Math problem Speech or Presentation Example | Topics and Well Written Essays - 750 words

Math problem - Speech or Presentation Example Middle is the value that represents the center of a variable. In this case, both the median (3.7) and the mode (3.7) are in middle. This list is negatively (left) skewed as the value 1.0 is very low compared to all other values 4.0, 3.7, 3.7 and 3.7, and thus has an effect on average value. We take average value as middle for normally distributed data, however, in this case, data are left skewed, and therefore, appropriate choice for middle is median. The mode value is rarely taken as a middle value. If, I look at the routine that I do every day at work, the average time it takes to complete it matters most. The reason for this that there is not much variation in time for doing the routine work (it is a habit), therefore, average time represents the middle. However, in some cases when there is a problem, the time take more than usual, in such circumstances, the median is more appropriate because time taken will be right skewed. For finding the middle of process, I look first whether distribution is normal or not. For normal distribution, the average represents the middle of the process. If distribution is skewed, than the median represents the middle of the process. The normal distribution is symmetric and bell shaped. The scores in a normal distribution are more concentrated in the middle than in the tails. It is an example of continuous probability distribution. It has two parameters, the mean mu and the standard deviation sigma that is used to specify a distribution completely.   If we look at a process and can use a tool to normalize the data, or convert it to a normal distribution, than we will be able to know the range of the values for the process. By using a normal distribution, we can set an upper and lower limit for the process mean so that anytime the process mean is outside this range (above upper limit or below lower limit), we will know that there is some problem and the process

The Cinderella Myth Essay Example for Free

The Cinderella Myth Essay The tale of Cinderella is encoded as a text of patriarchal moral instruction in which a sense of female agency will always by definition be absent. In this folk tale, which is also a fairytale, female character is positioned in terms of what it is not: not dominant, not powerful, not male. Cinderella herself, non-hero of a dubious tale, evinces more depth than most archetypes. She is capable of developing relationships, meting forgiveness, manipulating her own destiny, even of attracting magical help. This latter suggests a divine personage, with whom ancient myth is rife, but in fact there is never any indication that Cinderella is inhuman. On the contrary, her essential humanity is her salvation. These qualities on their own make Cinderella an anomaly among fairytale principals: she is given no journey, no quest, no troll to enrage or woo, but permitted to stay at home (albeit in a life of unrelieved drudgery). Although one of three sisters, she does not best them in riddles or games of strength or chance; even the sewing for which she is punished is not her own. Cinderella does not return from the party with a prize but (as I will show, I will shout) the opposite: she comes home missing what she had when she set out. Cinderella does not experience any perceivable growth or transformation with the exception of the tangible one directed by her magic guide—one which is also undone. We can read Cinderella as a mythical character only because of what she means to us as women. But that is enough. By virtue of what Cinderella represents to contemporary women, the character of Cinderella passed from her fairytale origins to mythical proportions. Cinderella has escaped the bounds of her own story. Cinderella defines girls first choice for a romantic partner, the strictures of friendship and obedience that girls are trained to uphold, unconditional family love and, not least, ideals of personal appearance and deportment. Cinderella demonstrates the potential of even the least socially advantaged female to achieve public success, the ability of the meek to triumph over the (female) competition, the trick of appearing to be what one is not. These are important techniques in the battle for male approval. If we have impressed Cinderella into service as a myth, it is because we need to look up and forward to a figure who has successfully navigated the obstacles on the distinctly female journey. Cinderellas rags-to-riches story inspires females to prevail against improbable odds. We do not believe  in myths because of some inherent truth in them, but because they substantiate what we most wish to be true: Cinderella is a falsehood painted as possibility. What we worship in her is not what she is but what she gets; by subscribing to the myth of Cinderella, we sustain our collective female belief in wealth, beauty, and revenge. New Origins Folktales had their origins in oral accounts, stories told by people before the advent of writing, or before someone determined them worthy of literary transcription. Grimm Brothers Jacob and Wilhelm did not, in an original creative act, write the tales published under their names, but went out as folklorists (before there was such a profession) into the countryside, like anthropologists in their wilds, and listened. What they brought back they then edited, like the good ethical binary German men they were: anything that didnt suit their Christian standards simply disappeared. I have read transcriptions and abstracts of their notes and wondered at the absence of certain types of tales. Stories about children surviving on their own, or women leaving the husbands who beat them, somehow never made it to press; concurrently, stories about Jews being robbed and hung in thorn trees, or torn apart by dogs while (mendacious) villagers laughed, stayed in. The Grimms were very careful not to let what they heard get in the way of what they wrote. Charles Perrault held the same view, concerned lest women and other children go astray. Both Perrault and the Brothers Grimm published these folktales as if they were their own—under their own professionally upstanding names, and not as anthropological records but as literary fictions. The performance of meaning for fairy tales becomes both an intratextual and an extratextual matter, one enacted by (re)writers of the tale, who rescript stories passed on to them, and by its readers, who collaborate with the (re)writers to negotiate yet another production of textual meaning (Tatar 277). Although old wives may have originally imparted the stories we read today, the power and authority of writing sat fast in the hands of male scholars; publication, moreover, was granted to the wealthy. For each fairy tale, Kindermà ¤rche, folk legend and myth with which we are now familiar, there are possibly thousands for which there is no record. Folk legend, like history, is selective. Cinderella was similarly written (or transcribed) from oral accounts as a piece of moral instruction.  A Cinderella by any other name exists in a variety of languages and cultures,1 with many culturally-revealing alterations to the basic storyline, most telling us of a poor but beautiful girl who, by going to a party on the hill, wins the attention of a wealthy man. Look what the right pair of shoes will do for you. Cinderellas story is a curious one. Many of us know this tale in its modern extensions but cannot say how we know it—whether we read it in a childs picture-book, watched Disneys animated version, saw a movie with human actors unanimated by comparison, or fell in love with the ash-girl in her other forms (including in Dickens revival). Indeed, Cinderella is legion: as Barbie in diversely perfect incarnations, the heroine of almost any romance novel, new and sometimes relevant literary concepts (for instance, the Cinderella complex, the whore with a heart of gold). 2 Bernard Shaws drama Pygmalion presents another instance of male bonding conducted through the service of a woman, in this case one who believes that she can only win by trying, as she has started with nothing. To his credit, Shaw allows the character to shove off at the end, bearing her body away, but to have true love and devotion this Cinderella must give up all pretenses to education. Education therefore becomes a pretense. Further transformed as the Lerner and Lowe musical My Fair Lady,3 the music ends with a new-made woman who newly makes man: Eliza converts her creators. The underlying message is one Mary Shelley crafted a hundred years earlier: Frankenstein has no loyalty. But in this case the monster manages to marry one of the scientists. Both Pygmalion stories are commercial perversions of an ancient Greek myth that performed a service for its culture. In the original, a male artist falls in love with his own sculpture, surely an intriguing commentary on the power of art to seduce even its own creator, and a warning to gaze on verisimilitude with suspicion. This brings us to Hollywoods contemporary Pretty Woman and another Disneyized threat, The Little Mermaid (if there is a hell, then Hans Christian Anderson is now in it). In these movies Cinderella transforms from foul and fish into a lady that only proves how far women will go to change for their men. As Oedipus provides a model for the male (kill Daddy, bed Mommy), so Cinderella serves the female, directing us to similarly anti-social behaviors and antipathetic familial relations: to hate and compete with other females, suffer in silence, and seek rapport with males  through the mysteries of flirtation, fashion and marital fitness. Fortunately for women, this involves only virtuous activities, easily enough acquired in the observance of girlhood duties: cleaning, cooking, sewing, nurturing and displaying ourselves publicly, all the while taking up little space. Taken to its logical conclusion, woman herself at last disappears from view. This is true in the story of Cinderella, as we shall see. Absence Let it be known that the ballerina is not a woman dancing; that, within those juxtaposed motifs, she is not a woman, but a metaphor that summarizes one of the elemental aspects of our form, sword, goblet, etc., and that she is not dancing, suggesting, by the wonder of ellipses or bounds, with a corporeal writing, that which would take entire paragraphs of dialogued as well as descriptive prose to express in written composition: a poem detached from all instruments of the scribe (Mallarmà ©, Oeuvres Completes4). One of the first absences in the text occurs in translation of Cinderella from an earlier publication in French5 to English—the absence of a word. It is a simple word and a little loss that heralds an enormous and important one: exchange of the French velours (velvet) for verre (glass). In the centrality of the image conjured by its sign, this Word reads as Logos for the remaining popularized text. It is an understandable mistake given the hardships of transcribing in the field (from which Charles Perrault, at least, copied out his manuscripts), of hearing and absorbing frank orality and then transforming it to arid print. The terminological difference, however, leaves women literally walking on glass, each step a faux pas. How does one navigate on such a fragile basis? This may be interesting to women who wonder how Cinderella got through the night in those shoes. Cinderellas new shoes are truly, clearly, invisible, her feet naked to all eyes. But worse —she must dance in an unforgiving shoe (dancing for the first time in public, mind you)—which at any moment threatens to break, replace her barefoot, bloody, and utterly helpless. How carefully she must step. A good thing the Prince has learned to dance. To comprehend the magnitude of this error—estrangement of the word and actions of our young charwoman—we are forced to retrace the steps of that perilous slipper, magicked into being with the rest of Cinderellas fancy outfit. There is no honest explanation for why the slipper remains as testimony—why, if the shoe fits, it drops. Moments earlier, we are told, the young woman was gaily dancing in this very shoe; surely it would have fallen off then, in the endless (and, as dancers know) breathlessly swift rounds of the older Austrian waltz. But after a night of aerobics indoors, the woman rushes outside and immediately loses a shoe. This mistranslation points us towards understanding the slipper as a prominent signifier, rather than towards seeing some more substantial object: glass operates as a red flag, leading us to a fanciful but ultimately unnecessary correction of an image. Glass breaks, it is true (although in the story it does not, at least overtly). But in the French source material the shoes were velvet. Velvet, a word strongly associated with skin (more so than glass), tears. It is strong, soft, stretchy and pliable. A velvet slipper can be left on the road and retrieved and can still be worn in a ragged condition. Not so glass. So while glass attracts our attention, velvet rubs us better. Something velvet has been lost. And found. If the slippers loss signifies another loss, the slipper signifies another slip. It is troubling that only one item retains its shape (the shape of magic) after the ball, when everything else has returned to its poor normalcy, right down to the golden pumpkin. If everything is magical, then the slippers exclusion makes no logical sense in the story. But without the slipper as a calling card, a sort of invitation to be stepped on, the Prince may never find Cinderella in the sea of women vying for his notice. Conversely, it is not clear to me now why the Prince has to find her. The story dazzles us with finery, which we all too readily see as refinement. In the spell of the lost slipper, we overlook the more obvious intrusion of the Prince himself, and in the absence of honest cogitation conclude that he must be the one for Cinderella. (Its true he is the only one, but in modern times that is not as good a reason as it once was.) Having had no time to know Cinderella as a woman apart from her unpleasant family, we have certainly failed to meet the Prince, and know nothing of this man except that he is extraordinarily superficial, a late bloomer, and wholly dependent upon his parents. In the remainder of the tale he develops as a foot fetishist. At no point in the story are we logically convinced that these two should be together, that the Prince is worthy of our supposed heroine, or heroic himself. Cinderella is not particularly romantic, even after the finding of the slipper that initiates a sordid (wo)manhunt. The  objective of this search is a stranger who clearly wants to hide; otherwise she would have answered the call. (Her sequestration at home in a locked house is far from likely, given that a principal domestic duty is emptying the char outside, and her name signifies her as that domestic.) And despite his hunting, there is no reason to think that a prince is going to be excited to end up with a poor ragged girl with ashes on her hands—never mind the in-laws. On the face of it, what Cinderella lost at the ball is a shoe, but we do her an injustice if we look only at her instructions (particularly as she has already ignored those of her stepmother) and neglect her feelings at the moment of flight. Cinderella is now in a palace, a place of possible refuge, safe from her family. The Prince likes her. But at the striking of the clock—no, the calling of the watchman or ringing of the bells—she gets scared and runs away. Modern detectives would phrase this differently: Cinderella exits the party late, leaving behind material evidence of her existence. (Without this the Prince might have thought that Cinderella was a fantasy.) She runs as fast as she can in an effort to beat time and find a way home. (If shed had a mother she would have known better than to go to a party where she doesnt know anyone: anything can happen at a party.) Then Cinderella loses her velvet, and the Prince gets it. (You decide what went on at that party.) And there is another ending, suggested by what is not stated in the story: Cinderella disappears from the party, last seen in the company of a prince. Passers-by report having seen a poor woman in tattered clothes, sitting in the middle of the carriage-track massaging her feet. This is the last either woman was seen. Police are now searching for this beggar whom, they believe, may have murdered a foreign princess as she left the party, probably for money. Anyone knowing the whereabouts of (but what is her name?) an anonymous princess, please contact this writer. Presentation of any story results in commission of at least two versions—the story that is told and the one we hear. I propose a tertiary rendition, that of the story we do not hear because it is not told—not, that is, forcefully sounded. Were we to listen to the spaces, as artists from Aaron Copland to Noah Ben Shea have reminded us, we would hear those speaking parts. The heard Cinderella is, despite its magic and fantasy, the authoritative edition; the unheard Cinderella is the practical, plodding story that might bring us to furious tears rather than ecstasy. A moment ago I suggested how  Cinderella might seem to an outsider, one not as privy to events as she. Underlying that suggestion is another one, that the writer or teller of the well-known Cinderella is either Cinderella herself or a close companion, as indicated by the naï ¿ ½ve credulity of the story itself. But that quality we have come to accept in the folktale genre, one which causes us to reflect upon the medieval notion of story-telling and which tells us much about religious tradition of belief in that period. Now I wish to produce something different: a case history of poor Cinderella, the pieces and bits of her life which may have been discarded by her original creator/story-tellers. Again this is an unheard story, but now it is also unspeakable. I speak as a caseworker in the Womens Shelter: Cinderella gave Intake the following story: Her mother died when Cinderella was perhaps five. Her father remarried a year later. Two older stepsisters were at the wedding, aged between eight and twelve; the stepmothers first husband died when a nearby witchs cottage burned down suspicion of arson. Almost immediately, and for the next twelve years, Cinderella was beaten regularly by her stepmother; she showed us an early scar, located on the upper left thigh, from a fire poker. Cinderellas father fell ill probably Plague and died date uncertain. The sisters began to kick, taunt, pull her hair and feed her bugs. When Cin began her menses, she was locked in a closet for? some extended time. There seems to have been a change in the familys finances at this point; the last remaining servant was let go, or left, and Cin took over all chores. She was probably eleven years old when she was first sexually assaulted, by the eldest stepsister. The abuse was repeated periodically until this day. Cin believes that her stepmother does not know of this, but C- does not dare tell her. C- sneaked off to watch the Grand Ball and, once in the estate and aided by strong drink says she had a bout with a stableboy she made it upstairs disguised as a maid, entered a room and borrowed a gown. She then appeared in the ballroom. The Prince danced with her, drew her into a private room, and seduced her not rape? C- wont say the word then returned to the party. C- fled wearing only underclothing and carrying her shoes in her hands. Outside she dropped a shoe without noticing until she got home; the other shoe is in her garret. We have all received, of course, the Royal  Proclamation, and know that Prince Ode is hunting for the owner of something in his possession. Cinderella came to the Shelter because she believes that he means to find her, take her away, and kill her. The case above, common enough in the lives of women, is not what we know as Cinderella but, given the circumstances of the folktale, its bizarre elements and strange silences, it could have been. In re-telling it I invite the reader to think how reading that as a child might have influenced her life, her love for housework, her attitudes towards men, and her desire to marry early. My Cinderella Confession A current trend in scholarship, at least printed scholarship, is self-reflexivity. The speaker is expected to identify herself, admitting her biases (as if the reader could not detect them) so as not to hide behind the formality of academic writing. In this vein I step forward and make confession, presenting some personal limitations regarding the story of Cinderella. Despite all I know about Cinderella, regardless of all that currently annoys me in the story, I confess that as a child I did identify with Cinderella. I liked animals. I liked pumpkin. I lived in a small room. When I went to parties I had a curfew —and it was unreasonable. I couldnt sew, and needed help in home economics. I went barefoot most of the time. It seems I never got dessert, possibly because I often lost things on the way home. I had to do such hard chores that I investigated child labor laws. I had two older sisters and, although they are regular sisters rather than stepsisters, they often seemed very wicked indeed. So what if they werent ugly, my feet were much smaller than theirs. (Then.) Because of them I wore hand-me-downs. (Then.) You see how it all fits. So although I was not a beautiful golden-haired orphan (my natural color is sun-bleached brunette), kept in a dungeon or an attic (I adored my aunts basement), forced to clean ashes from the hearth (we had a wall furnace) and befriended only by mice (we had large dogs), I did think that eventually someone would come and take me away from all this. I even learned to waltz. But I didnt meet any princes. The Conventions of Class Cinderella begins with Cinderellas primary absence: her mother. In fairytales, motherlessness indicates an absence of quality attention and the  necessity (given the staggering amount of handiwork done at home) for men to remarry. Their second wives are invariably brutish, and fathers die off like flies. Female children raised by these monstrous women are lucky to be married, while still children, to ugly old men —thus escaping beatings, beheadings, being poisoned, cooked, frozen, sold, or accidentally left somewhere awful. Male children with stepmothers tend to seek their fortunes at an early age, so as to find their own women to punish. The next absence in Cinderellas life is a father. Is it only that absent parents are common to the childhood fairytales which govern our memories and learning patterns, thus wending their way into our literary texts, or does this trope stand for more a founding absence, like the founding murder Oedipus is said to represent? The next absences we hear about in Cinderella are, in order: clothes, shelter, appropriate work, friends, and opportunities to socialize (with humans). It is at this point in the story that Cinderella encounters magic, something generally absent beyond fairytales. Or does she merely recognize the magic in her life? For it seems as if the Fairy Godmother were always there, available, like Glinda the Good Witch, to drop in when you needed direction. From that point on it is apparent what else Cinderella lacks: transportation, a formal dress and decent shoes. The final absence is Time. Even her Fairy Godmother gives her very little— as we find out later, just enough. After Cinderella loses the shoe in escaping (too late) from the party, she is plunged back into the animal world she dominates, shorn of finery, reduced to essentials. She returns to the level of minimal survival. Thank goodness the Prince is already searching, his spies canvassing for little feet. Cinderella will soon be lifted up, placed on a horse or in a carriage, and transported to a world of wealth and satisfaction with a big house and a good family. (I hope I didnt ruin the story for you.) On a basic moral level the instructions are clear as glass: good triumphs over bad, beauty over its repulsive opposite. Cinderella is intimately associated with nature, as we are told several times: through the animals which, like she, become domesticated; through her beauty which, in the tradition of the Aesthetic experience, demonstrates its superiority over homeliness. (Homeliness? What is homely, really, but housewifely, comfortable, and familiar —and therefore contemptible?) From our perspective of identification with Cinderella (wed hardly choose to identify with ugly,  nasty women) these females, older than she and more mature, are females prepared to party, women rather than girls, and not real (biologically real) sisters. Partly because of the brevity of the story and paucity of detail, this suggests that they, mere step-sisters, are somehow unnatural. Beyond the natural beauty that testifies to Cinderellas (yet unrealized) status, her elevation over this unconnected family is physically represented by spatial signifiers: imprisonment in an attic, conveyance in a horse-drawn coach, and finally marriage into a royal family. Above all, Cinderellas most natural gift is magic: the girls beauty and (its) charm shine brightly through mere rags. This is so apparent that it is noticed immediately by a prince—a man born into an entirely different milieu, to wealthy and indulgent parents. The story asks us, among other things, to anticipate that such a wedding of opposites will work. In fact, fairy tale happenstance and happily-ever-afters aside it just might, and because of Cinderellas nature. The Prince, culturally her Other, is the aesthetic brother of Cinderella. The kinkiness is just beginning. We customarily avoid class in reading and rewriting folklore, but Cinderella affords a remarkable discussion. Before the Prince lays eyes on her, Cinderella does not exist in the legal and economic awareness of her country. She pops into being at a party, relatively mature, decorated, and provocatively displayed. It is not a party for poor people; poverty is absent from the ball. But that in itself is an absurd notion: naturally the castle is full of servants, and most are penniless; one can only say that no poor people are present because poor people are beneath the notice of the wealthy population, invisible. This fact has not changed. Cinderella gets the invitation because it goes to the house in which she lives, a place where she is kept captive by her poverty. She seems not to have been born into the lower class (otherwise she would never have been able to get through the castle gates, let alone waltz), but fell into deprivation through the death of her parents. Who can really blame the stepmother for not wanting to take care of a girl with whom she had no real relation? Biology speaks: woman must protect her own offspring—particularly if the physical attractiveness of another female threatens their own reproductive success. The absence of Cinderellas own mother is unremarkable, superficial, unless one regards it as a fundamental absence, the one upon which the half-orphans  rags-to-riches story is initially built: through the fathers emotional absence, Cinderellas mother is replaced by a non blood-relation whose own issues of reproductive success create class strife and difference within the family; the girl is faced with rival kin; and finally a mystical figure intrudes from the other world, faintly identifiable as her mother (the magic helper styles herself a Fairy Godmother) but granting no more than material assistance. Transformation of animals into human servants,6 and their disappearance at midnight, symbolically expresses the absence of the lower classes, which serve the upper class as if animals. When we observe how Walt Disney attempted to fill in the absences in the text with additional animal habitation, this concept becomes clearer. Disney explains Cinderellas primary absence by the increased presence of animals that evidently take the place of a mother. With the appearance of the stepmother and two daughters the animals are replaced, and abandoned as Cinderella had been. An absence of family acknowledgement is discernible in Cinderella herself who, regaining the humble form of a scullery maid, becomes unrecognizable—virtually invisible—to her own family. The means by which Cinderella will eventually succeed is over-determined by class: she must physically impress her Prince and lord at court, and later fit his image of the perfect (small) woman at home. Still she requires a bit of magic. The story presents an array of questionable absences, none of them textually answered. Why is there a ball? Only because of the Princes failure to get a date on his own. His folks have to arrange something, to find women for him. Cinderella attends a party meant not for her but the beautiful people associated with money and fame. We privately know that Cinderella really belongs to this group; therefore we suspend our disbelief at the unlikelihood of her ever getting there. At the moment of Cinderellas entry, a representative of the poor actually becomes visible to rich people. But she is not really poor, is she? The tale does not end with Cinderella speaking in the public square, peasants invited up to the castle for lunch—in short with the French Revolution. (If it did, Cinderellas own head would roll.) She ascends, making aliyah; the rest of the lower-class remains in galut (the Diaspora). In fact, in the hands of Disney, Cinderella turns into a girl (few of Disneys female heroines are women)7 who sings as she is dressed—oh, those happy peasants!—in accordance with the tradition of  musical theatre to sing instead of enjoying a useful discussion. Everything stops while we listen to the same few lines being repeated. The formula recurs in nearly every Disney movie: when animals, peasants and racial minorities show up its time for a song.8 Do children want a story interrupted with a song? As a child I hated that sort of thing. Surely we must question for whom these stories, and their cinematic adaptations, are truly meant, written, animated, shown and sold. Jacqueline Rose points to the impossibility of childrens literature as a genre ostensibly for children, but written by adults, while in the marketplace it is adults who (because of their economic position) are the true consumers. It is even the adult who reads the book (aloud) to the children. Thus it is an adults version of the childs world which is manufactured through the aegis of childrens literature. Childrens fiction, says Rose, sets up a world in which the adult comes first (author, maker, giver) and the child comes after (reader, product, receiver) (Rose 1-2). So what is it that adults want children to understand from the story of Cinderella? Female Relationships One of the horrors of Cinderellas tale is the moment when she flees the castle and its famous ball. She is running, running, running away from the bright lights, the fun, the food, the nice guy, running to keep a date imposed by the Good Witch. This is a moment of horror not because she has to leave the party: shes pretty young, high time she went home. (Anyway she wouldnt want the Prince to think she was easy.) No, it is horrible because of the Fear of Public Exposure. If there is one thing that would compel me to leave a good party it would be the fear that my clothing would disappear. She runs out the door, the gate, goes down those steps, shes just off the grounds, and poof! there it goes. Fortunately she is not standing there naked, but we couldnt be sure of that beforehand. For a child to imagine being naked in public is terrible; so what if only the animals can see? There is no good explanation why the Fairy Godmother add this potential punishment to the assistance she gives Cinderella, there is no point. In my mind, something is missing from the story, something vitally important. Why is she set up in this way? What we do see in Cinderella is a tale of perfidy and female treachery. The bad characters are all female. How can one speak of a female absence in Cinderella, when it would seem that almost all of the  characters are female? But these people consist of a good but romantically stupid girl who prefers to accept the ill treatment of her step-family rather than to pack up the mice and leave; two step-sisters, ugly mean and very ugly, who are indistinguishable from the other, except through Disneys putrid use of color; an evil step-mother, also ugly; a strange woman who shows up once in a lifetime, twice if you subscribe to the Disney account. (Where was she the previous sixteen years? Thanks a lot, Mother.) Female hatred. Female sabotage. Female jealousy. These are all shown us repeatedly in Cinderella as is. We discover that the way to win a prince is over the ugly bodies of our competitors, who are similarly trying to cut our throats. Beauty on its own is not enough: you have to be seen by the right people. You must triumph over those who would hide your beauty. You must outdo them. No wonder female friendships are so problematic, when this is how we are trained to see our relationships with other women. Hatred, sabotage and jealousy are also present in earlier tellings of the story which, though present in the current Disneyized version, is absent at its end, when Cinderella rides off into the horizon and the bad family vanishes from sight and mind. In Aschenputtel, the Grimm version of Cinderella, birds attack the evil stepsisters and bite out their eyes. But in many other accounts Cinderellas goodness is almost saintly: she forgives her stepsisters horrible behavior and sometimes even manages to match them up at court. This is certainly not what I would do—but I also have an opportunity to rewrite this story at the point of my retelling it. I have already reinterpreted the story for you using a metaphoric polemic on absence. In my story, what is most important about Cinderella is the shoe. Ways of Seeing This article concerns metaphors and ways of seeing, particularly ways of seeing what others are not looking at. The logical assumption is that a non-subject is therefore trivial, unworthy of serious study. Conversely, my response was and is to question why these are non-subjects, to investigate decisions made by others about what is likely to be important to me or to anyone else. So my work begins with a rejection—of the canon, of the politics of literature and its publication, of academic appropriateness, of the legislation of opinion. One of the ways that academics seem to operate is through the posing of binary or structural opposites. It is comforting to  know that if a thing is not this it must be that; what is not cold is hot. Never mind that we are capable of thinking about and experiencing an enormous range of temperatures, that heat is a relative term as is cold; structural opposition (Là ©vi-Straussian construction) enforces binary coding, usually with the additional motivation of fixing, or affixing, moral values. Because one is already conditioned to look at things as this or that, cold or hot, the value indicators are similarly binary: negative and positive. We need both, of course, and not only in our flashlights: polarity is a dependent relationship. But because of this tendency towards a tension of opposites, we end up limiting our transactions, our thinking, to bad and good. This is the outcome—if not the point—of childrens literature: it conditions us to distinguish bad and good, and to make a number of other associations with these terms; that which is considered good is that which beautiful, smart, nice, polite, fair or even white, obedient, tall, slim, quiet, and so forth. In fairy tales, the basis of what we now call childrens literature, a persons inner qualities are instantly discernible from external attributes. Good and bad are physiologically, physiognomically manifest: the dark little crooked old woman in black with the wart on her nose is not going to be the hero. Thus a good person is also pleasant to look at and (as we know from television) has clean clothes, fresh breath, and carefully styled hair. I have gone into an extended discussion of binarisms and ethics because I invite you to suspend binary judgements, to move beyond an evaluation of absence as the opposite of presence, and to consider absence in a different way: as something present—but not. That which is not not present is absent. When something present is not looked at, not recognized, not seen, it acquires a certain invisibility—in part, what I call absence. Absence is what is always there but overlooked, or there but unheard, or seen and heard but never mentioned. We do not immolate the story in reconsidering what it conceals. We literally unveil nothing of her, nothing that in the final account does not leave her intact, virginal (he loves only that), undecipherable, impassively tacit, in a word, sheltered from the cinder that there is and that she is (Derrida 41). 9 Those characteristics of Cinderella left un-addressed support this view of absence: somewhere behind the story sits another story, the one we are not meant to hear. Were we to hear it we would walk away with an entirely  different perception of the poor beaten Cinderella—or several different perceptions.10 We might be inspired to question the value of the hidden features, to wonder where issues of class, aesthetics, nature, superstition, parenting, hunger or politics fit in our founding myths, to wonder at the importance of such a myth as Cinderella in our female lives. We might be sufficiently moved to overturn the patriarchal texts, insert others in their place (Nature filling its vacuum). Not, that is, to rewrite Cinderella, but instead to find a more feasible model for contemporary female behavior. Perhaps even to acknowledge that there can be no models except those we embrace through personal experience. Absence is something more than its frail partner presence—a location for the political, for what is challenging for societies and social conditions, for what must not be looked at, not seen, not noted, not touched. Not presented. Absence is dangerous. To locate absence is to chart life, history, sociology, in a specific way. The Cinderella story presents an array of questionable absences, textually unanswered because unquestioned. This discussion does not pretend to provide closure, but rather to enjoin readers to ask questions of their own. Unlike other ways of seeing, this strategy does not limit or eliminate the text, but it does subvert it. By examining our essential stories, those we encountered at the knee, and those we teach to children, we begin to see in other ways, to discover culture as a tool for moral education, sexual regulation and female containment, and to locate female absence very close to home. 1I do not wish to repeat the excellent extensive historical scholarship on Cinderellas origins here. Cinderellas lengthy and interesting histories, irrelevant in this discussion, can be found in the following brief bibliography: Bruno Betelheim, The Uses of Enchantment: the Meaning and Importance of Fairy Tales (New York: Knopf, 1976); Alan Dundes, ed., Cinderelle: A Folklore Casebook (New York: Garland Pub., 1982); Walt Disney, Cinderella [Videorecording], (Burbank: Walt Disney, 1949); Nai-Tung Ting, The Cinderella Cycle in China and Indo-China (Helsinki: Suomalainen Tiedeakatemia, 1974). [ Return to the article ] 2A cursory review reveals these addenda: Colette Dowling, The Cinderella Complex: Womens Hidden Fear of Independence (New York: Summit Books, 1981); Barbara Einhorn, Cinderella Goes to Market: Citizenship, Gender, and Womens Movements in East Central Europe (London: Verso, 1993); Eugene Paul Nassar, The Rape of Cinderella: Essays In Literary Continuity (Bloomington : Indiana University Press, 1970); a curious history of something entirely other—D. C. M. (Desmond Christopher St. Martin) Platt, The Cinderella Service: British Consuls Since 1825 (Hamden, Conn: Archon Books, 1971); Cinderella considered as an anti-fairy tale in Robert Walser, Robert Walser Rediscovered: Stories, Fairy-Tale Plays, and Critical Responses, ed. Mark Harman (Hanover, NH: Published For Dartmouth College by University Press of New England, 1985); Margarita Xanthakou, Cendrillon Et Les Soeurs Cannibales: De La Stakhtobouta Maniote (Grece) A Lapproche Comparative De Lanthropophagie Intraparentale Imaginaire (Paris: Editions De Lecole Des Hautes Etudes En Sciences Sociales, 1988). For a subversive and extensive recovery of what cinder (cendre) is (or to what cinder is reduced/reducible), see Jacques Derrida, Cinders, ed. and trans. Ned Lukacher (Lincoln: University of Nebraska Press, 1991). [ Return to the article ] 3Rodgers and Hammersteins music backed a movie produced as a musical in the same year: Richard Rodgers and Oscar Hammerstein, Cinderella [Videorecording] (Hollywood: Samuel Goldwyn Company, 1964). [ Return to the article ] 4Mallarmà ©, Oeuvres Completes, Plà ©iade edition (Paris: Gallimard, 1945) 3-4. [ Return to the article ] 5It would be difficult to ascertain where the fable had its first expression, as scholars trace it to Germany, France and even China; a student tells me of the Hungarian version, in which the young woman is named Hamupipoke, and her shoes, curiously enough, are made of white diamonds. The symbolism could not be clearer. On form and structure, see also Vladimir Propp, The Morphology of the Folktale. Translated by Laurence Scott (Austin: University of Texas Press, 1968). [ Return to the article ] 6This is given greater consideration in my article Travesty, Peterhood, The Flight of a Lost Girl, New England Review, forthcoming (August 1988). James M. Barrie also wrote a play named Cinderella not very surprising in view of the fairytale quality of Peter Pan and many of his other writings. [ Return to the article ] 7One of the few exceptions is Mary Poppins, who is also depicted as an aberrant, desexualized creature. For one thing, she is a woman without children of her own, who literally takes, and seduces, other peoples children. Here again is a magical woman, a witch, dressed in black, like a widow; appropriately,  her boyfriend is also a witch of sorts, having the luck of the chimneysweeps. Does it not seem curious to anyone that he is able to impart good fortune through physical contact—and is this not somehow frightening? (As parents wouldnt you tell your children, Just say no?) Marys relationship with Bert does not stray from what we expect, even demand, of her class—her boyfriend (neither is married, nor do they discuss it, at least onscreen) is also a working-class Victorian London stiff (which is to say that he is also poor), with the robust happiness we need to ascribe to poor people, as well as a tendency to copulate below stairs; still we never see or are even permitted to imagine the content of their romantic holidays, interrupted by a song or some bit of magic. Because of her magic, and an understanding of what children really need that surpasses the ordinary, Mary is cleverly depicted as being able to breach the class zone: here her magic characteristics are essential for an explanation of this otherwise scandalous, and (in terms of class distinctions) uncomfortable flexibility. She doesnt know her place—the moral that the childrens father ends in teaching, as he rescues his children from the unsavoriness of their relationship with this queerly unmarried woman and her odd friend. Marys ability to tread between classes, however, elevates her even from Berts league: we know that she will leave him too, and are secretly satisfied. He is, for one thing, truly from the lowest class, as his mangled Cockney accent tells us, while Marys impossibly perfect speech distinguishes her as something quite different (though this is never really acknowledged); Bert is also, if only figuratively, black, while Mary is, however trenchantly, white. [ Return to the article ] 8The modern movie Ace Ventura, Pet Detective contains a wonderful quotation of a scene from Disneys Snow White. Actor Jim Carrey stands in the center of a room and the animals fly, run, walk, creep and slither to him as he belts out a high note. [ Return to the article ] 9I have re-rendered the parenthetical phrase (only), which Ned Lukacher translates as thats the only thing he loves, because of its (increased) ambiguity in the context of a feminist reading. [ Return to the article ] 10In her book Cinderella on the Ball: Fairytales for Feminists (Dublin: Attic Press, 1991), editor Margaret Neylon offers re-readings of the classic folktales. In the Cinderella story, it is the two sisters who emerge supreme: ugliness is a cover for intelligence and political feminism. [ Return to the article ]

Summary and Analysis of The Merchants Tale Essays -- Canterbury Tales

Summary and Analysis of The Merchant's Tale (The Canterbury Tales) Prologue to the Merchant's Tale: The merchant claims that he knows nothing of long-suffering wives. Rather, if his wife were to marry the devil, she would overmatch even him. The Merchant claims that there is a great difference between Griselde's exceptional obedience and his wife's more common cruelty. The Merchant has been married two months and has loathed every minute of it. The Host asks the Merchant to tell a tale of his horrid wife. Analysis The prologues that link the various Canterbury Tales shift effortlessly from ponderous drama to light comedy. The lamentable tale of Griselde gives way to the Host's complaint about his shrewish wife. This prologue further illustrates how each of the characters informs the tale he tells. The travelers largely tell tales that conform to their personal experiences or attitudes, such as the Merchant, whose awful marriage is the occasion for his tale about a difficult wife. In most cases the influence of the narrator on his tale is apparent, but the authorial touch lightly felt. The Merchant's Tale, for example, gains little from the prologue's information that the Merchant is disenchanted with his own marriage. Only a few of these tales exist largely as extensions of the characters who tell them; the Wife of Bath's Tale is the most prominent of these stories. The Merchant's Tale: The Merchant tells a tale of a prosperous knight from Lombardy who had not yet taken a wife. But when this knight, January, had turned sixty, whether out of devotion or dotage, he decided to finally be married. He searched for prospects, now convinced that the married life was a paradise on earth. Yet his brother, Placebo, cited... ...y. January's repeated insistence that their intercourse includes a rationalization that a man and wife are one person, and no man would harm himself with a knife, an unpleasant phallic image. January uses May only as a sexual object; he hammers away upon her, bringing her only pain and boredom. The Merchant's Tale also stretches the conventions of fabliau through the climax of the tale in which Pluto and Proserpina intrude upon the sexual intrigues among January, May and John. Proserpina and Pluto discuss the virtues of men and women in marriage, coming to the conclusion that few men are commendable, but absolutely no women are worthy. Their intervention in the situation gives divine sanction to the condemnation of women, purposely giving January his sight so that he can condemn his wife (although in a mordant twist, January can literally not believe his eyes).

Physics-Bridge Project

Humans have tamed steel, stone, lumber, and even living vegetation, all in effort to reach the people, places, and things that we desire. Although the concept of bridges is as simple as a tree falling across a creek, bridge design and construction requires very serious ingenuity. Artists, engineers, and architects pour vast resources into bridge construction so that they can reshape our daily environment for the better. When building bridges you’ll need help from BATS which are the key structural components of bridge construction such as beams, arches , trusses, and suspensions.Various combinations of these four technologies make it possible for numerous bridge designs, ranging from some bridges as simple as beam bridges, arch bridges, truss bridges, and suspension bridges to more complicated bridges like side-spar cable-stayed bridges. Some of the key differences between these four types of bridges is the lengths that they can cross a single span, which is the total distancve between two of the bridges supports. Bridges supports can take the forms of columns, towers or even the walls of nature around the bridge like canyons.Beam bridges range up to 200 feet , while modern arch bridges can reach up to 800-1000 feet safely. Suspension bridges on the other hand are able to extend from 2000-7000 feet across. Compression and tension are present in all bridges and they are capable of damaging parts of the bridge as varying load weights and other forces act on the structure of the bridge. It is the job of the bridge design to handle these forces without buckling or snapping. Buckling occurs when a compression is able to overcome a objects ability to endure that certain force.Snapping is what happens when tension surpasses an objects ability to handle the lengthening force. The most effective way to deal with these powerful forces is to either dissipate them or transfer them. With the dissipation the design allows the force to be spread out over a greater area so that no one certain spot has to endure to much pressure. In transferring force, a design moves stress from an area of weakness to an area of strength. Beam bridges, bridge building isn’t more simple than this. When building a beam bridge all you need is a rigid horizontal structure and two supports, one at each end, to rest it on.These components directly support the downward weight of the bridge and any traffic traveling over it. Many beam bridges use steel or concrete to handle their certain loads. The size of the beam, and the certain height of the beams, determines how far that the beam can span up to. By increasing to height of the beam, the beam has more material to lower the tension. To create taller beams the designer of the bridge adds supporting latticework, or a truss, to the bridge’s beam. The support from the truss adds rigidity to the existing beam, greatly increasing its ability to dissipate the compression and tension of the bridge.Once the beam begi ns to compress, the force spreads through the truss. Yet even with a truss a beam bridge is only good for a max-limited distance. To make the bridge have a greater distance you need to build a bigger truss, until you have reached the point where even a truss cant support the bridges weight. During the industrial revolution, beam bridges were developing in the United States rapidly. Engineers gave many different truss designs in order to try and perfect it. All the different truss patterns also factored into how bridges were being built. ome designs had the truss under the bridge ,while some designs had the truss above the bridge. A single beam spreading any distance undergoes compression and tension. At the very top of the beam has the most compression and at the very bottom of the beam has the most tension. In the middle of the beam has very little compression or tension. This is why beams are built with bridges, they provide more material on the tops and bottoms of beams to better handle the forces of compression and tension. There is another reason why a truss is more rigid than a single beam; a truss has the ability to dissipate a load through the truss work.The truss design, which is a variant of a triangle, creates both a very rigid structure and one that transfers the load from a single point to a considerably wider area. After being used for 2000 years of architectural use, the arch continues to feature prominently in bridge designs. Its semicircular structure elegantly distributes compression through its entire form and diverts weight onto its two abutments, which are the components of the bridge that directly take on the pressure being exerted onto the bridge. The tensional forces in arch bridges are virtually negligible.That is because the natural curve of the arch and its ability to dissipate the force outward greatly reduces the effects of tension on the underside of the arch. The greater the degree of curvature, the greater the effects of tension on the underside of the bridge. If you build a big enough arch, the tension will eventually overtake the support of the bridges natural structure. While there is a fair amount in variety in arch bridge construction, the basic structure of every arch bridge is the same. For example there is Roman, Baroque and Renaissance which are all architecturally different they all have the same basic structure.It is the individual arch itself gives its namesake bridge its strength. An arch made of stone doesn’t need a mortar. In fact the ancient Romans built arch bridges and aqueducts that are still standing today and are made of stone. The tricky part , however is building the arch, as two converging parts of the structure have no structural integrity until they meet in the middle, which mean additional scaffolding or support systems are typically needed. The modern materials such as steel, and prestressed concrete allow us to build far larger arches than the ancient Romans ever were ab le.Modern arches typically span between 200 and 800 feet. There is one bridge in West Virgina named the New River George Bridge and it measures an impressive 1700 feet. Suspension bridges, as the name implies its suspend the rail the railway by cables, ropes, or chains from two towers. These towers support most of the bridges weight as compression pushes down on the suspension bridges deck and then travels up the cables, ropes, or chains to transfer compression directly into the earth. The supporting cables receive the bridges tensional forces. The cables of the bridge run horizontally between the two far flung anchorages.Bridge anchorages are essentially solid rock or massive concrete blocks in which the bridge is grounded. The tensional forces pass through anchorages and into the ground. In addition to all the cables almost all the suspension in bridges feature a supporting a truss system beneath the bridge is called a deck truss. This often helps to stiffen the deck and reduce th e tendency of the roadway to sway and ripple. Suspension bridges can easily cross distances such as 2000 to 7000 feet and this enables them to reach distances that other bridge designs cannot.Because of this bridges complexity and of their design they require a lot of materials , they are the most costly bridge to build. But not every suspension bridge is made out of steel andother costly materials. It can be as simple as twisted grass. When the Spanish conquistadors made their way into Peru in 1532, there they discovered an incan empire connected by hundreds of suspension bridges, achieving spans up to 150 feet or more across deep mountain gorges. Europe on the other hand wouldn’t see a suspension bridge for atleast 300 more years. At a first glance the cable-stayed bridge may look like just a variant of the suspension bridge, ut don’t let their similar towers and hanging railways confuse you. Cable stayed bridges are different from suspension bridges because they don ’t require anchorages, nor do they need two towers. Instead the cables run from the railway up to a tower that bears the weight alone. The tower in a cable stayed bridge is responsible for absorbing and dealing with all the compression forces. The cables attached to the bridge run to the tower in a variety of ways. For example, they can run in a radial pattern, cables can extend from several points on the road to a single point at the tower.They can also be in a parallel pattern, the cables attach to both the roadway and the tower at several separate points. The first cable strayed bridges were constructed in Europe after world war 2, but the basic design dates back to the 16th century and Croatian inventor Faust Vrancic. A contemporary of astronomers Tycho Brache and Johannes Kepler, Vrancic produced the first well known sketch of a cable stayed bridge in his book â€Å"machinae Novae. † Today cable stayed bridges are a popular choice as they offer all the advantages of a suspension bridge but at a leser cost for spans, up to 500 to 2800 feet.They require a less steel cable, and are faster to build and incorporate more precast concrete sections. Most of humanities build bridging legacy is a story of artificial structures crafted out of the natural elements. Build a bridge out of woven vines or hewn boards and nature will certainly turn it into compost. Building a living bridge takes patience of course. The war-khasis people for example create root-guided systems from hallowed halves of old betel nut tree trunks to direct strangler fig roots in the desired direction.They simply direct the roots out over a creek or river spanning and only allow the roots to dive into the earth on the opposite bank. The larger living bridges boast lengths of up to 100 feet and care bear the weight of 50 people. There are things that engineers such as torsion which occurs when high wind causes the suspended roadway to rotate and twist like rolling a wave. Also there is shear stress which occurs when two fastened structures are forced in opposite directions. If a bridge has sighs of shear stress and it is unchecked the bridge can literally rip the bridge in half.A simple shear force would be to drive a long stake halfway into the ground and then apply lateral force against the side of the upper portion of the stake. With enough sufficient preasure youd be able to snap the stake in half. Resonance, you can think of this as simply a vibrational equivalence of a snowball rolling down a hill and becoming an avalanche. It starts off relatively small and periodicly stimulus of a mechanical system, such as wind buffeting a bridge. These vibrations however are more or less in harmony with the bridges natural vibrations.If unchecked the vibrations traveling through the bridge can form torsional waves. The best example of this occurred in 1940, when resonant vibrations destroyed the Tacoma Narrows Bridge in Washington. The innocent was especially shockin g at the time as the structure was designed to withstand winds up to 120 miles per hour and collapsed in a mere 40 mile wind. When there was close examination of the innocent it suggested that the bridges deck-stiffing truss was insufficient for the span, nut this alone couldn’t bring such a structure down.As turned out, the wind that day was at just the right speed and hit the bridge at just the right angle to set it off the deadly vibration. Continued winds increased the vibrations until the waves grew so large and violent that they broke the bridge apart. This simple effect is just like a singer breaking glass with their voice. Wind isn’t the only thing that is a threat to bridges. For example when an army marches across a bridge, the soliders often â€Å"break step† so that their rhythmic marching will start resonating throughout the bridge. A sufficient large army marching at the right cadence could set the deadly vibration into motion.In order to mitigrate fully the resonance effect in a bridge, engineer incorporate dampeners into the bridge design to interrupt the resonant waves and prevent them from growing. Another way to halt resonance is to give it less room to run wild. If a bridge boast a solid roadway, then a resonant wave can easily travel the length of the bridge and wreak havoc. But if a bridge roadway is made up of different sections with overlapping plates, then the movement of one section merely transfers to another to another via the plates generating friction. The trick is to create enough friction to change the frequency of the resonant waves.Changes the frequency prevents the waves from building. While wind can certainly induce destructive resonant waves, whether a whole host of destructive assaults on the bridges we build. In fact, the relentless work of rain, ice, wind, and salt will inevitably bring down any bridge that humans can erect. Bridge designers have learned their craft by studying their failures of the pass. Iron has replaced wood and steel has replace iron. Pre-stressed concrete now plays a vital role in the construction of highway bridges. Each new material or design Technique builds off the lesson of the past. Torison, resonance.

Love and Dedication in The Old Man and the Sea

There are two unique relationships that are touched upon in the novella The Old Man and the Sea by Ernest Hemingway.   The first relationship is the friendship and love that occurs between the old man, Santiago and his young companion, Manolin.   They have bonded over the years in a unique father-son relationship.   The other significant relationship that the story emphasizes is the one between Santiago and the fish.   It is apparent the strong love that Santiago feels for his adversary. Through these two relationships, Santiago displays his love and dedication. The endurance of love is displayed through the relationship of Santiago and his friend, Manolin.   Their relationship has seen both ups and downs, but through it all, Manolin has stood by the old fisherman.   In the beginning of the novella, we learn that Manolin’s family has forced him to work on a different fishing boat to gain more profit.   Despite this, he still visits his old employer and helps him take care of himself and his boat.   By bringing him food and water, he is displaying his genuine feelings for Santiago.   The reader sees in the final scenes, how deep this love and affection runs.   Manolin weeps for his friend as if he has suffered the loss of the marlin as well. These feelings that Manolin has built up has been the result of the companionship that they have shared through the years.   Santiago was the one who taught Manolin how to fish and has been his friend for many years.   Santiago has become a father figure for Manolin since he did not have that type of relationship with his own father.   Santiago has been able to give the boy friendship along with feelings of self-worth.   The boy feels that Santiago is the greatest fisherman: â€Å"There are many good fishermen and some great ones. But there is only one you† (Hemingway 23).   This strong bond enables Manolin to empathize when Santiago loses his great prize. Santiago has a great love for his only friend.   Without Manolin, he would be alone and he is grateful to have the boy in his life. He no longer dreamed of storms, nor of women, nor of great occurrences, nor of great fish, nor fights, nor contests of strength, nor of his wife. He only dreamed of places now and of the lions on the beach. They played like young cats in the dusk and he loved them as he loved the boy. (Hemingway 25) The reader is revealed Santiago’s strong affection for his companion when he is alone on the boat.   When the struggle between Santiago and the marlin ensues, he wishes that Manolin was there with him.   As he's towed by the fish, the old man says: â€Å"I wish I had the boy† (Hemingway 45).  Ã‚   Santiago is very appreciative of Manolin and enjoys sharing stories with him. They talk of baseball and he relays tales of the time that he spent in Africa.   The way that the boy looks up to the old man makes him feel significant.   He feels as though he has something to teach the boy and the boy respects the skills of the man. The boy is the one bright spot in Santiago’s return from his battle with the fish.   He is content with the fact that he has defeated such a creature and is able to return to see his friend again before he joins his great fish for eternity. Santiago has a strong dedication to fishing.   In the beginning of the tale, we learn that the man has gone eighty-four days without catching a single fish.   However, he does not give up hope that his luck will change and that he will begin catching fish again.   He has dedicated his life to fishing and will not stop because he has had a run of bad luck.   Hemingway remarks â€Å"Everything about him was old except his eyes and they were the same color as the sea and were cheerful and undefeated† (Hemingway 10).   He does not wish to rely on luck, but would rather have faith in his skill as a fisherman. He has dedicated his life to fishing and has it down to an exact science.   He focuses all his energies on fishing: â€Å"Now is the time to think of only one thing. That which I was born for† (Hemingway 40).   This is why he makes such a formidable opponent for the marlin.   He knows the signs of a large fish and looks for them when he sets out on the water.   Furthermore, once he defeats the fish, he has the skill and ability to lash the great fish to the side of his skiff and set out for home. Despite the battle between the marlin and the old man, it is obvious that the man feels a great amount of love and respect for the creature.   He is impressed by its greatness and realizes that regardless of his determination, it is very likely that the fish will win the battle between them. You are killing me, fish, the old man thought. But you have a right to. Never have I seen a greater, or more beautiful, or a calmer or more noble thing than you, brother. Come on and kill me. I do not care who kills who. (Hemingway 92) The way that Santiago regards the fish displays the great love that he feels for nature and the creatures on this earth.   Even as the battle continues on and he is weakened, he still does not feel any hatred for the fish.   As he says, â€Å"Fish, I love you and respect you very much. But I will kill you dead before this day ends† (Hemingway 54).   Even after he has defeated the fish, he does not let go of the love he feels for such a magnificent animal.   When sharks attack and take most of his prize, he feels as though he has sinned by taking such a wondrous creature’s life.   He experiences a profound sense of regret and sorrow. â€Å"They must have taken a quarter of him, and of the best meat. I wish it were a dream and that I had never hooked him. I am sorry about it, fish† (Hemingway 103).   This love provokes him to vow to fight the sharks and protect the fish as best as he could, even if it means his own death. Santiago’s love and dedication to both Manolin and the fish is an integral part of The Old Man and the Sea.   These relationships turn an otherwise tragic novel, into a tale of hope.   The boy and the old man are dedicated to each other and the reader has faith that through this love, Santiago will be able to overcome the devastating loss of his prize.   Manolin vows to never leave him again and dismisses the expectations placed upon him by his family.   The ending can be considered triumphant because through Santiago’s dedication, he was able to defeat the fish and still be able to return home to his beloved friend. WORKS CITED Hemingway, Ernest.   The Old Man and the Sea.   New York: Scribner, 1995.