As We Go Marching, Marching :: Equality Women Feminism Essays

As We Go Marching, Marching On April 25, 2004, over a million people of every gender, sex, race, ethnicity, religion, sexual orientation, class, and age participated in the March for Women's Lives in Washington, D.C. Examining the sea of people, I initially did not understand why such a great number of middle aged and older women were so angry. They were reaching the age where reproductive rights were becoming less of an issue for them personally, but I realized my naà ¯vetà © on two counts: one, they were not just marching for themselves and two, they were fighting to save the laws which they had changed to protect themselves over thirty years ago. They were marching for their daughters and granddaughters and nieces and goddaughters and students whose futures were being threatened just as their futures had been under attack when they were younger. Despite the movement for change of these Second Wave Feminists, legislation has been directed at the cause of gender inequities in the United States but gender equ ality has not been an effect of the legislation. In the late sixties and early seventies, the women of the Second Wave of Feminism created a social campaign for gender equality primarily in terms of economics. As Virginia Woolf points out in Three Guineas, women remain in the power of men so long as they are financially dependent upon them. (Virginia Woolf, Three Guineas, p. 132) Housing and food are required for survival and money is required for the attainment of both. Given their history of working in the home and caring for children, American society divided itself up into breadwinners and homemakers: men won the bread and women made the home. Consequently, women have had far fewer opportunities than men to earn money because girls were not raised with the idea that they would someday receive a paycheck with their name on it. Books such as Betty Friedan's The Feminine Mystique challenged society to think that women should have a choice about joining the work force outside the home. It is important to note that low income women had been compelled to garnish wages for centuries before suburban housewives dared to aspire to any role model other than June Cleaver. Friedan's work sparked the notion that all women everywhere might not be happy with housework and childrearing—women are women and are not only mothers and wives just as men are not only husbands and fathers.

A commentary on a passage from Mary Wollstonecraft Shelley’s Frankenstein

The passage from Mary Wollstonecraft Shelley's â€Å"Frankenstein† is a warning to society that we cannot let science get too far out of hand; that knowledge entails social responsibilities. She writes in the style of the 19th Century Romantic Movement, portrayed though her long sentence structures punctuated with commas, colons and semi-colons. The syntax is often inverted from that of modern writing; word use is also different from that of modern writing. The passage is written in first person narration, which means that the reader rarely sees anything outside of the narrator, that is from Frankenstein's perspective. Hence the tone of the writing is mostly reflective and self-critical, but is frequently changing throughout the passage. The passage is very â€Å"Gothic† and explores indecisiveness, horror and pity. The passage commences â€Å"I sat one evening in my laboratory† which conveys a feeling that there is nothing unusual in his sitting there. The word â€Å"evening† is the height of the line, thus stressing the time of day. The â€Å"evening† is often associated with dying and mystery, and so a sense of murky mystery is immediately created in the passage with the â€Å"the sun had set, and the moon was just rising from the sea† which depicts a clear picture of the atmosphere. It illustrates a time of transition, and is a metaphor reflecting the indecisiveness of the scientist, Victor Frankenstein. It is also a reference to nature, which is, along with the long sentence structures of the passage, typical of the 19th Century Romantics. Shelley often uses this long structure to make our voice rise and fall on certain words, so we accent some of them. It makes us concentrate and pause on certain words of importance. The words â€Å"idle† and â€Å"pause†, which are still a continuation of the long first sentence, slow down the sentence reflecting the actual notion of being in thoughtful pause. Next, the sentence continues on to stress the word â€Å"labour†, which explains to the reader what the scientist was thinking about. His contemplation is described with a metaphor present in the beginning of the next sentence, â€Å"a train of refection†. He is, in particular considering â€Å"the effects of what I was now doing†, which implies that his present work could have major effects, and he perhaps has not yet considered them fully. â€Å"now doing† is an example of inversion, as we are accustomed to write ‘doing now' in modern English. This again shows a characteristic of writing in the 19th Century Romantic genre. The tone of the passage is soon turned from reflection to one of regret. The phrase â€Å"bitterest remorse† is used to describe the absolute regret that scientist felt for the action which he had been â€Å"engaged in† three years ago. From his thoughts it becomes apparent to the reader that he had â€Å"created a fiend† three years before and that he is currently creating another. From this we can see that Frankenstein is bitter at both the monster, potentially wanting revenge, and also at himself for creating that monster. The uses of the word â€Å"fiend† shows that Frankenstein believes that the monster is an evil, devilish creature. It is here that we feel that Frankenstein has perhaps gone too far with science, misusing the power of knowledge for self-indulgences, and now reaps the product of this self-indulgence. It portrays how unpredictable and potentially disastrous playing with nature and creation can be. This was a conventional belief of the 19th Century Romantic movement. The narrator then goes on to describe the â€Å"fiend† as having â€Å"unparalleled barbarity†, an example of hyperbole, which implies that the monster he has created is so hideous that he is even odd in his barbarity. However, it can be felt that Frankenstein does not directly blame the monster for his devilish character, but rather its â€Å"unparalleled barbarity†. This implies that the monster became barbaric and evil through circumstances, such as not belonging or being able to relate to anything or anyone, rather than through his basic nature. Frankenstein's uncertainties are further expressed when he illustrates that he is â€Å"ignorant† of his female creation's potential disposition. He hypothesizes that â€Å"she might become ten thousand times more malignant than her mate†, displaying how evil the creature could be. Shelley makes us pause on the word â€Å"delight† to further describe the possible evil of the creature, as she continues in the sentence to describe that the â€Å"delight† is in â€Å"murder and wretchedness†. This is the first time in this extract that the gender of the new monster becomes apparent. Also, while it is implied that the original monster, was involved in â€Å"murder and wretchedness†, it took no delight in it nor did it for its own sake. As well, to get his point across, Frankenstein again uses hyperbole in order to create an impression of his fear and uncertainty as â€Å"ten thousand times more malignant† implies that any atrocity could occur. â€Å"He had sworn to quit the neighbourhood of man, and hide himself in deserts†. In this line the reader realises that the monster has asked Frankenstein to create a female mate for him, because of his loneliness and desperation; and for this we have pity for the monster. Frankenstein suggests that the female monster might refuse to leave human civilisation, further expressing his doubts in persevering with his â€Å"labour†. Frankenstein's thoughts reflect the fact that this female creation â€Å"in all probability was to become a thinking and reasoning animal†, but at the same time lower her to the status of a savage â€Å"animal†, and so, once again, demonstrating his loathing of the original monster. â€Å"the creature who already lived loathed his own deformity, and might he not conceive a greater abhorrence for it when it came before his eyes in the female form?† – is Frankenstein's consideration for the fact that the two monsters might have a loathing for each other. This view is probably originating from 19th century social belief that the female's main function was to look attractive and be obedient. â€Å"She also might turn with disgust from him to the superior beauty of man† is written in, what is to us an arrogant tone, as we feel that Frankenstein is much too biased towards â€Å"man†, although voicing the general convention of the time that humans were the peak of creation. Thus, we feel even more pity for the monster. In a way, this is once again Shelley's way of reflecting society's view of women in her time. Women, like the monster created, were lonely, helpless and had no power. The monster has no choice for a mate other than another of his kind, a kind whose appearance he finds horrible. He is helpless. Frankenstein also suggests that â€Å"she might quit him, and he be again alone, exasperated by the fresh provocation of being deserted by one of his own species.† This suggests that the monster is destined to be alone, deserted by even his own kind, simply because of his appearance. The second paragraph of the passage mentions the â€Å"deserts of the new world†, which returns us to the theme of the Romantic writer's exploration of nature, with the idea of â€Å"new world†. Even so, the tone of the paragraph soon changes to one of fear. There is a shift from the sympathy of the previous paragraph, and Frankenstein's fear becomes apparent. He soon talks about how one of the first â€Å"sympathies for which the daemon thirsted would be children†. The description of the monster as a â€Å"daemon†, once again depicts Frankenstein's view of the monster as being purely malicious. He fears that a whole â€Å"race of devils would be propagated upon the earth†. Frankenstein fears that this â€Å"race of devils† would make the human race â€Å"full of terror† or, at worst, destroy the human race. Then, changing into a tone of nobility, and even a hint of egoism, he asks himself – â€Å"Had I a right, for my own benefit, to inflict this curse upon everlasting generations?† From this he implies that the world depended on his action, and that he should not be selfish for his own safety, which is a change from his previously self-centred thoughts. He refers to the monster as a curse, an indication of its perceived position, and perhaps also the theological implications of the monster's presence. However, Frankenstein does not mention the best possibility of his situation – that the monster would just quietly go, and remain out of the reach of human civilisation. The description, nevertheless portrays Frankenstein's view of the monster as being malevolent, as well as his discontented belief that the monster would show any sympathy to the human race. Frankenstein realises how craftily the monster had lured him into making the female monster, with the â€Å"sophisms† put forth. Despite all of the disastrous results of Frankenstein's creation of the original monster, and Frankenstein's fear and horror, the monster managed to persuade Frankenstein through a combination of sophisms and â€Å"fiendish threats† to create him a female mate. Again Frankenstein realises the potential importance of his actions, and the fact he could become famous for his self-centred actions. Here the cunning of the monster becomes apparent to the reader, but a sense of pity is still felt for the monster, who could relate to no one. The next paragraph is commenced with an ambiguous statement, â€Å"I trembled, and my heart failed within me†. We are left with a sense of uncertainty as to the source of all this terror – was it the fear of creating the monster he was working on, or the fear of the monster that already lived? This is answered later on in the fifth paragraph of the passage where we find that it is the thought of resuming his â€Å"labours† that is the cause. On â€Å"looking up†, Frankenstein sees the monster at the window. The tone of the passage at this point changes to one of fearfulness and absolute terror, reflecting how weak Frankenstein is compared to his creation. This fear is reflected through the description of how â€Å"a ghastly grin wrinkled his lips†. The word â€Å"ghastly† reflects the fact that the monster is not ‘human', rather a mythological savage. The monster is described as having ‘allotted' the task of creating the female monster to Frankenstein. The use of the word ‘allotted' implies that the monster has gained power over Frankenstein, through terror and cunning. Frankenstein's fear is further conveyed when we find that the monster is, through his desperation, ‘stalking' Frankenstein, to ensure that he attains his female companion. Frankenstein then tells us that the monster had an expression of â€Å"the utmost extent of malice and treachery.† At this point of the paragraph, Frankenstein kills all sympathy that we had previously felt for the monster, portraying him in the dimmest, most horrific light. Hyperbole is also being used, to exaggerate this effect. This treacherous look leads Frankenstein, to come to his senses and destroy the monster in a fit of rage. He describes himself as â€Å"trembling with passion†. He is so overcome with rage and fear that he trembles. His enraged strength is enough to tear the monster to pieces, again demonstrating the intensity of his anger, fear and horror. The destruction of this female creation was the destruction of all chances of happiness that the existing monster could grasp. The monster is now referred to as â€Å"The wretch†, making him seem helpless. Calling him this also projects the fact that all happiness has been destroyed. This is a contrast to his previous descriptions as a â€Å"daemon†, an image of strength. The monster again becomes subject to the sympathy of the reader. The monster is described as giving a â€Å"howl of devilish despair†. By howling, he is reduced to being almost an animal. The fact that he is howling with revenge implies that he has not yet been defeated, and Frankenstein has perhaps secured his own downfall. As well, the device of alliteration is evident here: the two ‘d's in â€Å"devilish despair† emphasising the plight of the monster. The fifth paragraph switches back into a tone of reflection. He speaks of never resuming his labours again, making a â€Å"solemn vow†. From this we see the absolute remorse Frankenstein feels in his heart for creating the first monster, as well as his sense of absolute helplessness. The next paragraph is a contrast to the rest of the passage. It is written in a lighter, Romantic tone, presenting a sense of calmness and tranquillity. It is a description of nature, another trait of the 19th Century Romantics when he describes a ‘few fishing vessels alone speckled the water†, portraying how nature can overcome man. A sense of mystery is created as the paddling of oars and a person landing their boat near Frankenstein's house interrupts this calm. The arrival of the boat is shortly followed by the slow opening of a door, the creaking of the door suggests the slowness, which creates a sense of imminent peril. We are left with a sense of mystery, as even though we predict that it is the monster, we do not know who is at the door.

The Islamic State Of Iraq And Syria - 1647 Words

The Legend on Modernist Terrorism The radical Islamic terrorist organization, recently re-titled â€Å"the Islamic State†, has existed under several names since the 1990s. Its history is an epic of how modern terrorism progressed from a religious and political ideal into an obliterating cult. The Islamic State of Iraq and Syria (ISIS) is a properly-armed group that is a threat to the global security. ISIS, whose merciless members delight in murdering innocent people, must be destroyed before its fanatical followers carry out further genocides. There is an ongoing debate on whether the United States ought to take stronger military actions against the extremist organization, ISIS, or not. Supposing that the United State does not act†¦show more content†¦They are sacrificing natural laws and human mortality in their pursuit to prevent corruption. ISIS forbids freedom of speech and implements their laws by force, ignoring the fact that every individual has the right to sp eak for themselves. By viciously persecuting those of different races and religions, ISIS implements extreme forms of Islamic law in the regions it controls (â€Å"Islamic State (ISIS)†). For instance, recently ISIS has carried out a mass beheading of twenty-one Christian, Egyptian individuals living in Libya and continually murder anyone who refuses to convert to Islam or refuses to follow their extreme regulations of Islam. Apart from extorting Iraq, the Islamic state sell Iraqis artifacts and tax civilians, to raise funds to carry out its unlawful movements (â€Å"Islamic State (ISIS)†). ISIS commits countless activities that are prohibited by many constitutional laws set in developed countries. Since the United States’ army has been involved in many major world wars, in addition to the Korean, Vietnam, and the Gulf War, it ought to be involved in the Global War on Terrorism to aid many innocent civilians who are being tortured without a cause. To remain as a world power and to secure its status and position in foreign countries, the United States is obliged to take a strong action against this radical group, remembering that if ISIS continues to spread there is no doubt that they will reach