Media Portrayal Essay Example | Topics and Well Written Essays - 1750 words

Media Portrayal - Essay Example This essay discusse the connections between modern information, communication and the individuals with disabilities issue. Today, people can get information from various sources, that is mostly may be accessed with the help of mass media. Mass media is a term used to denote, as a class, that section of the media specifically conceived and designed to reach a very large audience. It was coined in the 1920s with the advent of nationwide radio networks and of mass-circulation newspapers and magazines. Unfortunately individuals with disabilities to a great extend are limited by not being able to make use of such opportunities. Access to communications and information can be available through many sources such as: newspapers, magazines, television programs, and movies, Internet etc. Depending on the type of disability i.e. deafness, blindness, and so on the individuals with disabilities are limited having no access to appropriate source of the information. This essay raises the question o f vital importance for the international community today, that is to create and promote approaches and technologies that will allow everyone including individuals with disabilities to get, to utilize, to exchange and to create information and knowledge. The researcher focuses on introducing the topic and analyzes in details many examples of mass-media articles, movies and tv-shows related to the individuals with disabilities issue. Some examples that were mentioned in the essay: Touch the Sound, Zatoichi, Be with me movies, etc.

Personalisation in cases of abuse and vulnerability

Personalisation in cases of abuse and vulnerability Personalisation is a new government strategy which has been set up to support service users who need support or care from adult social care. This policy is a new approach in supporting disabled people to enable them to lead more independent lives and exercise choice and control over the services they receive (Social Care Institute for Excellence, 2010). The overall aim is for service users to have control over how money is allocated to their care is spent, this includes direct payments, individual budgets, personal budgets, user led services, self directed support. As well as, support brokerage which would involve professionals from the wider fields of healthcare, including occupational therapists, and non professionals to provide advice and support for them (Mandelstam, 2010). A personal health budget will enable a service user to decide how to use the money that the National Health Service has allocated to them for their care needs. It could just be a discussion with a doctor or other health care professionals, such as a care manager about the different ways the money could be spent on a care plan, or alternatively patients will be able to receive a cash payment to allow them to buy the care which has been agreed in the plan themselves (Stobbs, 2010). The Department of Health (2007a) also state that this is a move away from the traditional welfare system to a more consumer type model of service provision which in turn will improve the quality of peoples lives. Although elements of this new policy are not legally defined, service users will be fully involved in accessing their own needs by having a personal budget by means of a direct payment, which in turn gives them control of the money. Lymbery (2010) argues that there appears to be little recognition of the complexities and contradictions which characterize some areas of the policy, as well as having in inadequate resources bases for adult social care. However, Dunning (2009) suggests that as the personalisation agenda advances the role of advocacy and support brokerage will be of increasing importance. However as Mandlestam (2010) argues that brokers need not be local authority employees or even professionals, which can place individuals at risk. If personalisation is to achieve its core aims, it will be essential that those accessing individual budgets can refer to sources of advice and support. Councils will also have to strike the right balance between giving people the freedom to choose their own care and protecting clients and their budgets from abuse. In addition, Mandelstam (2010) also believes that professionals will benefit from moving away from financial gate-keeping to that of brokerage and advocacy. Duffy Gillespie (2009) discuss in their report that there appears to be some conflict between personalisation and safeguarding. The conflict has arisen through people thinking that that the ideas linked to the term personalisation and those linked to the term safeguarding is that this conflict is more likely to be a deep misunderstanding about both ideas rather than conflict. They have identified these misunderstandings around personalisation and safeguarding as; the goal for personalisation is freedom from control, not safety; the practice of personalisation is less concerned with the reduction of risk; and the rules and systems required for personalisation will increase risk. Although Pitt (2010) states that safeguarding and personalisation are seen as two sides of the same coin. Also, they discuss the procedure with regard to the complex cases of vulnerability and abuse where careful risk management and person centred practice is required. Self-Directed Support is enshrined within the personalisation policy and states that before any individual receives any support services, six vital checks for risk are to be completed which are; First Contact, Assessment, Capacity Test, Support Planning, Plan Review and Sign-Off Outcome Review. As well as this, Self-directed support is very flexible and holds a number of tools which make it easier to solve complex cases. Resources are targeted at outcomes as this identifies the right level of funding applicable to the particular situation and needs of the individual. High quality planning; which commands that the social worker/occupational therapist identifies the best approach for the individual. Risk assessment; especially where abuse is suspected or criminal measures might become necessary, police may play an integral p art to the final decision on the balance of risk. Appropriate control,; self directed support puts control of the funding into the hands of the appropriate person, such as a carer or a professional. Appropriate support; local authorities have to ensure that individuals can receive the help to manage their support that being traditional services, new or systems of peer support. Flexible resources; should be used creatively to support individuals and finally Outcome review; is essential which plays an integral part of the risk management process for the local authority. However, as Mandelstam (2010) points out personalisation may not always work for vulnerable adults who are unable to express choices, unless they are adequately supported. Shortages of resources in some local authorities could threaten the availability of the vital support which is needed for individuals, and therefore for this system to work it is not to be seen as a cost cutting measure. Duffy Gillespie (2010) report that there is a misconceived idea that personalisation is simply about freedom and treating safeguarding as it is simply about control is wrong and to enable a person to have a good life balance you have to balance between freedom and control. Safety is one of the key goals in personalisation as control can be personalised because designing support arrangements need to be tailored to fit the person and need be justified with regard for their capacity, effectiveness and proportionality. They also state that control does not guarantee safety, for example the current community care system is poor in providing individuals to exercise freedom and control. Individuals who need support often find they have little or no choice over the support they can receive as most social care services struggle to provide personalised support due to bureaucracy that surrounds them. This in turn can create dependency or frustration which can easily place individuals at greater risk. The idea that personalisation may increase the risk of abuse in some way has been suggested by many professionals (Lymbery,2010. Duffy Gillespie (2009) argue that personalisation is committed to improving safety as integral part of promoting well-being and enhancing citizenship along with offering techniques and approaches such as self-directed support which provides the framework for minimising the risk of harm and protecting vulnerable people from abuse. Personalisation is about designing support arrangements so they are more personal to the service user. McGauran (2010) points out in her report that occupational therapists are placed well within the personalisation agenda as they are the only allied health professional who are widely employed throughout social and health care sectors. Personalisation is congruent to the philosophy of occupational therapy as the heart of its practice is to be client centred, and therefore occupational therapists need to seize these opportunities to pilot new ways of delivering this service which would be of benefit to the clients and enhance professional practice. An example of this can be seen when an individual is given choice and control of a personal budget to purchase personal or nursing care for an older adult, then it would give the individual personal control over how, when and by whom the care or equipment should be provided. This philosophy is embraced with the College of Occupational Therapists Code of Ethics that occupational therapists shall at all times recognise, respect and uphold the autonomy of clients, and advocate client choice. (College of Occupational Therapists 2005, p.2.1). Social Care Institute for Excellence (2010) agree that occupational therapists are skilled in finding and tailoring individual solutions for people in different care settings and aim to improve the quality of life, as well as a facilitator of learning needs and can work collaboratively with people who use services, their carers, families, friends and other social care and health professionals to co-design and co-produce care and support. Social Care Institute for Excellence (2010) believes also that by introducing this new agenda it will allow service users to become empowered and enable them to design the support packages for themselves or choose how they want to live. This in turn will enable service users to feel that are being supported in staying well and ensure that they have access to public services. This approach undoubtedly has the potential to improve the quality of peoples lives and give occupational therapists the opportunity to use their skills and expertise. Over 70 health projects have been chosen by the Department of Health across England to pilot personal health budgets and a formal evaluation has been carried out by the Department of Health (Department of Health, 2009). Evidence suggests that although it was popular with younger disabled people, many of the older age service users found they were put off by the complexities of the scheme, especially around issues of becoming an employer if they needed to appoint paying carers (McGauran, 2010). As Mandelstem (2010) points out there is some confusion in the legislation in the personalisation agenda as there is no new legislation or detailed statutory guidance to support this. The Department of Health have set up a toolkit that fits personalisation into legislation but it is inadequate and contains errors. Therefore suggesting that there could be risks involved in the transformation of social care. What is apparent from evidence on pilot studies is very early to say what the full impact of personal budgets will be on occupational therapy staff and other professionals, and that it is most likely that developments of personal health budgets need to significantly change cultural values throughout the National Health Service (Stobbs, 2010). Personalisation in social care does have potential benefits in giving service users choice and control over their care services. Although there is no doubt that it does have some potential pitfalls. What can be recognised from this new approach is that safeguarding is essential to all service users especially complex cases where careful risk management and person centred practice are essential. However, personalisation is in its infancy stage and a lot more debate is needed around this new policy for service users to feel confident in new transformation of our healthcare system. Equally, this can be seen as an excellent opportunity for occupational therapists to demonstrate that they are well equipped to take the lead in this personalised agenda as it sits well in the role of their profession.

Comparison Of Animals In George Orwells Animal Farm :: essays research papers

The USA adaptation of the classic work Animal farm was entertaining and historically representative. The characters in the movie were all representing key elements in the Russian Revolution from start to end. The owner of the farm Mr. Jones is Czar Nicholas II who was the Czar of Russia before the revolution. Nicholas was a very poor leader, and was cruel to opponents much like Mr. Jones dealt with things. Old Major was representative of Karl Marx. Old Major taught the animals Animalism just as Marx taught communism. He meant to have the workers revolt because they do all the work and the rich keep the money, and both died before the revolution.   Ã‚  Ã‚  Ã‚  Ã‚  The entire belief system of animalism was just like the communist system. All people were equal there were no owners and no rich and no poor either. All of the animals owned the farm just as all people owned the communist government and the government owned everything. Snowball was supposed to be Leon Trotsky both were young, smart and good speakers. Both Snowball and Trotsky followed the teachings of both Marx and Old Major. Snowball wanted to improve life on the farm just as Trotsky was trying to improve life in Russia. Trotsky was chased away by Lenin’s KGB or secret police just as snowball was chased away by Napoleon’s dogs. Napoleon himself was more Stalin than Lenin was however. Napoleon wasn’t a good speaker or clever like snowball just like Stalin wasn’t as educated as Trotsky or as good a public speaker. Napoleon was cruel, brutish, selfish, devious and corrupt. Napoleon didn’t follow Old Major’s original words just as Stalin didn’t follow Marx’s ideals. Napoleon’s ambition for power killed all of his opponents and Stalin also killed all of those whom opposed him. Napoleon used the dogs to control the animals and spied on the just as Stalin used the KGB about propaganda and to keep the people in line.   Ã‚  Ã‚  Ã‚  Ã‚  Squealer was supposed to be the propaganda department of the Russian government. Squealer convinced the animals to follow Napoleon and changed the commandments. Russia’s propaganda department rallied the people and changed the teaching’s of Marx to fit it’s own agenda. Boxer was representative of dedicated but tricked communist supporters. Boxer worked hard and believed in the animal farm just as dedicated Russians followed Stalin because he was communist. Boxer’s attitude was Napoleon was always right and that he must work harder, just as the dedicated communists stayed loyal after it was obvious that Stalin was a tyrant.

Mary Wollstonecraft

WOLLSTONECRAFT, MARY, A VINDICATION OF THE RIGHTS OF WOMEN & A ; MARIA, OR THE WRONGS OF WOMANThis survey will use the thoughts from Mary Wollstonecraft ‘s A Vindication of the Rights of Woman to its fictional comrade Maria, or The Wrongs of Woman, demoing how the thoughts in Vindication are embedded in Maria. Basically, Vindication argues that the inferior place of adult females in British society in the late eighteenth century is due non to any unconditioned defect or failing in adult females, but instead to the fact that work forces have the power to specify and determine relationships, to do the Torahs, to have the belongings, and to make up one's mind the fate of the genders socially, economically, and politically. The writer does non shrive adult females of their duty for this state of affairs. She first acknowledges the natural physical strength which work forces have over adult females, so adds: But non content with this natural pre-eminence, work forces endeavour to drop us still lower, simply to render us tempting objects for a minute ; and adult females, intoxicated by the worship which work forces, under the influence of their senses, pay them, make non seek to obtain a lasting involvement in their Black Marias, or to go the friends of the fellow animals who find amusement in their society ( Wollstonecraft Vindication 7 ) . Vindication is a supplication, so, to both work forces and adult females: to work forces to â€Å" allow adult female portion the rights † ( 201 ) , and to adult females to take portion in a â€Å" REVOLUTION in female manners † ( 199 ) . Wollstonecraft argues that most of what are seen as the failings of the female gender are in fact direct consequences of the societal, economic, political, and educational want of adult females at the custodies of work forces: â€Å" Asserting the rights which adult females in common with work forces ought to postulate for, I have non attempted to palliate their mistakes ; but to turn out them to be the natural effect of their instruction and station in society † ( 200 ) . Womans are raised to believe that their felicity, their really being, are dependent on delighting work forces, on being loved by work forces, on being tempting to work forces. This is the province into which adult females are educated by society, which is a concept of work forces. Womans, in consequence, are created by work forces to be at the same time guiltless and seductive: Womans are every where in this distressing province ; for, in order to continue their artlessness, as ignorance is politely termed, truth is hidden from them, and they are made to presume an unreal character before their modules have acquired any strength. Taught from their illusion that beauty is adult female ‘s scepter, the head shapes itself to the organic structure, and, rolling around its gilding coop, merely seeks to decorate its prison. . . . Women. . . [ have ] their ideas invariably directed to the most undistinguished portion of themselves ( Wollstonecraft Vindication 43 ) . A adult female in such a society does hold power, which Wollstonecraft acknowledges. However, that power — to score, to delight a adult male physically — exists merely at the caprice of the adult male, or, more specifically, as Maria depicts, at the caprice of the adult female ‘s hubby. If the hubby decides to disregard or overrule that power, through assorted maltreatments, including institutionalization, he may make so lawfully at any minute, with no resort available to the adult female. In Vindication, Wollstonecraft title-holders ground, virtuousness, independency, and the rights of adult females to â€Å" the same natural ‘rights ‘ † which work forces enjoy: â€Å" a right to liberty, equality, and the chase of felicity or virtuousness † ( Wollstonecraft Maria V ) . Without instruction, without these rights, without equal societal, economic, political, or legal power, particularly compared to and in relationships with work forces, adult females are reduced to the degree of toies for work forces, to be adored one minute and pitilessly abused the following. In the instance of Maria Venables, the reader finds a adult female whose hubby has her locked away in a Bedlam — lawfully — for demoing marks of independency or â€Å" noncompliance. † Whereas Vindication speaks in wide and general ideological footings, Maria brings the statement down to its most basic unit — the household. In this unit, society discoveries microcosmic look. All that Wollstonecraft shows to be incorrect with society in the thoughts of Vindication, in footings of the maltreatment of adult females, is shown in dramatic signifier in Maria. If the thoughts of Vindication do non make the reader and do him or her to rouse to the wrongs perpetrated against God and humanity ( both male and female ) by the repressive, patriarchal society, so possibly that reader might be driven to ramp at George ‘s chesty abusiveness or to compassion for the abused Maria. Vindication surely addresses the establishment of matrimony in the most critical footings. Womans, she argues, are raised to see matrimony as their primary end and intent in life, the lone means to happiness. Whereas work forces are raised to see which of many professions they might seek to prosecute, adult females are taught to believe merely of matrimony, which means believing merely of what they can make to delight and trap a adult male so that he might care for them and supply them with the pleasances of life: It is non concern, extended programs, or any of the digressive flights of aspiration, that engross [ adult females ‘s ] attending ; no, their ideas are non employed in rise uping such baronial constructions. To lift in the universe, and have the autonomy of running from pleasance to pleasance, they must get married well, and to this object their clip is sacrificed, and their individuals frequently lawfully prostituted ( Wollstonecraft Vindication 60 ) . A married woman, so, to Wollstonecraft is â€Å" frequently † nil more than a legal cocotte. The contract of such a legal relationship is determined by the purchaser, the hubby, who defines that contract every bit good as decides when it will be terminated or adjusted. In the instance of Maria, her matrimony, at the beginning of the book, has been badly adjusted. she has been placed against her will in an insane refuge by her hubby George, who is able to perpetrate her lawfully without her holding any legal resort. This fact reveals that matrimony is even worse than legalized harlotry — it is legalized bondage. Wollstonecraft leaves no uncertainty about her purpose with the novel. â€Å" My chief object, † she writes, is â€Å" the desire of exhibiting the wretchedness and subjugation, peculiar to adult females, that arise out of the partial Torahs and imposts of society † ( Wollstonecraft Maria 5 ) . By â€Å" partial Torahs and imposts, † the writer means that her society is one in which merely the rights of work forces are protected, and the rights of adult females exist merely in so far as work forces allow them to be. As a microcosm of society, the matrimony reflects this legal world. Womans in Wollstonecraft ‘s epoch in England are deprived of their rights whenever work forces so desire. While the general fortunes of maltreatment and want of rights described in Vindication in society at big are evidently unfair and justly pull the anger of the reader, the specific agony of Maria gives those general maltreatments an single human context with which the reader can more deeply place. One might condemn the maltreatments perpetrated by work forces against adult females, by hubbies against married womans, but the specific indignations committed by George against Maria give one a more passionate sense of the unfairness of those maltreatments. Womans in general are the victims of male-dominated society, but the single adult female — in this instance, Maria — who is imprisoned in a awful matrimony is, to Wollstonecraft, the most suffering of victims: For my portion, I can non say any state of affairs more distressing, than for a adult female of esthesia, with an bettering head, to be bound to such a adult male as I have described for life ; obliged to abdicate all the humanizing fondnesss, and to avoid cultivating her gustatory sensation, lest her perceptual experience of grace and polish of sentiment, should sharpen to agony the stabs of letdown. . . . I should contemn, or instead name her an ordinary adult female, who could digest such a hubby as I have sketched ( Wollstonecraft Maria 5-6 ) . Wollstonecraft ‘s basic statement in Vindication is that a adult female, like a adult male, is created by God and is hence meant to develop her endowments and her head and spirit to the fullest, as looks of God ‘s illustriousness in human being. Clearly, so, the subjection of adult females by work forces in society and in matrimony is an act of rebelliousness against the will of God. Women, in the melting pot of adult male ‘s maltreatment, are â€Å" organized † non for full development of their modules and psyche but for â€Å" ignorance. † Wollstonecraft argues that the worst consequence of such maltreatment is the prolongation of stereotypes about adult females ‘s character: I come unit of ammunition to my old statement ; if adult female be allowed to hold an immortal psyche, she must hold, as the employment of life, an apprehension to better. And when, to render the present province more complete, though every thing proves it to be but a fraction of a mighty amount, she is incited by present satisfaction to bury her expansive finish, nature is counteracted, or she was born merely to reproduce and decompose ( Wollstonecraft Vindication 63 ) . Wollstonecraft is non against matrimony per Se, but merely against the baneful signifier it had taken in her clip. Marriage such as the one between Maria and George is an agreement based on the arrant domestication of Maria, the complete riddance of her ability to ground efficaciously as an independent human being. Wollstonecraft writes that â€Å" Reason is perfectly necessary to enable a adult female to execute any responsibility decently † ( Wollstonecraft Vindication 64 ) . Maria is non an â€Å" ordinary † adult female, non a married woman who will obey her opprobrious hubby in the name of matrimonial responsibility. Thrown into a Bedlam by her barbarous hubby and the patriarchal society which supports his inhumane mistreatment of her, Maria maintains her will to contend, but inquiries the ground for that battle: â€Å" And to what aim did she beat up all her energy? — Was non the universe a huge prison, and adult females born slaves? † ( Wollstonecraft Maria 11 ) . Indeed, the universe may be a prison for adult females, but Maria, aided by Jemima, finds the will and strength to make a universe of comparative freedom within that prison. The book remains unfinished, for Wollstonecraft died 11 yearss after giving birth to her 2nd kid, but the writer ‘s notes for possible terminations suggest that adult females can happen the strength within themselves and in conference with one another to get the better of the desperation, to g et away the patriarchal prison, and to populate for one another and for their kids. Maria is driven to suicide, the notes suggest, but is saved by her ain will, by Jemima ‘s intercession, and by the sight of her kid ( Wollstonecraft Maria 136-137 ) . Tellingly, Maria takes five proceedingss in which she struggles in her psyche between the picks of life and decease, between giving to her wretchedness or choosing to assist her girl survive and exceed more easy than she had the confines of the prison of cruel and inhumane patriarchate. Those five proceedingss may be seen as symbolic of the power of ground which Wollstonecraft title-holders in Vindication. Merely when adult females are educated in freedom to develop themselves and their gifts, through ground and apprehension, can they, and work forces, and society, net income to the full from all they have to give. As it is, nevertheless, Wollstonecraft writes, Womans have non any built-in rights to claim ; and, by the same regulation, their responsibilities vanish, for rights and responsibilities are inseparable. By merely so, O ye work forces of apprehension! and mark non more badly what adult females do awry. . . and let her the privileges of ignorance, to whom ye deny the rights of ground, or ye will be worse than Egyptian task-masters, anticipating virtuousness where nature has non given apprehension! ( Wollstonecraft Vindication 201 ) . In that decision to Vindication, Wollstonecraft might look to overrate the goodness of work forces and their willingness or ability to radically change their patriarchal attitudes toward and intervention of adult females. However, her call for a â€Å" REVOLUTION in female manners † ( her capitalisation and accent ) suggests that she knows full good that it will take a fully fledged motion of extremist feminism to alter the construction of the patriarchal society. Surely some work forces helped in the liberating procedure that was to come, and which still continues today, but without radical adult females the state of affairs of Maria would still be platitude today in England ( as it is excessively frequently commonplace in states which maintain their patriarchate ) . The component upon which Maria ‘s narrative stands is her relationship with Jemima. Vindication does non adequately address this demand for female solidarity in the battle for freedom from work forces, but Maria surely makes up for that lack in Wollstonecraft ‘s statement in the earlier work. Jemima and Maria are of wholly different backgrounds, different socioeconomic categories, but they are sisters in footings of their imprisonment in a universe run by work forces for the benefit of work forces. They are both, basically, the belongings of work forces. Together, they form a women's rightist bond which endures and grows in strength through endurance. Their shared power bases in blunt contrast to the passiveness of the other adult females in the book, who yieldingly follow the dictates of the work forces in their lives. Maria is surely no such meek or ordinary adult female. She is a strong human being who is pushed to the bound by her wicked hubby. Wollstonecraft may show a all right polemical statement for the rights of adult female and against the maltreatments of work forces in Vindication, but her in writing description of the agony of Maria in the novel is, in this reader ‘s position, far more powerful in rousing one ‘s fury and compassion. The concluding straw for Maria is her hubby ‘s understanding with another adult male to hold sex with Maria in exchange for a loan. Making the exchange even more enraging and painful for Maria is her feeling that the adult male had been something of a friend to her. In any instance, Maria confronts her hubby and tells him she is traveling to go forth him: â€Å" I have borne with your dictatorship and unfaithfulnesss. I disdain to express what I have borne with. I thought you unprincipled, but non so unquestionably barbarous. † She tells him that she has felt the enticement of other work forces but has determined to stay faithful to him and to the vows of matrimony which she held sacred. Now, nevertheless, she declares, â€Å" you dare. . . to diss me, by selling me to harlotry! — Yes — every bit lost to daintiness and rule — you dared sacrilegiously to barter the honor of the female parent of your kid † ( Wollstonecraft Maria 95 ) . In a society based on justness and decency, the legal system would back up Maria in her attempts to fly such a ugly adult male and so pervert a matrimony. In fact, that society, described in item in Vindication and portrayed fictionally in Maria, supports non Maria but George, non the victim but the victimiser. Not merely does the system non back up Maria, it allows George to hold her locked away in a Bedlam. She refuses to obey her evil hubby, refuses to passively digest whatever barbarous tortures George dreams up, and society allows him to declare her lawfully insane. Harmonizing to the patriarchal definition of saneness for adult females, she is, so, insane. Sanity for a adult female in the society of Wollstonecraft and Maria is obeisance, passiveness, following every dictate of her hubby and the patriarchal society from which he draws his opprobrious power. A sensible adult female who thinks for herself, who defies her wicked hubby, who refuses to be turned into a cocotte, is, h armonizing to such a society, by definition insane. Although Wollstonecraft in Vindication does hold her minutes of fury at those work forces who perpetuate prevarications about the character of adult females, for the most portion she presents a sensible if impassioned supplication for equity from work forces in their intervention of adult females. She basically asks work forces in power to see allowing adult females the rights she says they should be guaranteed by God. In Maria, nevertheless, written after Vindication, Wollstonecraft seems to propose that work forces can non be relied upon to change their positions or to allow adult females the rights they are granted by virtuousness of God ‘s creative activity. As representative of work forces of his society and clip, and particularly of hubbies, George is shown to be a thoroughly evil adult male, a adult male incapable of any meaningful alteration in his attitude toward adult females and particularly toward his married woman, whom he sees, and whom society sees, as his legal belongings. There seems to be in Maria small hope that work forces will alter on their ain, if at all, and if any alteration does come it will make so as the consequence of the attempts of adult females banding together in love and concern for one another and for their kids. One might reason that Darnford is meant to stand for some new assortment of adult male, an single capable of seeing adult females as human existences and non simply objects of pleasance. Such an statement would be sensible, but Darnford ‘s attitude is in portion the consequence of his ain imprisonment, his ain agony. Work force such as George, on the other manus, are incapable of larning compassion from their ain agony, but alternatively merely expression for retaliation. In any instance, Darnford is non the key to Maria ‘s freedom. That key is provided by herself, her will and ground, by her friend and fellow captive Jemima, and by her love for her kid. The hereafter, Wollstonecraft seems to reason, lies in the custodies of adult females contending together for justness and ground, for the rights of adult female given by God and stolen by work forces.Plants CitedWollstonecraft, Mary. Maria, or The Wrongs of Woman. New York: Norton, 1994. — – . A Vindication of the Rights of Woman. Mineola, NY: Capital of delaware, 1996.

Twelfth Night Analysis

Love vs. Lust and Desire (The Twelfth Night) Love and lust can often be mistaken for each other by unsuspecting and naive characters. In William Shakespeare’s The Twelfth Night a majority of the characters experience learning the difference between whether lust is the same as love or if they are merely enjoying someone’s looks only. The question of desire being overpowered by love is something that has been deeply looked at by literary critics to try to decipher. The beginning of the story starts out with Viola and her twin brother Sebastian getting into a shipwreck where Viola believes that her brother has drowned and been lost at sea.She shows an enormous amount of love in those first few moments when she realizes that he is gone. No love is ever greater than family love because it is the most pure form of love. Viola, out of self-preservation, takes a job in the house of the Duke Orsino and becomes his messenger to his love Olivia. Olivia is a vain woman who is also mourning her brother’s death and refuses to see Orsino or listen to his marriage proposals. As a different tack, Orsino sends Viola, dressed as Cesario, to try to court Olivia for him. This is not love that Orsino is feeling. Unrequited, melancholic love intensifies this process: it is self-consuming, as Orsino is pursued and consumed by his own desires. † (Eagleton) As Eagleton alludes he is merely attracted to Olivia’s beauty and power. The way he acts towards her does personify that he loves her, but he only compliments her beauty and virtue in his poems. He alludes to only wanting her because she is what is seen as the most desirable woman around his land. â€Å"Irrationally, Orsino would love a woman who he knows loves herself. But whereas he shrewdly guesses the true condition of his lady's affection, he is blind to the similar makeup of his own passion. (Hunt) This showing of lust is counteracted by the showings from Viola of love for Orsino. She chooses to do as he asks and help him court Olivia despite the fact that she is a woman in disguise and loves Orsino herself. This is a sacrifice that could easily be shown as a sign of true love for Orsino. Viola’s showing of love is something to be examined closer. She has not known Orsino for more than a day when she begins to love him, yet she is willing to sacrifice her own happiness to help create a marriage between Orsino and Olivia.She could be seen as naive and hopeful, but she seems wiser than that if examined closer. â€Å"Viola is then drawn within this illusion, through her adoption of an illusion of disguise to further her real aim of serving Orsino; she is made to act the part of one actor (Orsino) to another actor (Olivia) in a way which conflicts with her own genuine identity (her love of Orsino). † (Eagleton) Orsino also trusts Viola, as Cesario, completely. He entrusts her with his hopes and his most intimate errands. â€Å"Orsino is caught at a transitiona l moment in love's metamorphosis. He secretly enjoys Viola's feminine beauty while the page identity–â€Å"Cesario†Ã¢â‚¬â€œgives him an excuse for not recognizing the threatening natural opposite to himself–an opposite that in truth complements him. † (Hunt) Orsino sees Viola (Cesario) as someone he can trust and feel strangely drawn to. This could be a sense of lust compelling him or the nature of true love in its purer form. Through the beginning of the story Viola’s love for Orsino grows only to see Orsino’s love for Olivia continue steady. This is all disrupted when Viola’s brother, Sebastian, is revealed as alive and in the same city.Olivia, who has been courting Cesario (Viola), mistakes Sebastian for Cesario and convinces him to marry her. This can only be another example of the feeble yet strong importance put on physical attraction between two strangers to create a feeling of love that is deeply rooted in lust. Olivia found Ce sario’s cool demeanor to her to be refreshing and the slightly feminine build to be attractive. â€Å"The consequence of Viola's entering the reciprocal illusion of Orsino and Olivia is the creation in Olivia of a reality—her love for Viola—which breaks beyond the illusion and yet is similarly illusory—she does not know that Viola is a woman. (Eagleton) Olivia’s love for Cesario is a little more sincere than Orsino’s love for Olivia because Olivia enjoys Cesario’s company and demeanor as strictly opposed to his looks. When Olivia learns that Sebastian is her husband and not Cesario, she is still happy despite the mix up. Orsino’s switching of his love from Olivia to Viola so easily and efficiently is a sign that he may not really know the true nature of love at all. Orsino may only really know the way of desire and lust.Viola overlooks this and marries Orsino without any hesitation because she loves him. Orsino refers to Viola as â€Å"his fancy’s Queen† implying that he really cares for her on a level deeper than merely her looks which he has not been able to see in her manly disguise. The ending of the story regards every couple marrying the person they seem the most happy with, but it’s highly questionable if they love the person they have chosen or if they merely have chosen someone they like. ? Work CitedEagleton, Terence. â€Å"Language and Reality in Twelfth Night. † Critical Quarterly 9. 3 (Autumn 1967): 217-228. Rpt. in Shakespearean Criticism. Ed. Dana Ramel Barnes and Marie Lazzari. Vol. 34. Detroit: Gale Research, 1997. Literature Resource Center. Web. 19 Feb. 2013. Hunt, Maurice. â€Å"Love, Disguise, and Knowledge in Twelfth Night. † CLA Journal 32. 4 (June 1989): 484-493. Rpt. in Shakespearean Criticism. Ed. Michelle Lee. Vol. 92. Detroit: Gale, 2005. Literature Resource Center. Web. 19 Feb. 2013.