in subject matter and style, Kawabata’s Beauty and Sadness and Murakami’s Hard-Boiled Wonderland and the End of the World both show how Japan has been internationalized as well as how it has remained traditional. Kawabata’s novel is traditional and acceptable, much like the haiku poetry he imitates, but has a thread of rebelliousness and modernity running through the web that binds the characters together. Hard-Boiled Wonderland and the End of the World is devastatingly modern, and yet has a similar but opposite undertone of old Japan, or at least a nostalgia for old Japan. In both novels a more international culture has taken root in Japan, and it seems that the characters both embrace and run from the implications of a globalized, hybridized culture. With the graceful starkness of traditional Japanese haiku, Kawabata reveals a twisted set of love affairs between four people that ultimately lead to their downfalls. Haiku depicts a meditational view of the world where nothing is meaningless; in Beauty and Sadness all of the relations represent aspects of new and old Japan, mirroring the rise and fall of Japanese culture in their movements. Among these relationships, perhaps the most traditional is found between Oki and Otoko– although it is tragic and somewhat leacherous, the bond between a young woman (or girl) and an older man is an acceptable affair in traditional Japanese culture. They represent the oldest parts of Japanese custom, and adhere to that measure throughout the novel. Oki’s wish to hear the temple bells with Otoko reflects this long established pattern of old man and young girl, as ... ...lly, however, he begins to fight back against this loss of identity and struggles to regain himself, realizing that â€Å"stealing memories was stealing time... forget the end of the world, I was ready to reclaim my whole self.† (Murakami, 239) As he sits back in his car and waits for his world to end he gives himself the tools to fight this loss of identity, telling himself tâ€Å"Now I can reclaim all I’d lost. What’s lost never perishes.† (Murakami, 396) Although his identity has crumbled almost past recognition, the Narrator and the Dreamreader hold the key to retrieving it– memories and the unrelenting search for identity. Even though the identity of the Japanese culture has been undermined by globalization and internationalization, Murakami believes that it will be found again when the culture receives the proper stimulus– when they begin to read the dreams of unicorns.

China Yuan Becoming Reserve Currency Essay

In recent years, China has maintained that it’s â€Å"special† economy is pursuing a â€Å"market economy, but with Chinese characteristics†. Some of these characteristics include encouraging more of an international use of the currency, while being famous for their inflexibility with exchange rates, and not fully opening up the economy to the free flow of capital. However, the Yuan’s acceptance as a reserve currency will be based on China’s economic size, macroeconomic policies, flexible exchange rates, financial market development, and finally having an open capital account. It seems that with time, it is inevitable that China’s Yuan will one day become a global reserve currency. Depending on the development of these five criteria, China’s currency may become a global reserve currency sooner than predicted. China’s Economic Size The Chinese economy is now the second largest economy in the world, and estimated to have 10 – 15 percent of the world GDP. Further, in 2011 China accounted for almost 25 percent of the world’s GDP growth (Briscoe, 2012). Despite this, GDP and economic size are not the main determinants of a country’s reserve currency status. If we remember US history, we will note that the United States surpassed the United Kingdom in terms of GDP in 1870, but still did not become a reserve currency until 1944 (Prasad, 2012). Thus, economic size in not the most important factor in becoming eligible for world currency status. Macroeconomic Policies The continued role of the government in the banking system is a limiting factor when trying to encourage a more open capital account. However, the government maintains that keeping a tight control over their currency prevents economic crisis.

Family and Partnership Model

EYMP 1 3. 1) We must work together (with parents, agencies) for the wellbeing and the progress of a child. Partnership model works around the theory of collaboration, understanding and communication. It helps to recognise how the best results can happen when the child’s in care and that is why we all must work together. The partnership model looks like: As worker with the children, we must know everything about the child; we have to seek and share information to parents and others who are concern.In my setting, we encourage partnership by: welcome parent to join and participate in the setting, we ask the parents to contribute with ideas, comments and suggestions for the best outcome in the setting, parents can visit the centre at any time they want and can ask what they want to ask and we should be in the measure to help them. 3. 2) There are many barriers to participation for carers who are: Language issue: there are some families that English is not their first language so s ometime parents are really shy to talk with people (they are not confident enough) and this increase the communication with carers and practitioners.Time issue: some times, parents don’t have enough time to be with their children and some time when they do have time they want to hang around with them not talk about them and we need to be really careful in this situation because parents may feel guilty for not having much time with their children so we have to be careful of what we are saying to them.Confident issue: some parent or carer can find it hard to be active in their children care and education because they are not confident and this because of previous experience of education or something else so we have to make sure that our contact with the parent is a positive one and that our communication skills are excellent.Phone calls issue: most parents find it easy to discuss a matter of their child over the phone but I think that it is better if parent can discuss the matt er face to face with the practitioner. Disability issue: some parent or carer has a disability issue and this can be overcome will depend on the parent or carer individual need for example: a person with sight problem may access information about their child using voice message or large print. A person with earing problem may access the information by reading.