Analysing Salvador Dali's Galatea of spheres, 1952

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The artists name is Salvador Dali; the portrait I am intending to analyse is Galatea Of Spheres. Dali has painted many surrealist portraits.

When I look at the portrait of ‘Galatea Of Spheres’, I can see that Dali has used a variety of pale colours and he uses circular shapes, which I think represent spheres and inside the spheres he has drawn the features of a persons face. To me this is a fine use of texture because I think it builds character in a painting. I’ve noticed that throughout his work the positioning of the objects seem to be located in the centre of the portrait. In the portrait, which I have selected and analysing I’ve noticed that he has drawn the lady as if she was indignant inside and behind her looks as if the sun is set. If I was asked what I thought was the most important part of the work, I would have to say that Dali has mainly focused on the face and the spheres in which he has drawn the features. I’m not positive about the exact time of year, but I can tell you it looks as if it has a clear sky, so I would have to say it could be summer and the time of the day is early evening, the evidence is that the sun is setting. Salvador Dali was obsessed with spiritual � mystical portrait of Galetea and science the spheres in which he has drawn are combined as a general order of the universe, so he painted it over and over. The background is simplified basically the same, with only the sky and the sea. Making up any subject, which would only complicate the principal theme. I can tell by just looking at this portrait that it has been distorted, I can tell this because you’re able to see half of the face through the spheres, I would also call is surrealism because you wouldn’t normally see an oversized head in front of a sunset background. Salvador Dali uses a variety of pallid and dark colours throughout his work and on the top of this uses dark outlines to give the portrait a -D effect. The portrait has been distorted due to the fragmentation of the spheres, which are located in a middle of a sunset background. My opinion on his detail in this portrait, I would have to say is basic; there is not a great amount of detail when it comes to the face and the background looks simple. I think that Dali has used texture because the spheres create texture as he makes them stand out and texture builds character. Dali has created an discontented atmosphere, I think that he has created using dark and pale colours and makes Galia look extremely sorrowful. I have taken a liking to the portrait because it is unusual and I have never seen anything like it before. Picasso’s work consists of a variety of dark colours and dark outlines, whereas Dali uses a variety of pale colours and surrealism. But Picasso’s work is known to be distorted as he mainly focuses on Distorted faces. Dali doesn’t just focus mainly on faces, he goes as far as drawing surrealist bodies of woman and focuses on their upper- body, but when I come to create my piece of work, I am only going to focus on the face, as to me it is the most important part of a woman as it is always on show to the world.

I haven’t yet tried any of Dali’s methods but I will, when I draft out my final piece of work. Dali’s work influenced me because it was unusual. The fact is that Dali is not afraid to use a variety of materials and hopefully I will be able to show that in my own work.

I will not be using the spheres in my final piece of work, as I found it time consuming and difficult to produce.






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A friend is a person with whom i may be sincere by Ralph Waldo Emerson

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The quote by Dr. Seuss, “ Be who you are and say what you feel, because the people who mind don’t matter and the people who matter don’t mind”, makes me think a lot of Emerson’s quote. A friend is someone who you feel comfortable around. Someone you can act your self around and you know they will not care. The friends I have, I know I can always be honest with and tell them the truth without them judging me or getting angry with me. I could tell my friends a secret, or an opinion on a certain subject and know they would never tell. Those are things you could never tell a stranger. They are also things you could never tell someone that you did not completely trust. You would not say these things in fear of how they would react. A true friend is someone you know inside and out and is sincere with you, so you can be the same with him or her. It is all a matter of trust. By telling the truth and being honest you trust the person to not react in a terrible way or betray you. A true friend will never get upset for your sincerity, they will only be grateful for it. Just be the best person you can be to all of your friends and they will be greatful for it. They will in return be a better friend to you. Sincerity is one of the only things that will take you far in life. That and truth. Without these two things what do you have? You have absolutly nothing. Because no one will want a true friend that is not sincere. So be sincere to your friends and they will do the same for you.

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An Analysis of the Epic Tree Catalogue in Spensor's The Farie Queene and the Illustrative Effects of its Parody in Joyce's Ulysses

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An Analysis of the Epic Tree Catalogue in Spenser’s The Faerie Queene and the Illustrative Effects of its Parody in Joyce’s Ulysses

Edmund Spenser’s epic catalogue of trees in Book 1 of The Faerie Queene (1.1.6-81), an interpolation that shows that Una and Red Cross Knight have, at this early point in the epic, a “narrow preoccupation with the things of this world to the exclusion of broader concerns” (Cheney 4), has precedents in the works of Chaucer and Ovid, as well as in the works of many lesser-known classical authors such as Lucan, Statius, Claudian and Seneca (Wurtsbaugh 56). Thus Spenser, in allowing Una and Red Cross two stanzas to not “see the forest for the trees” (Cheney 7), established himself as among a tradition of epic cataloguers who date back to Homer (Monaghan 5). Within The Faerie Queene, Spenser offers other minor catalogues (including a catalogue of sea monsters in stanzas -4 in canto 1 of Book II) as well as a few major ones, such as the canto-long catalogue of British Kings who “invade the narrative” of Book II (Freeman 64). Some years later, James Joyce, in his amalgamated modern epic / epic parody Ulysses, parodied Spenser’s tree catalogue with his own tree catalogue interpolation (1.166-15) in a chapter full of inflated parodic interpolations meant to place its mock-hero Leopold Bloom in “lonely isolation within a world given over to vast excesses” (Blamires 118). Spenser and Joyce’s epic tree catalogue interpolations both give their heroes / protagonists “‘invisible boundaries’” (Levine 6) that, once broken, place them both deeper into their perilous circumstances (Red Cross Knight and Una with Error in the Wood of Error; Bloom with the politically zealous anti-Semitic “citizen” in Barney Kiernan’s pub). This broad similarity, as well as other minor similarities present between Spenser and Joyce’s interpolations, shows how effectively a parody can illuminate its source material. A close analysis of Joyce’s parody of Spenser allows the reader of both to approach either with a “decoder ring” of sorts that opens up these particular passages of The Faerie Queene and Ulysses for a more complete understanding.

Una and Red Cross Knight, on the outset of their journey in The Faerie Queene, seeking shelter from a storm, “A shadie grove not far away they spide, / That promist ayde the tempest to withstand / Whose loftie trees yclad with sommers pride” (1.1.56-58). Once inside the “shadie grove,” Una and Red Cross, “with pleasure forward led” (1.1.64) “[did] prayse the trees, so straight and hy” (1.1.68). Spenser’s epic catalogue of twenty trees follows, arranged by height (Monaghan 5), and each praised not for their aesthetic qualities, but for their practicality (Freeman 65)

1. “The sayling Pine” [for shipbuilding (Gifford 5)]




. “the Cedar proud and tall” [Recalls Isaiah 1, “And upon all the cedars of Lebanon, that are high and lifted up” (Maclean 8).]

. “The vine-prop Elme” [“the elm supporting the vine” (Rabbeth )]

4. “the Poplar never dry”

5. “The builder Oake, sole king of forrests all”

6. “The Aspine good for staves [staffs]” [The aspen stands for lamentation (Gifford 5).]

7. “the Cypresse funerall” [Ovid’s tree catalogue in Metamorphoses directly precedes the story of Cyparissus, who was turned into a Cypress tree by Apollo after becoming inconsolable after killing a deer (Maclean 8).]

8. “The Laurell, meed [reward] of mightie Conquerours / And Poets sage” [with it they are crowned (Rabbeth )]

. “the Firre that weepeth still”

10. “The Willow worne of forlorne Paramours” [“worn by desolate, forlorn lovers” (Rabbeth )]

11. “The Eugh obedient to the benders will” [“the yew, of which bows are made” (Rabbeth )]

1. “The Birch for shaftes” [Arrows; the birch stands for meekness (Gifford 5).]

1. “the Sallow for the mill”

14. “The Mirrhe sweete bleeding in the bitter wound” [Myrrh is associated with Christ’s birth and thus (here) the wounds of his crucifixion (Maclean 8).]

15. “The warlike Beech” [Beech symbolizes prosperity (Gifford 5).]

16. “the Ash for nothing ill”

17. “The fruitfull Olive”

18. “and the Platane round”

1. “The carver Holme” [“Holly or holm-oak, both suitable for carving” (Logan et al. 61).]

0. “the Maple seeldom inward sound” (1.1.6-81)

Why did Spenser include such an interpolation? The simplest answer is that he is allowing Una and Red Cross some textual wandering time (one and a half stanzas) in which to get thoroughly lost in the Wood of Error (Freeman 64). It is, most certainly, considering the later discovery of the hideous Error, a “prelude to crisis” (Cheney 7) that can be considered, in its wordy tangle of virtues, a way for Spenser to portray that “the image of the wood is governed by the idea of mental confusion” (Freeman 64).

That Spenser’s tree catalogue is ripe for parody, despite its use as a portrayal of “mental confusion,” is only contextually evident. Joyce places his Spenserian parody in a context that makes his Red Cross and Una counterparts essentially the trees themselves, lavishly wed as a means to re-forest Ireland. This is accomplished as one of parodic interpolations / asides in the so-called “Cyclops” chapter of Ulysses (Chapter 1, so named because of its Homeric parallels) (Gifford 14). The Spenserian parody is cued, in the main narrative of “Cyclops,” by a discussion of the deforestation of Ireland at Barney Kiernan’s pub in Dublin. The mock-hero of Ulysses, Leopold Bloom, only “stick[s] in an odd word” (1.16) in the conversation, which is dominated by barflies John Wyse Nolan, Lenehan, and “The Citizen,” a nameless, anti-Semitic political zealot who can be seen as the “Error” counterpart in Joyce’s parody, later threatening Bloom with crucifixion. Joyce’s Spenserian parody is built on four key phrases in the dialogue, which I have noted in italics

�As treeless as Portugal we’ll be soon, says John Wyse, or Heligoland with its one tree if something is not done to reafforest the land. Larches, firs, all the trees of the conifer family are going fast. I was reading a report of lord Castletown’s …

�Save them, says the citizen, the giant ash of Galway and the chieftain elm of Kildare with a fortyfoot bole and an acre of foliage. Save the trees of Ireland for the future men of Ireland on the fair hills of Eire, O.

�Europe has its eyes on you, says Lenehan. (1.158-165)

These four phrases serve as building blocks on which Joyce generates his parody. His parodic interpolation is in the style of both an epic and a journalistic international “society page” (hence “reading a report” and “Europe has its eyes on you”) reporting what Joyce himself called the “Forester’s Wedding” (-----). The intent of the “Forester’s Wedding” is, indeed, to “Save the trees of Ireland” by the tree “procreation” that will come from the marriage. The Una counterpart in Joyce’s parody is literally a member of the “conifer family”�“Miss Fir Conifer of Pine Valley” (1.168-6). Red Cross becomes John Wyse Nolan, or rather “Jean Wyse de Neaulan, grand high chief ranger of the Irish National Foresters” (1.167).







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Recycling for a better enviorment

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saDear Miriam

As a very good friend of your son he asked me if I could him a big favor. That big favor involves you and your addition to smoking. He asked me to tell you that he was very worried for your health because knows that you have been smoking for more than 15 years and that concerns him a lot. He really loves you and seriously wants you to quit before it’s to late. At school he got asked to do a project that involved the effects of the cigarette hers were he saw lots of different reason more.

As your son’s research said, 415,000 people die each year because just because of smoking. After ten years of smoking, each cigarette may do as much damage to the body as or more packs did when a smoker first started, so imagine what a cigarette is doing for you after more than 15 years smoking. I know that t the longer you have been smoking the harder it is to quit but noting is impossible as long as you have faith in your self. Another very interesting fact that he found was that in a smoking household the people have a 70% chance to be asthmatics just because of having a smoking person in the same house. Isn’t your son asthmatic? So I leave you with the hope of a good son that just wants the best for the woman that loves and cares for him the most in live.

P.S. I wrote this letter to you because he felt that he needed someone to trust and to be as sincere is he was. But mostly he didn’t what to give you a letter made by him because he knows you may ignore it like you have done all the time he mentions stuff about quitting smoking.




Sincerely

--------------------------

Francisco J. Rivera



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Brand Community

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Introduction

A community is made up of its member entities and the relationships among them. Communities tend to be identified based on commonality or identification among their members, whether a neighborhood, an occupation, a leisure pursuit, or devotion to a brand. Through communities, people share essential resources that may be cognitive, emotional, or material in nature.

Brand communities are communities whose primary bases of identification are either brands or consumption activities, that is, whose meaningfulness is negotiated through the symbolism of the marketplace.




Definition

“A brand community is a specialized, non-geographically bound community, based on a structured set of social relationships among admirers of a brand.” It, like other communities, is characterized by qualities like a shared consciousness, rituals and traditions, and a sense of moral responsibility. However, as it is centered around a branded good or service, everything is situated within a commercial and mass mediated ethos.

Characteristics of brand communities

Like other communities, brand communities are marked by a shared consciousness, rituals and traditions and a sense of moral responsibility. Each of these qualities is, however, situated within a commercial and mass-mediated ethos, and has its own particular expression.

Consciousness of kind

The most important element of Brand community is consciousness of kind. Members share a we-ness. Members feel an important connection to the brand, but more importantly, they feel a stronger connection toward one another. The consciousness of kind found in brand communities transcends geographic boundaries. It is also characterized by a few processes like legitimacy and oppositional brand loyalty

Legitimacy is a process whereby members of the community differentiate between true members of the community and those who are not, or who occupy a more marginal space. In the context of brands this is demonstrated by really knowing,” the brand as opposed to using the brand for the wrong reasons. The wrong reasons are typically revealed by failing to fully appreciate the culture, history, rituals, traditions, and symbols of the community.

Brand communities are generally open social organizations in that they do not deny membership, but like most communities, they do have status hierarchies. Ostensibly, anyone who is devoted to the brand can be a member of the community, regardless of ownership. However, the devotion to the brand must be sincere and for the right reasons. Legitimacy is however not a necessary condition in all brand communities.

Oppositional brand loyalty is another social process involved in perpetuating consciousness of kind. Through opposition to competing brands (Coke vs. Pepsi), brand community members derive an important aspect of their community experience, as well as an important component of the meaning of the brand. This serves to delineate what the brand is not, and who the brand community members are not.

Rituals and Traditions

Rituals and traditions represent vital social processes by which the meaning of the community is reproduced and transmitted within and beyond the community. They are typically centered on shared consumption experiences with the brand and maintain the culture of the community.

Some of the rituals and traditions include celebrating the history of the brand and sharing brand stories. Advertisements play an important role in brand community rituals and traditions. Members are particularly concerned with advertisements as they represent the brand to those outside of the community, as well as to themselves.

The preservation of what the brand is and stands for is important to the brand community. Members often feel that they have a better understanding of the brand than the manufacturer does. They can be, and frequently are, critical of various aspects of the brand and/or its management. Brand community members play an active role in the social construction of brand meaning through accommodation, negotiation, text rejection, interpretation, evaluation, and use of communal symbol systems. Often the marketer is regarded as having too much say in the brands future and the brands very ownership is contested. Thus, these rituals and traditions represent an important aspect of consumer agency, and point to the social negotiation between marketer and consumer in constructing a brands meaning.

Moral responsibility

Moral responsibility is a sense of duty to the community as a whole, and to individual members of the community. This sense of moral responsibility is what produces collective action and contributes to group cohesion. A prime concern among brand communities being that of survival, moral responsibility includes Integrating and Retaining Members.

Brand Communities are intentional, voluntary, and partial in the level of involvement they engender and commitment is narrowly defined. Members are united predominantly by their common interest in a brand. Brand communities are defined in contra distinction to one another and gain their identity by their most apparent differences from one another.

Some other characteristics of brand communities are

· They are not restricted by geography.

· They are explicitly commercial; exist in full view, with communal self-awareness and self-reflexivity.

· Brand communities are less ephemeral and their members as more committed. Brand communities can be relatively stable groupings, with relatively strong (but rarely extreme) degrees of commitment.



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Tartuffe review

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Tartuffe


Written by Moliere.


Directed by Boris Radmilovich.


Presented by the Western Australian Academy of Performing arts @ ECU acting studio





Date 8th of May 00


Tartuffe was a funny exciting play starring many talented third year students of theatre. The story was about two in love people,


Mariane and Valere, and the way they plot against a hypocrite who is trying to break up their family and send them broke. Tartuffe (Hypocrite) played by Damien Robertson played the character wonderfully and created great dramatic intent.


The story started at Orgons house with Madame Pernell leaving to avoid an argument over the character of Tartuffe and continued on to Cleante and Dorine warning Orgon of Tartuffe. In defiance to the advice organ decides to marry Mariane to Tartuffe. Mariane upset and horrified plots together with Valere. Tartuffe is then caught in the act by Damis after overture to Elmeir. Orgon in denial after hearing of Tartuffe’s behavior decides to leave all of his wordily goods to Tartuffe and marry him to Mariane that night. Family and friends resist this seeming madness and persuade Orgon to allow his wife to try to prove the truth by witnessing Tartuffe’s deceit. Orgon realizes Tartuffe’s malicious intent. Tartuffe then uses Orgons personal papers that had been entrusted to him against Orgon in order to claim his house by a deed he had possession of. In the end Tartuffe’s fraudulent character is revealed and an officer of the king arrests him. The plot is used well to keep the audience’s eyes peeled and used great comedy techniques and dramatic techniques to do this.


The characters played in tartuffe were


Orgon, played by Rhys James Rees was the main character who believed Tartuffe couldn’t do a wrong.


Madame Pernelle, played by Amy Spruce was Orgons mother.


Elmire, played by Renee Mclyntosh played as Orgons wife.


Damis, played by Phillip Mclnnes was Orgons son


Mariane, played by Karen Roberts was Orgons daughter who was in love with Valere.


Valere, played by Paul Ashcroft was in love with Mariane.


Cleante, played by Stephen Francis was the brother in law of Orgon.


Tartuffe, played by Damien Robertson acted as the hypocrite.


Dorine, played by Alexandria Steffensen acted as maid to Mariane


My Loyal and Flipote, played by Eleanor Howlett acted as a tipstaff and a maid to Madame pernelle.


Stage space was used well and was occupied most of the time. It consisted of a high stage area, which was centre to the whole stage. The higher stage was placed with stairs left and right and a little door at the front. The higher stage was good as it gave a sense of characters standing on the stage as being superior to people standing below. I thought the stage space could have been spaced out more so that when all of the characters were using the stage at the same time they could be seen from all of the audience’s angles. I thought they used the space well because the characters who were on stage never cluttered in one place. I also think the props on the stage were used well and created a good setting.


Costume design was used wonderfully with creating the setting. The use of the dresses made you see the role in which the females where representing e.g. always having to be covered and coming past the ankles. Males clothing was more the boots and tights which represented the men as ready for battle or to fight e.g. use of the swords. I thought the clothing worked really well with the year it was set in. Lighting also contributed well with the setting and was mainly used to establish the emotions or dramatic scene approaching e.g. the use of flashing light’s to establish a storm or fight. I thought music helped with lighting to establish the scene approaching as it gave you an idea oft the seriousness of the scene.


During Tartuffe I felt as if the scenes before the interval were more interesting as I started to get restless and bored. Before the interval it mainly introduced the characters and the main idea of the play. After the interval more action was used the only problem of this was the audience already new what the characters didn’t so we were basically seeing it all again but with the characters finding out. Overall I thought the begging of the play as the best because this is when we wanted to see more and find out more.


The main theme of the play was that love was to strong to tear Valere and Mariane apart and that lying and hypocrising people won’t leave you as the winner.





Tartuffe was a great dramatic and comedy play, which I really enjoyed. The play was interesting and kept the audience peeled and intrigued most of the time. I would recommend the play to 14 year olds and older and overall showed the social values of the olden days.





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Dear cousin charles

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Dear Cousin Charles,


I don’t know if you have heard about the new acts that they have just recently passed, but they are making me very angry. The reason that I am getting angry is because I think that they are passing these acts just to make the colonists angry and also just for something to get colonists into trouble for. I believe that they should just do away with these acts of nonsense and let us live our lives freely. In the following paragraphs I will explain to you the acts that I think are the worst and most intolerable acts.


First of all, the Quartering Act. The reason that I think this is one of the worst acts is because it is just nonsense to allow a British soldier in whom you don’t even know or have even seen before stay in your home. When these soldiers come barging in on their own will, what are you supposed to do? You have to buy extra food and supplies for these people, and they are also sleeping in your home. So they are pretty much ruling your life for the time that they stay in your home. This act will lead to rebellion by making the colonists so mad that they will just throw the soldier out of their home. Well when they do this of course they are going to get into extreme trouble, and I am sure that this would lead to rebellion.


Second of all and finally, The Writs of Assistance Act. The reason that I think that this is a very intolerable act is because allowing someone to just barge in with some piece of paper saying that they are allowed to search your home would make me very angry and I am sure it would make the majority of all of the other people very mad also. This law is pretty much saying that it is not a free place anymore because they can come into your home without permission whenever they get suspicious of something. You may not have even done anything and they will still barge right in and do as they plead.





In conclusion to this letter, I believe that these two acts and also many more are just nonsense and should not even be enforced. I don’t know why they don’t just repeal all of the acts because they are just causing problems to the colonies and also nobody even likes any of them. It would make life so much easier without these acts. It would be very nice of them to just forget about them all. Those are two acts that I think are the worst of all. Thank you for reading this letter and please right back soon and tell me what you think about these pitiful acts.


Your cousin,


anita dick


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the impact of globalisation on the world

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In the process of globalisation, the world has not only witnessed improved economic states and greater standards of living and quality of life, but also the coming together of a large world. Globalisation is not merely an economic phenomenon, but also extends to social and cultural aspects. In the past decade, where globalisation has been most prevalent, there has been growing contact and transfer of social and cultural aspects. While those in opposition to globalisation may claim an “Americanisation” of the world, there has been an undeniable impact of other cultures, such as Asian cultures, on society at large.


Globalisation has affected different economies in different ways. It is generally accepted that high income and newly industrialised economies are the winners of the past decade. This is due to fast economic growth, increased trade and increased investment flows.


However, those of lower income economies do not seem to have gained any real benefit from globalisation. Over the past decade globalisation does not appear to have affect economic growth rates. From 10 to 001, economic growth was .7% for the global economy. However, this rate was .% in the previous decade. In fact, all types of economies had an overall decrease in the rate of economic growth from the 180s to the 10s, excluding middle income economies.


With this it appears that instead of producing international convergence, there is divergence occurring, where there are not actual global trends.





With globalisation there has been changes in trade flows over global markets. Firstly, the composition of international trade has changed, with a greater mix of goods and services trade between countries. Further, there has been an increased importance of manufactured goods in trade � in 10 manufactured goods accounted for 74%, while in 001 they accounted for 78%. This was the only increase in the trade of goods. Also, services were once restricted to a closer, domestic market, however, with the advent of greater uses of technology, services now account for 0% of all global trade.


Secondly, there has been a major shift in the direction of trade. While in 10 high income economies has an 81% share of total global trade, in 001 this share fell to 75%. Conversely, fast growing economies such as in East Asia experienced a rise from 4.5% to % over 10 to 001.


With increased trade flows and foreign investment, transnational corporations (TNCs) play an increasingly significant role in the global economy. This is due to their dominating force in international business.


The globalisation of financial markets has meant an increased reliance on foreign sources of finance for investment. Also, some countries have greater access to foreign funds than ever before. There has been greater roles for foreign direct investment (FDI) contributing toward more economic activity. Between 10 and 001, FDI as a proportion of domestic investment rose from 4% to 17.6% for the global economy. However, increased FDI has mainly benefits for only those with already favourable economic prospects, there has been only a mere ‘trickle down’ affect for low income economies.


Globalisation has caused the removal of restriction on foreign ownership and a development in global capital markets has occurred. This has resulted in the world wide growth of TNCs. TNCs now produce one quarter of gross world product, with TNCs dominating the world’s major manufacturing industries.


Foreign exchange markets (FOREX markets) have become an increasing feature of the global economy. In 001 the average daily turnover of global foreign exchange markets was around $US1. trillion. With 5% of all this foreign exchange turnover seeking short term gains, it has meant that small falls in a currency may destabilise an economy. This is because a countries currency can affect its international competitiveness, inflation rates and interest rates.


Globalisation has meant that rapid and large shifts in the value of exchange rates have become a common feature of the global economy. This has resulted in mild impacts on economies.


Individual economies have their own business cycle, which experience periods of growth and downturn caused by changing levels of aggregate demand. Similarly, the world has begun to experience such an ebb and flow of world economic growth called the international business cycle. It is a general trend that for most countries, as global economic growth is strong, so too is the country’s. This idea can be seen from the economic growth of countries such as Australia, Canada, the UK and the US. All of these four countries experienced a downturn in growth in 15-16, which grew to 18-000 but has since declined from 000-00. However, this notion of an international business cycle is simply a trend and is therefore not a concrete rule. One country that has been an exception to global trends is Japan with poor growth over the 10s.


This integration allows countries to develop faster by specialising in certain types of products and trading. This means faster economic growth levels. This further means that individual economies will benefit from an upturn in global economic growth. Conversely, it also means that a downturn in global economic growth will result in a downturn in economic growth for an individual country.


In terms of the environment, there are both positives and negatives of increased globalisation. Globalisation gives increased opportunity for the best protection to the world’s environment. With globalisation the costs for protection may be shared among countries.


However, gloabalisation has several negative affects. Often low income economies may part-take in economic behaviour with negative environmental consequences, hoping to gain short term export revenue. Examples of this include deforestation for paper, unsustainable fishing practices, excessive pollution caused by manufacturing and increased green house gases from power plants. With increased rates of economic development and growth, there will also be higher levels of pollution, decreased supplies of fossil fuels and increased environmental damage.


From an increase in global trade there is also an increase in the consumption of non-renewable fuels.


Globalisation has seen a widening gap between the wealthier and poorer countries of the world. While poorer economies may have experienced better standards of living, the higher income economies have experienced the most benefit. In the 000 Human Development Report, 845 export processing zones were identified, where 7 million people work. In much of these zones basic worker rights were denied and wages were extremely low. This is a negative impact of globalisation where firms may choose the lowest cost option for their operations. This results in decreased wages due to a competitive market, corporate tax cuts and decreased environmental protection and concern. In turn this has meant a decline in the relative share of economic output going to wages and an increase in relative corporate profit. Nonetheless, TNCs tend to pay higher wages to workers than domestic firms of the same industry do.


There is currently a high level of inequality within developing economies. However, there has been sharp falls in the relative inequality in East Asia and the Pacific, as caused by strong economic growth. However, transition economies particularly in Eastern Europe and Central Asia have seen a relative increase in relative inequality.


Globalisation has placed international financial markets at the fore-front of the world economy. With financial markets shifting large volumes of money from one economy to another, a sudden loss in confidence of that economy can be devastating. This was seen from examples such as Mexico in 15, East Asia in 17, Russia in 18, Brazil in 1 and Argentina in 00. In all this examples, the sudden loss of confidence meant a collapse in exchange rates as large amount of that economies currency was dumped. This resulted in a shocked economy with a recession soon following, causing rising unemployment and increased poverty.


This devasting affect of international financial markets has been a result of better and the increased implementation of technology. Technology such as the internet has made the movement of money simple and fast. This results in sudden and mass movements of money, disrupting an economy.


There is no doubt that government policies have become more similar as a result of globalisation. This has been described in the “Washington Consensus”;


· Fiscal discipline.


· Public spending on education, health and infrastructure investment.


· Tax reform.


· Interest rates determined by market forces.


· Competitive exchange rates.


· Trade liberalisation.


· Openness to foreign direct investment.


· Privatisation.


· Deregulation.


· Legal security for property rights.


This outline also includes low inflation, minimising the role of governments and allowing for foreign ownership.


Most countries run their economies consistently with this outline. This is due to the fact that this is the most effective approach and that adopting other policy approaches has negative effects, including the loss of investor confidence and a fall in the value of the currency.


Globalisation has resulted in a reduced extent that governments can control macroeconomic policies independently. Due to large and rapid financial flows, banks are required to change interest rate levels accordingly, otherwise this money will go to other countries with more attractive interest rates. Further, by constraining fiscal policy the confidence in financial markets is conserved and retained.





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modern politics

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It is importand because we need to know about life today and what is going on around us and what we are living in. our environment is an important issue which i feel is not adressed enough in terms of sociallly and economically we lack knowledge and orgin to these areas. take manchester united they are a multi million pound organisation and they give to the publin in many ways , they allow corportate investment which in turn allows the public sector to create jobs and not just issue fines to people for no apparent reason. with players such as fletcher and davenport they are bound for success and i feel that they fully deserve this despiye ridicule from the publisc sector. the porn industry helps lonely boys to comfort themselves in times of strain just as manchester united does in their helping of surrounding communities in their local are. how much wood can o wood chuck chuck is the question on everyones lips at the moment and we are left stranded on this mountain side waiting for the rescue services to come to our aid.i hope that this essay has been informative to both you and yours in your quest for happiness in this relentless world . when i get that feeling i gotta say when i get that feeling. roy wolfe is everyones heroe in some or another with his good looks and amazing fashion sense. again i hope that you like this as i much as i have hated writing it as i only wrote this crap to become a member and rob other peoples essays.


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What is real presence?

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Lucy Hackney


TRS 6 Sacraments


Patrick Hayes





October , 00


What does “real presence” mean?





When Catholics talk about the presence of Jesus in the wine and bread there are many viewpoints. Some may say that Jesus is not really transformed from the bread and wine, but is a symbol of Jesus. They also say that the substance of the wine and bread do not change, but they are a “sign of a sacred reality.” Berenger of Tours first brought up this theory on Eucharist and he used the Augustine definition of a sacrament. Many of those that believe that Eucharist is only a symbol rely on their senses to guide them through life. I look at the timeline and story about Berenger and cannot help, but be mad. Knowing that he had different opinions about transubstantiation and going far enough as to write them down he should have the courage to stand up for what he thought was right instead of backing down each time he was questioned.


Another way that Catholics look at Eucharist is that the bread and wine are transformed into the body and blood of Christ through the words of consecration. This theology is the one that the Catholic Church stands by and is they way that they teach it today. The word use to define what happens when the bread and wine become the body and blood is transubstantiation. This word was first used in writings of Magister Roland in as early as 1150 and has been used in the Catholic theology since then.


I believe that the bread and wine at Mass that we receive is actually the blood and body of Christ. The Eucharist that Catholics receive is not a symbol, but truly is Christ.


If this is what the Catholic teaching is then why do so many people belief that it is just a symbol of Christ? Not all people of the same religion believe the same thing, but still remain in the same religion. There are many reason why people choice to be Catholic, because their parents are, they always have been, or because they actually belief in God and believe that every time we go to Mass we eat His body and drink His blood. Some may be like Berenger and rely on their sense to guide them, but when it comes to religion and God faith is needed. Faith is believing in something that you cannot see and knowing that He is there and not just a symbol.





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Even Though Sex Can Be a Very Controversial Subject,It Can Also be a Great Source of Humor

We are ready to represent the best custom paper writing assistance that can cope with any task like Even Though Sex Can Be a Very Controversial Subject,It Can Also be a Great Source of Humor even at the eleventh hour. The matter is that we posses the greatest base of expert writers. Our staff of freelance writers includes approximately 300 experienced writers are at your disposal all year round. They are striving to provide the best ever services to the most desperate students that have already lost the hope for academic success. We offer the range of the most widely required, however, not recommended for college use papers. It is advisable to use our examples like Even Though Sex Can Be a Very Controversial Subject,It Can Also be a Great Source of Humor in learning at public-education level. Get prepared and be smart with our best essay samples cheap and fast! Get in touch and we will write excellent custom coursework or essay especially for you.

Even Though Sex Can Be a Very Controversial Subject,


It Can Also be a Great Source of Humor


In today’s society, the twenty first century, sex can be a very uncomfortable


subject for people, not to mention authors, to talk and write about. However, I chose several authors who use sex in a humorous context using communication about sex, perception of sex, and exaggeration about sex. I chose the work of Stephen Sherrill in “Humor Thy Father,” Bill Scheft in “Rejected Celebrity Cab Announcements,” Prudence Crowther in “What We Told the Kids by Betty Markshuffle,” and Garry Trudeau in “I Am a Tip-Top Starlet,” all from my Mirth of a Nation textbook. I also used several examples from Dave Barry’s book, Big Trouble.





The way people communicate can be quite humorous to me, not to mention when the communication is taking place between parents and their children concerning the topic of sex. In “Humor Thy Father,” Stephen Sherrill talks about how hard it is for kids to explain sex to their parents rather than the parents having to explain sex to the kids. He writes, “First, you should know that it’s perfectly natural to feel uneasy talking about unconventional sex with your parents” (546). I found this funny because I can remember when my parents attempted to talk to me about sex, and I think I have never seen my parents so nervous and embarrassed in my life. On the other hand, in, “What We Told the Kids by Betty Markshuffle,” Prudence Crowther writes, “There was so much talk in


the papers of teachable moments that Russ and I began to feel we should prepare ourselves in case the kids started putting us on the spot about whatever they were picking up from their little friends or from the television” (146). I found this funny because the incident that the parents were talking about is the Monica Lewinsky and Bill Clinton scandal concerning the “cigar” and “sexual relations.” Luckily my parents never had to tell me about this incident because I don’t think it would have fit well with the birds and the bees.


Next, I found a hilarious quote from Bill Scheft in “Rejected Celebrity Cab Announcements” which concerns exaggeration that states, “This is Don Imus. Look, you never know when one of these hideous, fundamentalist, turban-wearing, curry-drenched weasels might start having sex with a goat in the front seat and wind up driving on the sidewalk, so remember to buckle your seat belt” (517-18). I certainly hope this is an exaggeration and not a regular practice of New York City cab drivers. Also, Dave Barry uses exaggeration in a campaign slogan that reads, “Get Hammered with Hammerhead” (78). The slogan was dealing with beer and I guess that this beer could make it easier for a person to have sex, but I am sure that it is not the only thing that contributes to the cause. It is a known fact that some people become more attractive when a person is under the influence of alcohol and possibly do other things that might make him or her regret drinking those beverages the next morning. I also do not think that people look at the “Huge gazombas,” that the “Stupid Client From Hell” wanted depicted in his slogan, and think that the beer tastes better.


Furthermore, people’s perception of sex can be quite hilarious sometimes. An


example of this would be in Gary Trudeau’s work, “I Am a Tip-Top Scarlet” when he states, “BLIKK O.K., here’s a question from left space What was your book Slut about? MADONNA It was called Sex, my book” (580). I interpreted this to basically say that the Budapest newspaper Blikk, perceived Madonna to be a slut. This tells me that Madonna is perceived in Budapest as a slut, when in all actuality I really don’t see her being one who gives herself away freely. Another example from Dave Barry would be from the name of one of his characters, “Walter Kramitz” (51). When we discussed this name in class, I found it hilarious when Jason Manley pointed out his perception of what Kramitz could signify. I believe that a better spelling of his last name would go Cram Its, because the police officer was quite the ladies man.


In conclusion, I would have to say that the way some people view sex is quite ridiculous, however, it continues to make us smile if not burst into laughter. Even the President of the United States is not safe from criticisms about his affair with Monica Lewinsky that had something to do with a cigar and penetrating some orifice of the body. I really don’t need to go into details, but I hope you can get the picture. Overall, I really enjoyed the novel by Dave Barry, not just the parts about sex, but the entire book. It didn’t even take me that long to finish it and once I picked it up it was extremely hard to put down.








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Baroque Art

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Baroque art and architecture, is the art and architecture of Europe and its Latin American colonies in the 17th and the first half of the 18th centuries. This style is associated, above all, with Peter Paul Rubens and Giovanni Lorenzo Bernini.


Baroque was first applied to the art of this period in the late 18th century, when the style itself had gone out of fashion. Eventually, however, as the classical rules lost their hold in the next hundred years and art historians began to look more objectively at the art of the past, baroque lost its critical significance. By the early 0th century, first specialists and later a wider art-loving public saw that baroque artists and architects had made a positive and original contribution to European art.


For all its vigor, the baroque style was not absolutely new, in the sense that Gothic art or cubism were new. Formally, it owed much to Renaissance art and architecture and the intervening phase, Mannerism; it was also influenced by the antique Greek and Roman art and architecture. The classical orders of architecture and the idealized human figure are as much features of baroque art as they are of those earlier styles.


The development of the baroque style began in Italy around 1600, when a group of painters, of whom the most important were Michelangelo da Caravaggio and Annibale Carracci, brought about a revival of art in Rome following the breakdown of Mannerism.


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The main center of the baroque in the first three-quarters of the 17th century, however, was Rome, where a greater number of important works of art were created, and far more artists were active, than in all the rest of Europe. The dominant personalities were the sculptor and architect Bernini, the architect Francesco Borromini, and the architect and painter Pietro da Cortona.


Outside Italy and Flanders, the baroque was mainly a late 17th- and 18th-century phenomenon, although signs of it appeared earlier. Each region interpreted the style in a different way. In Spain and Portugal and their American colonies, the interpretation was more pious and popular, as can be seen in Bartolom Murillos painting of the Immaculate Conception or in the facade of Santiago de Compostela Cathedral (finished 1750), the plain surface of which is encrusted with carved forms partly of traditional Spanish origin. The art of Rembrandt was affected by the style (The Night Watch, 164).


In the early 18th century the baroque gave way in France and Germany to the rococo style, and in the second half of the century both styles were outdated by neoclassicism.





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Jungian Psychology

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Carl Jung was a Swiss psychiatrist and brief colleague of Sigmund Freud who parted ways over a personal dispute over the unconscious mind. Jung was a rarely understood independent thinker who rejected Freud’s deduction that the primary motivation behind behavior was sexual urges such as that all women have penis envy. Jung instead believed that people are motivated by a psychological energy that inspires people to achieve psychological growth, self-realization and harmony.


I honestly agree with Jung more than I do Freud. To me Freud was a megalomaniac who saw women as inferior beings. All I have to say to that, women are capable of having several orgasms for every one their male partner has, given that he’s considerate. Freud experimented in drugs and homosexuality and I assume that his obsession with behavior being driven with sexual energies was probably fueled by his erectile disfunction and/or him being trapped in that 4-5 boy mind set where, according to Freud, boys reject their father for their mother but for Frued it was most likely in a sexual manner.


The collective unconscious (universally innate knowledge) is a part of the psyche is inherited and not acquired through life experience. Jung presented this universal knowledge in the form of motifs, which he referred to as archetypes. We often encounter these archetypes in dreams i.e. the shadow is the natural self untarnished by society and anima and animus the male/female counterpart of ourselves which represent our ideal mate. I remember being 1 years old and waking from a dream where I found a person who was the perfect complement to myself and even…well cried a little after waking for fear of never finding that someone in reality. We encounter these archetypes in dreams hence the reason why many cultures that have had little contact with one another share certain similarities in their myths and legends. Examples of this are evident in many pagan religions such as the God of war, a symbol military dominance the Vikings Thor, the Romans Mars, and the Greeks Aries. Some Native American tribes believe that dreams are the conscious mind trying to solve what the subconscious mind can’t, which I believe the answers come to you in the forms of Jung’s archetypes.


Imagine a yin yang, on one side you have your personal conscious which is knowledge acquired through ones life span which distinguishes you as an individual and on the other side you have collective nature identical to all individuals. The uniting or integration of the conscious (thinking) and Unconscious (instinctual) creates the bases for Jungian Psychology. These two forces are in constant conflict. The beliefs that every person starts out as a canvas ready to be molded and shaped by the world and that everything has an explanation has created this conflict. An example is the destruction of the pagan religions with the expansion of Christianity, which is symbolized in the story of David and Goliath and are apparent historically ages of enlightenment (science/mathematical) and renaissance’s (art/history).


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“Every advance in culture is, psychologically, an extension of consciousness, a coming to consciousness that cant take place only through discrimination” (Carl Jung).


Robertson, Robin. Beginners guide to Jungian Psychology


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taste

We are ready to represent the best custom paper writing assistance that can cope with any task like taste even at the eleventh hour. The matter is that we posses the greatest base of expert writers. Our staff of freelance writers includes approximately 300 experienced writers are at your disposal all year round. They are striving to provide the best ever services to the most desperate students that have already lost the hope for academic success. We offer the range of the most widely required, however, not recommended for college use papers. It is advisable to use our examples like taste in learning at public-education level. Get prepared and be smart with our best essay samples cheap and fast! Get in touch and we will write excellent custom coursework or essay especially for you.

Brillat Savarin seems to have a very direct approach in determining the best ways to attain the most flavor with your senses. His writing can be confusing at times but highly acceptable in the terms of his opinion of our sensation of taste.


Savarin has three complete principles laid down to analyze our sensation of taste. He holds for certainty that taste gives rise to sensations of three distinct orders. First is direct sensation, second complete sensation, and third reflex sensation. Direct sensation as Savarin describes it is the first perception arising out of the immediate action of the organs of the mouth, while the substance to be tasted is still at rest on the fore part of the tongue. In other words what we perceive as our first reaction to tasting a piece of food. The complete sensation as Savarin describes it is composed of the first perception and the impression which follows when the food leaves its first position and passes to the back of the mouth, assailing the whole organ with its taste and perfume. Lastly, Savarin describes Reflex sensation as being the judgement passed by the brain upon the impression transmitted to it by the organ. Basically the whole impression of taste for that object.


Savarin used the example of a man eating a peach, and how he goes through all these principles to achieve the end result; delicious! He states that it is not until the man swallows that he is able to pass judgement upon his experience. But, I’ve noticed that when we taste a piece of food today, we place it in our mouth, chew it a bit, and cast judgement before we even swallow. Like “mmm this is good” of simply gross. We do not seem to appreciate the full taste of the foods we eat today. We do not savor our flavors.


In class we discussed the four categories of taste that we get from our tongue. At the tip we have sweetness, then further up on both sides we have acid, then almost overlapping is salty, and finally bitter. Taste is the sense that provides us with the least information. It only allows us to identify and evaluate the concentration of the four taste categories for which taste buds are located on the tongue. Savarin believes that we have these senses but simply do not know how to use them properly. We do not go beyond our initial first taste, unless we are trained to do so.


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Savarin has a very good understanding of our sense of taste being directly linked to our sense of smell. “He who eats is conscious of the smell of what he is eating, either at once or upon reflection; and towards unknown food stuffs the nose acts as an advanced sentry, crying, who goes there?” (Savarin, 6). This is ultimately true, when smell is intercepted, taste is paralyzed. His examples of having a cold and holding your nose are subsequently true, but rarely thought of in dealing with our taste sensations.


One thing that Savarin states that does not fully make sense to me is when he talks about the wine drinker. He claims that it is only at the moment when he finishes swallowing that he can truthfully appreciate the taste and detect the peculiar bouquet of each kind of wine. This may be true for your average wine drinker, but not your average wine taster. Most wine tasters will “swish” the wine around in their mouths and spit it out, yet they can get the true flavor without swallowing. How is this so?


Human sensation in our tongue, lips and nose are twice as sensitive as our hands even though they have a maximum of 00 nerves per square centimeter. It is from that point on that information is provided on the texture, solidity, creaminess, smoothness and roughness. Our tongue works as a guiding tool in deciphering what we should and shouldn’t eat.


Animals on the other hand are limited in their tastes. Some live on vegetables, others only eat flesh, others again feed exclusively upon grain; not one of them has any notion of composite savours (Savarin, 0). Animal’s tongues are a mere muscular function. There sense of taste is by no means greater than ours, but possibly quiet equal in the department of deciphering different types of foods.


The senses are the organs by the use of which man communicates with his surroundings (Savarin, 15). Savarin believes that the number of senses we possess is not fewer than six. He claims that sight, hearing, smell, taste, touch and physical desire make up our entire being. Savarin believes that our senses have evolved over time. At first man used his senses purely as a means to direct what he saw, ate, smelled and loved. It was not appreciated as it is today. The senses are now made to help one another, for the use of the sensitive ego and the individual (Savarin, 16). Each sense has grown in its own part to expand and reach in new directions and for us to use and discover new exciting things. Our senses have aided in the development of science. The most delicate and ingenious achievements of science are due to desire (Savarin, 17).


In today’s society, our senses are still valued as highly as Savarin explained them. We use all of our sense countless times a day, and without them, life because different and new. We need to learn a new way to discover our surroundings, and many people are forced to do this. By all means, there is nothing wrong with this, just simply another way of controlling our environment. Our senses are still present just the way Savarin describes them, but I feel that we do not appreciate their true meanings and messages that they are intended for. We do not allow time to evoke in the complete “sense”. Savarin did, and wrote to allow others the same evolutionary knowledge.


I believe that over time the lack of appreciation of the senses has changed. We no longer look in ourselves for the answers; we look elsewhere to be told. Societies interaction with food I feel has grown over the years. Many do value its presence, and we see more and more tasting events that are devoted to one specific food. Perhaps the mere presence of one type of food allows us more time to analyze it and enjoy its true flavors and characteristics.


When Savarin uses the term “the pleasure occasioned by taste”, he is using it to express another feeling towards one of our senses. The pleasure occasioned by taste is our surroundings in which our food is presented. In a room adorned with pictures, sculptures, mirrors, and flowers, a room balmy with perfumes, filled with soft strains of music, gay with the presence of pretty women, man requires no great effort of the imagination to be convinced that all the sciences have been laid under contribution to enhance and set off the pleasures of taste (Savarin, 1). Our surroundings can either make or break what we are eating. Our sense becomes more aware when we are dining to impress.





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'WHEN SOMETIMES SHE IMAGINED HERSELF LIKE HER MOTHER': THE CONTRASTING RESPONSES OF CAM AND MRS. RAMSAY TO THE ROLE OF THE ANGEL IN THE HOUSE.

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Cam is a striking character because of both her resistance to her mothers promotion of the Angel in the House and her struggle to come to terms with her own identity as having been influenced by this AngelOne way this meaning makes itself apparent in To the Lighthouse is through an analysis of the individual responses of Mrs. Ramsay and Cam to the role of the Angel in the House. Enacting the Angel role requires one to relinquish her independence. Mrs. Ramsay sacrifices her independence, enacts the Angel role, and attempts to educate Cam to also relinquish her independence so as to adopt the Angel role as her own. Cam, however, is a rebellious daughter who struggles with her mothers teachings and eventually responds to them by refusing to enact the Angel role. In doing so, she envisions and takes a first crucial step towards creating a hopeful future in which a modern woman may assert her independence, pursue her individual, unique cause, and surmount those who attempt to coerce her into what she perceives as the outdated Angel role. Analyzing Cams refusal to enact the Angel role allows meaning to surface, not just about the text and characters, but about the way enacting roles and refusing to enact roles influences ones sense and perception of her identity.


Cam also undergoes a painful process in which she, bothered and tormented by the influence of the Angel role, attempts to come to terms with this influence and to reject this role for herself. I do not propose, necessarily, to read Cam exclusively as Virginia Woolf because although the connections and similarities are too numerous to go unnoticed, they are not absolute, and looking to Cam for insights into Woolf can at times even be misleading. What I do propose is that, in light of Woolfs rejection of the Angel role and consequent success as a writer, we give Cam her due as a modern woman who, like Woolf, suffers dreadfully at the hands of the Angel role, engages in a difficult struggle to free herself from its hold, and eventually liberates herself from its influence, thereby enabling her to emerge as independent and free to pursue her own meaningful, professional, and educational cause. Mrs. Ramsay finds several ways to educate James and Cam about how important it is for a woman to enact the Angel role. The day comprising The Window section, for example, is spent reading to James The Fisherman and His Wife, the story of the wretched fate of a woman who longs to directly enter into and enact change within the public sphere as a king, an emperor, and finally as a pope.[16] The wife in this Grimm Brothers tale is ambitious, independent, determined, perseverant, and powerful as she seeks to be more and more influential. As a result, she is severely punished. This story validates Mrs. Ramsays chosen role as Angel and castigates the modern woman as one whose independence is harmful, unattractive, and therefore worthy of punishment. The message Mrs. Ramsay thus conveys to James is that men should be wary of and ultimately reject women who possess traits characteristic of the modern woman since these traits will inevitably yield the demise of both the husband and the wife. The Angel in the House, Mrs. Ramsay teaches James, is the only proper role for a wife.


James willingly absorbs Mrs. Ramsays lessons but Cam is far less malleable and much more resistant to her mothers teachings. Mrs. Ramsay and James shared the same tastes and were comfortable together (p. 56), and Cam is an anomaly when the three are together. When Mrs. Ramsay reads the Grimm Brothers tale to James, for example, Cam chooses to shoot out of the room rather than to listen to Mrs. Ramsay read the tale; apparently the only thing she finds alluring about this story is the word Flounder. Cam is by nature a rebellious daughter. The Window depicts her dashing around, refusing to stop for anyone--Mr. Bankes, Lily, her father, her mother--and rejecting Mr. Bankess offered hand (p. 54). Moreover, she refuses to sacrifice her own desires and needs in order to enact a role required to appease Mr. Bankes. Cam races right past when Mr. Bankes, who would have liked a daughter of his own, holds out his hand to her. Moreover, she protests when she is told to give a flower to the gentleman (p. 1) and absolutely refuses-No! no! no! she would not! She clenched her fist. She stamped (p. )-to succumb to the nursemaids lesson about how a young girl should act the sweet, submissive, angelic part towards gentlemen when given the chance. Cam will not be coerced into playing a role simply in order to appease the men in her life, and as a result she is labeled a wild villain (p. 54); villainy is here equated with Cams refusal to relinquish her independence. She is by nature free-thinking, independent, and resistant to any attempts by authority figures to coerce her into or even to suggest that she should enact the self-sacrificing Angel role. Such independence demonstrates Cams resistance to the Angel role and her embodiment of traits characteristic of the modern woman.


Mrs. Ramsay, however, is the one person in The Window who is capable of wearing down Cams independence and forcing her to enact the Angel role. Earlier in the day, before her rigid lesson about sacrificing herself to her brothers demand that the pigs skull remain intact and within view, Cam was off like a bird, bullet, or arrow (p. 54). She ignores her mothers first call, But when Mrs. Ramsay called Cam! a second time, the projectile dropped in mid career, and Cam came lagging back to her mother. Cam, however, though Mrs. Ramsay figuratively shoots her down, has not yet been completely subdued. Mrs. Ramsay wonders what was she dreaming about as Cam stands before her, Mrs. Ramsay notes, engrossed, with some thought of her own, so that she had to repeat the message twice (my emphasis). Mrs. Ramsay notices Cams free-thinking independence and creativity. She recognizes that Cam does not accept her words verbatim, but instead must screen and modify them until they are her own before she will convey them to anyone else. Mrs. Ramsays words are merely dropped into a well, where, if the waters were clear, they were also so extraordinarily distorting that, even as they descended, one saw them twisting about to make Heaven knows what pattern on the floor of the childs mind. What message would Cam give the Cook? Mrs. Ramsay wondered (pp. 54-55). Mrs. Ramsays words, once they leave her mouth, enter Cams independent mind where they will be altered and conveyed at Cams discretion. Mrs. Ramsay, however, will not allow this free-thinking. Cam, upon returning from the kitchen, begins to describe to her mother her unique, individual perspective on the situation in the kitchen (there was an old woman with very red cheeks, drinking soup out of a basin [p. 55]), but Mrs. Ramsay stifles this free-thinking and at last prompted that parrot-like instinct which had picked up Mildreds words quite accurately and could now produce them, if one waited, in a colourless singsong. Mrs. Ramsay forces Cam to relinquish her creative hold on words and interpretation and to instead adopt others words as her own. Cams submission is complete at the end of this scene as she no longer thinks about or interprets the situation in the kitchen, but rather, repeats Mildreds words verbatim No, they havent, and Ive told Ellen to clear away tea.


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Later that night Mrs. Ramsay tries to convince Cam that the pigs skull is a nice black pig like the pigs at the farm (p. 114). Cam initially will not accept her mothers words or opinion as her own and instead insists, even argues, that the pigs skull is a horrid thing, branching at her all over the room. By the end of the lesson, however, Cam is literally repeating Mrs. Ramsays words, verbatim, as she falls asleep in complete submission, articulating that the pigs skull was like a mountain, a birds nest, a garden, and there were little antelopes (p. 115). The scene out on the lawn illustrates the same situation. Cam begins her lesson with her own thoughts, perspective, words, and opinion, but after Mrs. Ramsays coaxing, Cams independent thinking is stifled and she sinks into submission by doing no thinking at all, but rather adopting the exact words and perspective of others as her own-a typical Angel trait. The effect of Mrs. Ramsays teaching is severe as it wears and wears Cam into denying her innate, modern-woman independence and instead insists that she adopt the Angel role as her own. By the end of The Window Cam is learning to choose her actions according to what will please men rather than according to her own innate tendencies. She is learning that self-sacrifice must take precedence over maintaining ones independence when others demand things frown her. She learns to stifle her own independent thoughts, opinions, and words in order to adopt others as her own, and she learns that most people around her-Mrs. Ramsay, Mr. Bankes, the nursemaid, and James-prefer that she adopt the foreign Angel role rather than satisfy her own inherent, independent characteristics. In short, Cam demonstrates her tendency to want to nurture her innate modern woman qualities, but she is learning throughout the time comprising The Window that she must forsake these qualities and instead become an Angel in the House.[17]


The third section of To the Lighthouse finds Cam still struggling against and trying to come to terms with her mothers teachings.[18] The trip to the lighthouse is difficult for Cam as she wrestles with the influence Mrs. Ramsays teachings have had on her own sense and perception of her identity, as she tries in spite of these teachings to envision for herself a future as a modern woman, and as she still finds herself needing to resist others attempts to coerce her into the Angel role. Mr. Ramsay, in what could be perceived as an effort to instill in Cam a sense of her identity as linked to times passed, tells Cam to look for their house on the island. Cam, irritated, thinks that to be forced, from no will of ones own-to be cruelly, sitting in the boat looking at that island was an astonishing fact (p. 1h). Cam has little interest in satisfying her fathers need for her to identify with her past. Reluctantly, she looks up, but she will not see what her father wishes her to see. She gazes at the island, but even the shore looks far away, unreal (p. 166). The house itself seems invisible to Cam since already the little distance they had sailed had put them far from it and given it the changed look, the composed look, of something receding in which one has no longer any part. All things associated with the house, Cam feels, were gone were rubbed out; were past; were unreal, and now this was real; the boat and the sail with its patch (pp. 166-67). Cam, in this scene, is reluctant to look towards the past, and all she sees when she is pressed to look behind her is a past that is gone, unreal, and which looks different when one perceives it from the enlightened, privileged perspective which time and distance provide. Cam, as a result of this new perspective, is at this moment interested in thinking only about the reality of the present.


Just as Cam is reveling in her new sense of the present, however, her fathers words broke and broke again in her mind (p. 167) until she relapses into her old enforced habit of relinquishing her own thoughts and opinions in order to repeat others words verbatim. At this moment, Mr. Ramsay, after having misread Cams inability to see the house, assuming instead that She was shortsighted, like her mother. She could see nothing clearly (p. 85h), mocks Cam for not knowing the points of a compass. He ridicules Cam until she is frightened, he annoyed, and concludes that tie thought, women are always like that; the vagueness of their minds is hopeless; it was a thing he had never been able to understand; but so it was. It had been so with her-his wife (p. 167). Mr. Ramsay underestimates Cams potential as a modern woman, assumes she is an Angel like Mrs. Ramsay, and Cam, as a result, becomes scared of his half laughing at her, half scolding her. She watches Macalisters boy tug the hook out of the mackerel lying kicking on the floor of the boat with blood on its gills, an objectification of the mutilation of her own modem woman traits, and concludes this section, not surprisingly, looking sadly at the shore and envying life in a place where there is no suffering (p. 170).


Cam dips her hand in the water as her mind made the green swirls and streaks into patterns and, numbed and shrouded, wandered in imagination in that underworld of waters where the pearls stuck in clusters to white sprays (p. 18). Critics typically see this scene as evidence of Cams suicidal fantasy, and I agree that the wording here suggests death imagery, but I think it is important to note that it is Cams mind-not her body--which in this passage is numbed and shrouded. Most importantly, the wording quoted here also resembles Mrs. Ramsays comment, worth quoting again here for the sake of comparison, that others words, to Cam, seem to drop into a well, where, if the waters were clear, they were also so extraordinarily distorting that, even as they descended, one saw them twisting about to make Heaven knows what pattern on the floor of the childs mind (pp. 54-55). Cams creative mind, when functioning at its full potential, takes possession of others words and shapes them, modifies them until they are her own; in doing so, Cam is able to realize her free-thinking independence. It may be possible, then, to see this scene as illustrating Cams mind, numbed and shrouded from Mrs. Ramsays influential lesson out on the lawn, slowly regaining its independent tendency to form her own thoughts as they twist, turn, swirl in water and form patterns in her mind. In utilizing her mind in this creative way, both out on the lawn with Mrs. Ramsay and in this scene in the boat on the way to the lighthouse, Cam recaptures the independent thoughts absent during the moments when she is forced or feels compelled to merely reiterate others words verbatim. As Cam dips her hand in the water, as her mind indulges itself in imagination, she once again looks at this island, notes that it seems so small, and once again recovers her independent creativity as she tells herself a story of adventure about escaping from a sinking ship (p. 188). In doing so, Cam circles back to her mindframe on the lawn before Mrs. Ramsay truncates her creative, imaginative story, and regains, without interruption this time, her innate tendency to think her own creative thoughts and shape others thoughts until they are her own.


The story Cam tells herself as she lulls herself out of her drowsy lethargy is a story of escape from a mortal situation. During isolated moments of regression, usually sparked by an incident in which her modern woman traits are further mutilated, Cam envies the ghosts resting in the outdated, receding past, but thoughts of suicide repel and often terrify her. When her father even articulates the mournful thought of dying at sea Cam half started on her seat. It shocked her-it outraged her (p. 166). Cam imagined dying, like these fish, beating their tails up and down in a pool of water on the bottom of the boat (p. 54h), but when she catches a fish, when Macalisters boy jerks the hook out, when she actually sees the fish dying and recognizes that she played an integral part in this fishs suffering, Cam all together shut up. She would not bait the hook again (p. 50h). Cam is horrified that she had any part in the killing of a fish whose suffering she time and time again parallels to her own situation. In refusing to bait another hook and risk killing another fish, she also, then, refuses to have any part in her own death. Moreover, Cam imagines the men in the ship drowning (pp. 54-55h), but she twice envisions herself escaping from a sinking ship (pp. 188, 10); the implication is that Cam wishes to escape to a situation where she will live rather than perishing in a situation in which she will otherwise be drowned.


Cam tells herself fictitious stories about escaping, but the imaginative world does not offer Cam the life she covets. She decides that she did not want to tell herself seriously a story; it was the sense of adventure and escape that she wanted (p. 188). The imaginative world does not suffice as it did when she was a child. Cam now tells herself a story but knows at the same time what was the truth (p. 05). She now wants to escape on an adventure to a world replete with adventure and escape, one that exists outside her imagination. She reflects on her fathers anger towards her, Jamess obstinacy, her suffering, and decides that letting it go will enable her--not to be with the ghosts, for she feels a fountain of joy that she should be alive, that she should be there (p. 18)-but rather to escape on an adventure to a world not realised but turning in their darkness, catching here and there, a spark of light; Greece, Rome, Constantinople (my emphasis).


Cam, immediately after articulating to herself her desire to escape to a world not yet realised, reflects that every place has its time in history. Even the island, small as it was, and shaped something like a leaf stood on its end with the gold-sprinkled waters flowing in and about it, it had, she supposed, a place in the universe (p. 18). A leaf, critics commonly note, is associated in The Lighthouse with Mrs. Ramsay and her influence. Thus, in wondering about the island in its leaf-like form, Cam, by association, thinks about Mrs. Ramsays teachings and influence as a phase in history which merits understanding as part of a consequential, distant, and seemingly unreal past, but which does not necessarily hold a place in the future. Thus, in seeing the island as receding and distant from the new perspective on the boat (a perspective free from Mrs. Ramsays direct control), Cam sees Mrs. Ramsays way of life as part of a past to which she does not want to return. Mr. Ramsay, Cam notes with envy, escapes from the frustration of his world through reading (p. 0), and Cam, also, wants to escape to a world where she may educate herself, think, and become a historian and a philosopher. The world to which she longs to escape, therefore, is a world where women enact different roles from those they used to play, a world where women can realize their full potential. This world is not yet realized, but it is catching sparks of light here and there, and Cam feels up to the challenge of taking the first steps to not only envision but create this world. She envisions herself as a leader directing the survivors of disaster, and all depended upon her catching a fish (p. 1h). She feels wildly excited and looked beside herself with excitement (p. 50h) when she does, in fact, catch a fish, thereby confirming her success as the leader of the survivors. Again, she is crestfallen a moment later when she realizes she has hurt the fish, but the joy she experiences upon recognizing that she is able to catch the fish, and that she has therefore proven herself a successful leader through her own means, demonstrates her own confidence in her ability to lead the survivors of disaster into a new world.


Cam is a pioneer in this world not yet fully realised, however. Thus, her escape to and actualization of this world, she understands, will be quite difficult since it is a world in which only the patriarchy currently provides answers to the kinds of questions she has and in which men laugh at women who even ask such questions. In this world Cam may with new zest apply herself to all those familiar half-solved questions which, she took up at odd intervals and carried a little further; let alone, and then again explored; how the world had come into existence; about the ancient civilisations of Egyptians; Greeks and the Byzantine empire; whoever might be Shakespeare and camels and tribes marching about the world; their conglomerations in cities like Athens, Rome, London (p. 0h). Cam brings these questions, along with the question of the place of the island in the universe (Mrs. Ramsays Angel role and influence), into the study with her to pose to the gentlemen. These questions, however, she can only pose Silently, of course, without asking him [Mr. Ramsay] about anything; for that would have been impossible. Cam demonstrates impressively sharp and perceptive judgment in her decision not to pose such questions to a man who insists that she is almost entirely comprised of Angel traits and who, after reflecting upon the hopeless vagueness of womens minds, asks himself the rhetorical question, did he not rather like this vagueness in women? It was part of their extraordinary charm (p. 167). Mr. Ramsays opinions are inflexible, Cam recognizes, and his answers to these questions are incontrovertible (p. 0h). He believes himself able to assert his opinions with complete mastery and refuses to allow them to become disordered. He walked among all the incoherent, the wild and tumultuous ideas that come to her [Cam] with a type of sarcasm which seemed to laugh at her own strangeness and which sometimes made her blood boil. (p. 0h). She therefore relies on herself to answer these questions, and her independent mind analyzes, shapes, and forms its own opinion while she listens to others express their thoughts.[1]


Cam, while in the study, listens to the mens thoughts, but she does not adopt their opinions as her own. Rather, she stands in the study and allows whatever one thought expand here like a leaf in water (p. 18). Just as Cam took Mrs. Ramsays words spoken to her out on the lawn and modified and expanded them in the waters of her imagination until they were her own, she also takes the mens thoughts expressed in the study and allows them to alter, to twist in the water, and to make their own pattern in her mind. If these modifications/expansions do well in her mind as she quietly stands in the study, then it was right (p. h). Cam would like him [Mr. Ramsay] to approve of her thoughts, but not to know them, she liked this so much, she felt exalted (p. h). It would be nice for Mr. Ramsay to offer confirmation, Cam thinks, but it is not necessary, and she feels just as exalted and content without receiving his approval. Going on with whatever was in her mind in his presence, Cam recognizes, pleased her & she felt herself to be of a very exalted world; a more exalted world than the picking up of odds & ends of what they said (p. h). Her world of forming her own opinions is more exalted than passively listening to and adopting the mens thoughts as her own because her opinions, she recognizes, are the ones which matter. One recalls that Mrs. Ramsay, while out on the lawn with Cam, observes Cams tendency to shape and modify Mrs. Ramsays words until once more, they are Cams own before she conveys then] to the cook. It is likely, then, that Cam, just as she has demonstrated the capacity to regain her ability to form her own thoughts, will in this new world regain her ability to verbally convey to others the opinions she forms for herself.


Cam recalls that during her moments with the men in the study her father would ask her, when he saw her reading a book, Was there nothing he could give her? (p. 10).[0] These words echo the words Mr. Ramsay chooses--Had she everything she wanted? (p. 15l)-when he approaches lily out on the terrace in a moment when an enormous need urged him, without being conscious what it was, to approach any woman, to force them, he did not care how, his need was so great, to give him what he wanted. One wonders, then, if Mr. Ramsay, after asking Cam if he might get her something, attempts to coerce her in some way just as he tries to coerce Lily out on the terrace. Cam, shortly after she reflects upon these times in the study, murmurs her fathers words verbatim about how we perished, each alone (p. 11). She is vulnerable in the study and susceptible to adopting others words and opinions as her own if she does not constantly and absolutely resist the people who attempt to compel her into the Angel role of having no thoughts of her own. The study is a place where one may learn, expand her mind, analyze and modify ones opinions and the opinions of others, and it thus is an enlightening, invigorating place in which a modern woman pioneer may learn; but the study, Cam realizes, is also a place of patriarchal danger. She therefore remains silent while in the presence of these men so that her own embryonic opinions may be allowed to grow and mature before she conveys them to others, while being tainted as little as possible by her father who believes her to be an Angel and who scoffs at and ridicules her attempts to be otherwise.


Cams ambivalence about her experience in the study also exists regarding her feelings about her father. She understands the limitations he presents as well as the threat of his tyranny, yet Mrs. Ramsays promotion of the Angel role has evidently made a severe impression on Cam and still affects her as she sits in the boat and idealizes her father. Mrs. Ramsays lesson about the skull interrupts Cams thinking just as Cam looks at the island and perceives of it as so small that its leaf-like shape is hardly visible and has just about disappeared. As before, Cam, who under Mrs. Ramsays guidance fell asleep repeating verbatim her mothers words, once again at this moment--just as she believes the island has nearly disappeared-repeats these same words-it was a valley, full of birds, and flowers, and antelopes (p. 04)-as she Falls asleep on the boat. Cam, though resistant, has been conditioned to enact the role of the Angel, and she therefore while on the boat occasionally regresses and lapses back into the moments during her childhood when Mrs. Ramsays teachings had successfully coerced her into submission to the Angel role. During these moments, Cam often mimics her mothers behavior of idolizing Mr. Ramsay. She idealizes his appearance and capabilities (pp. 165, 16, 10), but Cam also associates Macalisters boys mutilation of a fish with Mr. Ramsays crass blindness and tyranny which had poisoned her childhood so that even now she woke in the night trembling with rage (pp. 16-70). Cam sometimes perceives of Mr. Ramsay as her preserver. When she is in the study, for example, Cam thinks that she can go on thinking whatever I like, and I shant fall over a precipice or be drowned, for there he is, keeping his eye on me (p. 05). A moment later, however, Cam wonders if he was leading them on a great expedition where, for all she knew, they would be drowned. Her ambivalence towards Mr. Ramsay is understandable as she wrestles to break free from a binding past which merited her idealization of her father. Cam is hardly oblivious to the threat Mr. Ramsay poses, but her inner struggle with her perception of him is intense as she sits in the boat visualizing him sometimes as a serious hindrance to her modern woman capabilities, sometimes as not absolutely or exclusively tyrannical, and sometimes from the perspective of someone who has been conditioned to idealize men and behold them from the viewpoint of an Angel in the House.


Louise DeSalvo states that it is Cams ambivalence towards him [Mr. Ramsay], and the extremes of her emotions, that are so maddening.[1] Cams ambivalence, however, though certainly maddening, also makes her capable of verifying her perception of Mr. Ramsay during what she perceives as his occasional untyrannical moments. Her recognition of him during the infrequent moments when he does not appear to her to be a tyrant empowers her to resist James who has taken it upon himself to continue his fathers tyranny into the next generation. At the beginning of the long awaited trip to the lighthouse, James and Cam are united in their hatred for Mr. Ramsays tyranny. Together they decide to enforce their belligerence, as they vowed to stand by each other and carry out the great compact--to resist tyranny to the death (p. 16). Cams dedication to the compact, however, is far less devout than is Jamess. Her idealization of Mr. Ramsay, she understands, conflicts with her hatred of his tyranny--she feels proud of him without knowing quite why (p. 164)-and she tries to subdue her reverence for him by reminding herself of the reasoning behind the compact But she remembered. There was the compact; to resist tyranny to the death. Their grievance weighed them down. They had been forced; they had been bidden (p. 165). Doing so, however, mandates her submission to Jamess dictates. James senses each time his sister longs to break the compact, and he dominates her with their silent conversation. James thinks, when he hears Mr. Ramsay ask Cam about the puppy, that now she will give way. I shall be left to fight the tyrant alone (p. 168). He recognizes that his ally is wavering and that The compact would be left to him to carry out. Cam would never resist tyranny to the death. Still he tries to overpower her hesitancy, as he silently demands of her that she Resist him. Fight him.


Jamess fear, as he sits in the boat, that his father would slap the covers of his book together, and say Whats happening now? What are we dawdling about here for, eh? arouses within him a memory of Mr. Ramsay who, when James was a child, brought his blade down among them on the terrace and she had gone stiff all over, and if there had been an axe handy, a knife, or anything with a sharp point he would have seized it and struck his father through the heart (p. 186). James remembers in this encounter that his father, the tyrant, was stabbing, while James was only imagining his potential to stab; thus, James associates the use of a knife with practicing tyranny and the inability to use a knife with impotency. When James was a child his father maintained control over the knife, while he was left impotent, ridiculous, sitting on the floor grasping a pair of scissors (p. 187). James loathes the days when he was powerless to utilize the knife, and he, while in the boat, now wants to stab-not his father himself-but his fathers tyranny. James, upon doing so, may at that point step into his new role as the next-generation tyrant who has shed his impotency and is now capable of using the knife he previously could only dream of controlling.


James as a child imagines stabbing his father, but Jamess memories in this third section recall his father doing the stabbing while the young James sat powerless to move. He envied his fathers power to use the knife, in part, because this power enabled Mr. Ramsay to maintain full control of Mrs. Ramsays attention. Mr. Ramsays stabbing capability often lured Mrs. Ramsay away from James. James was enraged that Mrs. Ramsay, when Mr. Ramsay brought his blade down among them on the terrace, goes to Mr. Ramsay so that he [James] felt she listened to him no longer, she had risen somehow and gone away and left him there (p. 187). James believed, during these childhood years, that if he imitated Mr. Ramsays behavior, if he seized a knife to strike with, then Mrs. Ramsay would remain with him rather than favoring her husband who controls the knife. Jamess envy of and hatred for his fathers ability to lure his mother away from James is usually discussed in Oedipal terms,[] but Jamess desire to demand and receive Mrs. Ramsays undivided and absolute attention also significantly affects Cam.


James exercises his newfound tyrannical tendencies in The Lighthouse by attempting to force Cam into the role he wanted his mother to play for him. James, through his silent communication, glances, and dedication to the compact, forces Cam onto his side and coerces her into fighting tyranny to the death with him, though her loyalty to the compact is precarious. In this sense, James summons Cam to replace Mrs. Ramsay as the one whose loyalty and physical presence he aims to fully possess. Moreover, James at one point actually looks at Cam and sees his mother. James, when Cam first breaks the compact by answering her fathers inquiry about who is taking care of the puppy, notes, disgustedly, that Shell give way (p. 168). James then looks at Cam, watched a look come upon her face, and connects Cams face, and her tendency to abandon him, with that of his mother [it was] a look he remembered. They look down, he thought, at their knitting or something. Then suddenly they look up. There was a flash of blue, he remembered, and then somebody sitting with him laughed, surrendered, and he was very angry. It must have been his mother (pp. 168-6). James associates Mrs. Ramsays abandonment of him with her surrendering to Mr. Ramsay, but Cam, he insists, must not leave him or surrender as did his mother. She must, James thinks, stay on his side at all times. James sees Cams loyalty to the compact wavering, but he insists that No, she wont give way, shes different [from his mother] (p. 16). Cam is different from his mother, James believes, in that she must not be torn between James and Mr. Ramsay, but rather, must relinquish her independence and give her full attention, loyalty, and love to only James. This time, James resolves, his father will be abandoned when he [James] might be quit of it all. They [James and Cam] might land somewhere; and be free then (p. 165). James demands from Cam the fidelity and absolute physical presence and attention he felt he did not get from his mother.


Cam, throughout the entire trip to the lighthouse, vacillates; between being loyal to James and wanting to break the compact. Though she continually reminds herself of the reasoning behind the compact, though James constantly bears down upon her, ironically commanding her to resist tyranny, Cam cannot deny her need to assent to her own beliefs rather than to subordinate herself to Jamess demands. Finally, Cam exercises her independent decisiveness as she decides (now sitting in the boat) he was not vain, nor a tyrant (p. 10, my emphasis). She looks at Mr. Ramsay in the boat in order to confirm her realization, Lest this should be wrong, and verifies that No; it was right. Cam refuses to let James command her instincts; she recognizes that James is trying to command her, but she will not yield to him. The tie between her and James sagged a little. It slackened a little (p. 165), she sees, and instead of blindly submitting to her brother, the tyrant, Cam takes it upon herself to try to make James adopt her opinion as his own. But look! she said, looking at him. Look at him now (p. 10, my emphasis). Cam feels that her father occasionally appears, during particularly specific instances, not to be a tyrant, and she uses her perception during these moments to further her cause of resisting the future of tyranny. Cam wants James to see Mr. Ramsay as she does at this precise moment, in his untyrannical state, reading the little book with his legs curled. She also points out to James that he was wrong in insisting that They must think that he [Mr. Ramsay] was perfectly indifferent, because, she silently conveys to him, His father had praised him. But youve got it now (p. 06.). James, throughout the last part of the novel, is obsessed with the idea that his father will at one moment rouse himself, shut his book, and say something sharp (p. 187). James waits for this criticism, anticipates it, and almost seems to look forward to it, because the moment Mr. Ramsay criticizes him is the moment that James finally gets to usurp control of the knife (pp. 18-84). But James, Cam points out to him, is wrong.[] Mr. Ramsay never criticizes him once throughout the entire trip even when the sail sagged entirely; there they came to a stop, flapping about waiting for a breeze, in the hot sun, miles from shore, miles from the Lighthouse (p. 18).


James struggles a great deal in this final section of the novel as he not only holds onto his mothers influence, but tries to impose a modified version of the role she played for him onto Cam. Cam, however, absolutely refuses to surrender herself to his silent demands. She will not sacrifice her independence so as to adopt a role in order to appease James, and in choosing to satisfy her needs rather than those of James, Cam revises the lesson Mrs. Ramsay imposed on her regarding the pigs skull. Mrs. Ramsay taught Cam that night to deny her needs, to stop quarreling and consequently relinquish her independence, and to act in a way that accommodates Jamess desires and dictates. In part , however, Cam refuses to enact this Angel role. She is freethinking with independent thoughts of her own. She will not give in to Jamess oppression. Rather, she conveys her opinions to him via their silent conversation and is thereby able to resist the future of tyranny embodied in James.


Cams verbal silence therefore proves to be quite powerful as she uses it to resist the future of tyranny. In doing so, she begins to negate the lessons Mrs. Ramsay taught James and takes the first step towards creating a world in which a modern woman may emerge. Elizabeth Abel states that studying the past, she [Cam] also learns to privilege it. By the time of The Lighthouse Cam is expert at gazing backward, at translating images of a shifting present into the framework of the past (p. 6). Cam spends the trip to the lighthouse gazing backward and grappling with the relation of her present to the experiences of the past, but she does so, I believe, as a necessary precondition to looking forward to a future which it was dazzling to contemplate (p. 0h).[4] Cam must consider the lessons Mrs. Ramsay taught James, the place of the island in history, her fathers anger about the compass, and her experiences in the study, for example, so as to begin to contemplate What then came next? Where were they going? (p. 18). The bow, therefore, becomes symbolic in linking past and present to future. Cams place in the bow of the boat, a place enabling her to most clearly look back at the island, is also the place providing the means whereby one may most easily and directly proceed forward onto the rock leading to the lighthouse. Mr. Ramsay rose and stood in the bow of the boat so as to spring, lightly like a young man, holding his parcel, on to the rock (p. 07). Cam rises to follow him, and is presumably the next, since she is already in the bow, to step onto the rock. The bow, then, enables Cam to grapple with her past and also connects her to the rock, thereby enabling her to take the next step into her future.


This future looks promising, for it consists of a world where Cam, the leader of a group of survivors, believes she is a being with extraordinary capacities for feeling everything here and now (p. 0h); demonstrates sharp perception allowing her to sense danger and react to it in a way that protects her independent embryonic, malleable thoughts; and proves herself capable of preventing the future of tyranny from being able to assert itself. Moreover, she will find upon returning to the island another modern woman who, like Cam, experiences moments of regression, but for the most part thinks that She had escaped by the skin of her teeth (p. 176). This modern woman, like Cam, believes that Mrs. Ramsay has faded and gone. We can over-ride her wishes, improve away her limited, old-fashioned ideas. She recedes further and further from us. Life has changed completely. At that all her being, even her beauty, became for a moment dusty and out of date (pp. 174-75). Perhaps most importantly, Lily, upon nicking the catch of her paint box, finds that the nick seemed to surround in a circle forever ... that wild villain, Cam, dashing past (p. 54). Cams modern woman traits, then, in some everlasting sense, are thus forever preserved by Lily in a timeless circle.


Towards the end of the original version of the novel, Cam, upon reflecting on the moments when she might be blind with rage and experiences the agony, the suffocation, of his tyranny, smiles as she did when sometimes she imagined herself like her mother (p. 56h). The holograph version reveals that Woolf scratched a bold line though these lines in which Cam blatantly identifies with her mother. It is as if the idea of Cam imagining herself as her mother, even in a brief moment of regression, were too painful, too extreme, for Woolf to envision, and so the thought, the words, were eliminated as if putting them there had been a mistake. Cams journey to the lighthouse is difficult as she struggles with the influence Mrs. Ramsays lessons have clearly had on her sense and perception of her identity, but Woolf could not take her fictitious counterpart to the point of blatantly identifying herself with her mother. Woolf chose, rather, that Cam struggle with her mothers influence, but also experience vivid moments of triumph and certainly much promise as she develops her sense and perception of herself as a modern woman, as one who has rejected and refused to enact the role of the Angel in the House.


Cam, therefore, offers a striking alternative to her mother in that she refuses to enact the Angel role whereas Mrs. Ramsay embraces it. Cam, unlike Mrs. Ramsay who promotes the Angel and the future of tyranny, takes it upon herself to resist and prevent them from asserting themselves. Perhaps most importantly, whereas Mrs. Ramsay relinquished her independence and was therefore forced into a position where she could only envision her potential as a modern woman, Cam demonstrates she is capable of actualizing her potential as a modern woman and emerges as an independent, free-thinking, free-speaking, ambitious individual. In doing so, she offers a wonderfully rich rendition of the modern woman as one who merits attention because of the promise and strength of her indepen





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