The Stranger in Oedipus Essay - 1467 Words

Murder, assault, and other forms of violence are widespread plagues that haunt modern society. In order to combat these relevant issues society has implemented different systems over the years. These systems have moved from a simple mindset to intricate organizations of jurisdiction and law. Violence appears not only in reality but, in novels and literary works alike. Albert Camus’ The Stranger depicts a modern system of justice; however, Sophocles Oedipus Rex portrays a simplistic system of justice. Society implements these to prevent the downfall of the human race. Society protects humanity from its own demise by condemning acts of violence. Acts of violence, weather brought on by anger as illustrated in Oedipus Rex or by environmental†¦show more content†¦This seems to show an extremely shallow love for his mother. â€Å"’We just sat there like that for a while. The woman’s sighs and sobs were quieting down. She sniffed a lot.’ ‘Then fin ally she shut up.’† (Camus 11). Anger in Meursault, is demonstrated in this section of the novel. His mother’s friends were attending the funeral and one of them was in tears. Meursault had no patience for this, however, what little self-control was left of him ignited and he did not act out violently. He rather let the anger stay within him just to nourish it. This violence in Meursault is classified as a hidden violence. The catalysts for his anger are seen in his environment. Meursault has a tendency to react sporadically to his environment. Environmental influences can cause one to act without logic and reason. Unfortunately for Meursault his conscious took the better of him which in turn caused him to kill. Meursaults’ pet peeve which causes him to act irrationally is heat. â€Å"It was very hot† (Camus 3) â€Å"glare of the sky† (Camus 4) â€Å"It was very bright† (Camus 6). The sun, more specifically its product, heat, is a domi nate issue within Meursaults’ life. In every situation, he comments on how hot it is. In these uncomfortable situations he loses his ability to generate logical solutions to issues. â€Å"The scorching blade slashed at my eyelashes and stabbed at my stinging eyes.† (Camus 59). This is the most pivotal scene in theShow MoreRelatedFate in Oedipus the King Essay1065 Words   |  5 Pagesthe future. This is true; at least in â€Å"Oedipus the King† in which the protagonist, Oedipus calls forth his doom unwillingly. Fate is defined as something that unavoidably befalls a person. The author of â€Å"Oedipus the King,† Sophocles, writes a tragic fate that Oedipus was born to experience. Fate is what is meant to happen and cannot be avoided or unchanged. Furthermore, events that lead to other events could be the result for one to meet their fate. In â€Å"Oedipus the King,† Sophocles expresses the natureRead More Tragedy in Oedipus the King and Dolls Hous e Essay660 Words   |  3 Pagesunspoken way of life. In Sophocles Oedipus the King and Ibsens A Dolls House, the main characters - Nora and Oedipus, are both constructed to illustrate flaws in society and how naive people are. Ibsen and Sophocles both developed tragedy into a central idea that all people surreptitiously understand. Nora and Oedipus make incompetent decisions that assist in discovering their fundamental nature as tragic heroes and provoke sorrow and pity among the audience. Oedipus lived his entire life in a darkRead MoreSophocles Oedipus The King884 Words   |  4 PagesKing of Thebes, owner of a family tree that identically resembles Medusa on a bad hair day, and the inspiration for a psychologically-riveting complex, Oedipus, tragic hero of Sophocles’ Oedipus the King, exposes troubling truths about the human condition and, acting as an exemplary precaution for the entirety of humanity, demonstrates how a self-destructive struggle between love, anger, and fate, conveyed through an unorthodox love affair between mother and son (Who gets custody in a divorce?),Read More Sight And Blindess Of Oedipus The King Essay1470 Words   |  6 Pages Oedipus the King by Sophocles was a play written after a devastating plague struck the city of Athens in 430 B.C. The play is about how knowledge can lead to devastation and destruction based on how the characters find out the truth of the Delphic Oracle. Years before Oedipus became the king of Thebes, the previous king, Laius, had received a prophecy that his son would grow up to kill his father. With this information he gave his baby son to a sheperd to dispose of him. Years later Laius is murderedRead More Destiny, Fate, Free Will and Free Choice in Oedipus the King - Power of Prophecy1000 Words   |  4 PagesThe Power of Fate in Oedipus Rex (the King) The underlying theme in Oedipus Rex is that fate is more powerful than free will. On this strong basis of fate, free will doesnt even exist. This was a popular belief among the ancient Greeks.   Fate may be accepted or denied by modern society, but in Oedipuss story, fate proves inevitable. In the play, Oedipus Rex, the characters Oedipus, Iocaste and Laios try to change fate.    In the very beginning of the story, before we hear from theRead MoreOedipus Fate Essay1478 Words   |  6 Pagescannot change their fate and it is unavoidable. Throughout the Greek tragedy, Oedipus the King, the hero, Oedipus often tries to run away from what he is destined to do only because of his ignorance to his situation. Throughout the entire play, the conflict of Man versus Fate is often seen as everyone tries to avoid what is fated upon them. Oedipus’s parents, Jocasta and Laius, were told by the gods that their son, Oedipus, would grow up to kill his father and marry his mother, a terrible fate. InRead More Tragedy in Oedipus the King and Dolls House Essay example1057 Words   |  5 Pagesages. But not until the Greeks and prominent playwrights such as Sophocles did tragedy take on into its own on the stage. Out of this rebirth of tragedy came what has been considered, even by Aristotle himself, the greatest tragedy ever written, Oedipus the King. He delves into the human psyche: bringing forth the notion of predestination, a supposition desperately believed in by humans, betraying the fatal flaws of his hero and manifesting the suffering brought upon the hero by his tragic downfallRead MoreOedipus the King: The Innocence of Oedipus Essay1448 Words   |  6 PagesSophocles Oedipus Rex Is Innocent Because Oedipus knows nothing about the past of Thebes, he is not an assassin. Oedipus committed murder but unknowingly of who King Laius was. Oedipus honor was his claim against the murder. Had it been the other way around and Oedipus had lost the battle, King Laius alibi would have also been for reasons of honor: for reasons of royalty. Oedipus was royalty and knew it as well did King Laius. The main idea behind Oedipus innocence is this royalty. RegardlessRead MoreSophocles Oedipus Rex as Modern Tragedy Essay examples1184 Words   |  5 PagesOedipus Rex and Tragedy Sophocles’ Oedipus Rex is, in short, the story of a man who unknowingly kills his father and marries his mother. It certainly sounds like a tragedy, doesn’t it? But the classification and definition of ‘tragedy’ are one of the many things widely disputed in the realm of literary studies. So, for the purposes here we’ll use Aristotle’s five criteria of a tragedy: a tragic hero of noble birth, a tragic flaw or mistake, a fall from grace, a moment of remorse, and catharsisRead MoreComparing the Downfalls of Sophocles Oedipus and Shakespeares Othello1262 Words   |  6 Pages Oedipus and Othello were both honorable and heroic men that became the victims of tragic downfalls that can be compared and contrasted with each other. Sophocles, the writer of Oedipus the King, and Williams Shakespeare, the writer of Othello, were both enormously influential playwrights of their respective generations and their legacy continues today. The two playwrights made their masterpieces during different eras; Sophocles life coincided with the Golden Age of Greek tragedy and Shakespeare

Analysis Of Ramesh Sippy s Sholay - 1845 Words

When it comes to Indian popular culture, there is no film more ingrained in the public consciousness than Ramesh Sippy’s iconic thriller ‘Sholay’ (1975). The film revolves around two criminals, Jai and Veeru (Amitabh Bachchan and Dharmendra), hired by a retired police officer (Sanjeev Kumar) to exact revenge on a ruthless bandit, Gabbar Singh (Amjad Khan), responsible for murdering his family. The film blends several genres such as the Western, Comedy and Musical in its use of mis en scene, cinematography and editing. Sholay can also be deconstructed as a relevant commentary on the political unrest and instability of India in the 1970s, a period marked by regional tensions, war and internal fragility of a nation. The 1970s in India was†¦show more content†¦However, Gandhi’s popularity was destined to be short lived as many parts of the country soon burst into protest over increasing prices and inflation coupled with frustration over inefficient bureaucracy and red tapeism. These protests were most animated in states such as Gujarat and Bihar, where students marched on the streets and united around political activist, Jayaprakash Narayan. When in 1975, a judge in the Allahabad high court ruled that Gandhi’s 1972 electoral victory was void due to governmental interference in campaigning, the opposition demanded Gandhi’s resignation. The ensuing strikes across the country including those of public services such as railways coupled with the opposition’s relentless demands of resignation led Gandhi to declare a state of emergency in 1975 due to a state of internal threat. This decision effectively censored the free press and jailed opposition leaders, marking the start of a dark period in Indian History. These were the culminating political and social conditions in which Sholay was released in 1975. The film encapsulates the instability of India in the 70s through its storyline, mis-en-scene and editing amongst other elements. The most prominent influence that is visibly noticeable in Sholay is that of the Western genre. The film draws influence from filmmakers such as Sergio Leone, especially his work in ‘The Good, The

Rites of Passage within Colour Free Essays

Introduction In this essay I will be discoursing my personal experience of what Arnold Van Gennep ( 1909 ) has described as â€Å"rites de passage† , concentrating on the liminal stage. This essay will detail my experience of traveling from an all ‘coloured’ community to a bulk ‘black’ suburb and my rites of transition experience of seeking to be ‘black’ . I will besides be discoursing on why I agree and disagree with Van Genneps rites de transition. We will write a custom essay sample on Rites of Passage within Colour or any similar topic only for you Order Now SEPARATION PHASE Separation stage â€Å"comprises symbolic behaviour meaning the withdrawal of the person either from an earlier fixed point in the societal construction, from a set of cultural traditions ( a â€Å"state† ) , or from both ( Turner, 1969, p. 94 ) . I was born on November 1, 1993 in East London, EC. I lived with my household in Buffalo Flats, EL for the first six old ages of my life, at the clip and today, it is still a predominately colored township. Turning up in that township for six old ages I, along with every other individual populating in that community is what South African society would depict and hold as ‘coloured’ . I would speak ‘coloured’ , walk ‘coloured’ , act ‘coloured’ , fight ‘coloured’ and believe it or non, somehow I would even run ‘coloured’ , or at least every bit ‘coloured’ as the stereotypes myself and my community had been placed in. At the age of six I moved from my beloved Buffalo Flats, EL to what I at the clip considered the center of nowhere, Midrand, GP. This, as Turner put it, was my separation stage. Midrand was a assorted suburb, many Whites, many inkinesss, rather a few Indians and a smattering of coloureds, or at least that was what I saw. I was taken off from my place, detached from it, separated from my household and friends and thrown into this whole new universe which led to my â€Å"liminal phase† . LIMINAL PHASE Liminal period is when â€Å"the features of the ritual topic ( the â€Å"passenger† ) are equivocal ; he passes through a cultural kingdom that has few or none of the properties of the past or coming state† ( Turner, 1969, p. 94 ) . This was the period in which I yearned to be ‘black’ , I prayed to be ‘black’ and after a subconscious and unstructured induction, I learnt how to be ‘black’ . I attended a assorted school, bulk black, but still a assorted school where I was one of two ‘pure’ coloured male childs in my class, the other named Michael Williams. The two of us along with a Chinese male child named Jacky Mo, made up my ‘communitas’ ( Turner, 1969 ) . We were all in the same phase of our lives, we were detached from the society we one time knew, for myself it was Buffalo Flats, for Michael it was the Cape Flats and for Jacky it was China, and we were all thrown into Midrand, and all three of us were in an unstructured and subconscious induction to be ‘black’ . We were all stripped of our race, were no longer coloured or Chinese, nor were we black, we were merely at that place. In between what we were and what we were endeavoring to be, being black wasn’t merely a race or civilization to us, it was a societal standing to be ‘cool’ , and we knew being non-black yet black, would be the highest award amongst our black friends and couples. During this unstructured induction phase our black friends became our somewhat â€Å"ritual elders† ( McNeill, 2011, p. 74 ) . They were learning us how to be black, what to make, how to make it and when to make it. Myself and Jacky lived in the same composite with a male child named Siyabonga Mlaba, who would subconsciously take up the function of being our ‘ritual elder’ . Traveling through this liminal period populating so near to one another made us really competitory for the blessing and regard of our ‘ritual elder’ . The same manner the ritual seniors punished the novices for singing about AIDS ( McNeill, 2011 ) , if we had disrespected or misunderstood any facet of ‘black’ civilization, we were besides punished, non in the same physical mode but with verbal maltreatment and humiliation to a point of feeling disdained. These ‘punishments’ were difficult to accept and understand, but it made me more hungry and eager to s uit in the group I was being initiated into. There were many symbols in my liminal period, one of the chief 1s being the manner I talked. The speech pattern, the words and the actions I used when I spoke were major symbols. I couldn’t merely talk with my normal ‘coloured’ speech pattern, I had to try to talk with the same speech pattern of my ‘black’ friends, use the same words and slang when I spoke. I couldn’t use the conversational ‘coloured’ recognizing â€Å"Awe my Broe! † , I had to utilize the ‘black’ township recognizing â€Å"Sho Mfede† . Around this clip as I easy incorporated African linguistic communications in my address, I began floating from my roots of speech production Afrikaans, easy I bit by bit stopped utilizing it until finally I ne’er spoke Afrikaans, unless in Afrikaans category. Other symbols were dress codification. For some uneven ground the ‘Tsotsi’ or ‘gangster’ image was one the young per son would gravitate to, and that’s the expression I wore proudly as a minor. All stars, faded denim and ever a beany worn half off or a popular cap called a â€Å"sportie† worn with a joust. This was all of import. The manner I ate was of import, I had to eat pablum and vleis with my manus, no spoon or fork was of all time required, and I felt more ‘black’ than of all time. As this induction took topographic point, the more it dragged on and the closer I got to my end as adjustment in as ‘black’ , the more I drifted off from my ain civilization and heritage, subconsciously I was denying who my community raised me to be. The more ‘black’ I was, the less ‘coloured’ I was. I looked at being ‘black’ or being a portion of ‘black’ civilization as a societal standing and non as something sacred and to be proud of. The sarcasm was that I viewed my ‘coloured’ civilization and people to be violent, yet I used force to seek and be ‘black’ . Contending was a symbol or portion of the ritual as anything else. ‘Black’ people were strong, and the manner we proved our strength was through these battles, the conflict of the better adult male. A circle would organize and one of the older ‘black’ childs would take one of us younger novices to contend each ot her or another member of the group. If the battle was won, the embracing would be like winning a war, or a football lucifer. But the also-ran will be made merriment of and humiliated, but after every battle a compulsory handshaking would take topographic point as a mark of regard and that it was non personal. I was grade three when my liminal period ended, a battle with a male child named Tebogo, a much bigger male child. He beat me down infinite times in that battle, but I won regard and my rubric of being black by ne’er giving up. So after three long old ages of subconscious induction I eventually made my manner out of the liminal period and was reincorporated to my societal group as longer a ‘coloured’ or novice, but as ‘black’ . But this is where I do non to the full agree with the theory of rites of transition. I the reincorporation stage does non really round up rites of transition, but really starts a new rhythm, do although now I’m ‘black’ , I have to once once more go through a liminal period and induction to turn out that I am worthy being a ‘Hip Hop Head’ . The group in which I spent as an novice for three old ages and eventually got accepted as one of their ain had another societal construction I had to be initiated into, taken back to a liminal stage whereby I was non what I was and non what I was going, but in between that. Take for illustration the school calling of an person. One gets separated from place, sent to school for 12 old ages ( liminal period ) and so reincorporated to the universe one time graduated high school. Yet the reincorporation of graduation is the separation stage for university, so the old ages analyzing at university is the liminal period an d graduating university is one time once more reincorporation. But that one time once more can be the separation stage in happening a occupation, where being unemployed is the liminal stage and acquiring a occupation is the reincorporation stage yet the separation stage for 1s calling and so on and so forth. Decision I agree and disagree on rites of transition, the separation stage and liminal period seem really solid, but the reaggregation/reincorporation stage can besides be seen as the separation stage for the new rhythm of rites of transition. How to cite Rites of Passage within Colour, Essay examples