When Operation Barbarossa Is Launched, The World Will Hold Its Essays

"When Operation Barbarossa is launched, the world will hold its breath!" - Adolf Hitler On the night of June 22, 1941, more than 3 million German soldiers, 600 000 vehicles and 3350 tanks were amassed along a 2000km front stretching from the Baltic to the Black Sea. Their sites were all trained on Russia. This force was part of 'Operation Barbarossa', the eastern front of the greatest military machine ever assembled. This machine was Adolf Hitler's German army. For Hitler, the inevitable assault on Russia was to be the culmination of a long standing obsession. He had always wanted Russia's industries and agricultural lands as part of his Lebensraum or 'living space' for Germany and their Thousand Year Reich. Russia had been on Hitler's agenda since he wrote Mein Kampf some 17 years earlier where he stated: 'We terminate the endless German drive to the south and the west of Europe, and direct our gaze towards the lands in the east...If we talk about new soil and territory in Europe today, we can think primarily only of Russia and its vassal border states'i Hitler wanted to exterminate and enslave the 'degenerate' Slavs and he wanted to obliterate their 'Jewish Bolshevist' government before it could turn on him. His 1939 pact with Stalin was only meant to give Germany time to prepare for war. As soon as Hitler controlled France, he looked east. Insisting that Britain was as good as defeated, he wanted to finish off the Soviet Union as soon as possible, before it could significantly fortify and arm itself. 'We only have to kick in the front door and the whole rotten edifice will come tumbling down'ii he told his officers. His generals warned him of the danger of fighting a war on two fronts and of the difficulty of invading an area as vast as Russia but, Hitler simply overruled them. He then placed troops in Finland and Romania and created his eastern front. In December 1940, Hitler made his final battle plan. He gave this huge operation a suitable name. He termed it 'Operation Barbarossa' or 'Redbeard' which was the nickname of the crusading 12th century Holy Roman emperor, Frederick I. The campaign consisted of three groups: Army Group North which would secure the Baltic; Army Group South which would take the coal and oil rich lands of the Ukraine and Caucasus; and Army Group Centre which would drive towards Moscow. Prior to deploying this massive force, military events in the Balkans delayed 'Barbarossa' by five weeks. It is now widely agreed that this delay proved fatal to Hitler's conquest plans of Russia but, at the time it did not seem important. In mid-June the build-up was complete and the German Army stood poised for battle. Hitler's drive for Russia failed however, and the defeat of his army would prove to be a major downward turning point for Germany and the Axis counterparts. There are many factors and events which contributed to the failure of Operation Barbarossa right from the preparatory stages of the attack to the final cold wintry days when the Germans had no choice but to concede. Several scholars and historians are in basic agreement with the factors which led to Germany's failure however, many of them stress different aspects of the operation as the crucial turning point. One such scholar is the historian, Kenneth Macksey. His view on Operation Barbarossa is plainly evident just by the title of his book termed, 'Military errors Of World War Two.'iii Macksey details the fact that the invasion of Russia was doomed to fail from the beginning due to the fact that the Germans were unprepared and extremely overconfident for a reasonable advancement towards Moscow. Macksey's first reason for the failure was the simply that Germany should not have broken its agreement with Russia and invaded its lands due to the fact that the British were not defeated on the western front, and this in turn plunged Hitler into a war on two fronts. The Germans, and Hitler in particular were stretching their forces too thin and were overconfident that the Russians would be defeated in a very short time. Adolf Hitler's overconfidence justifiably stemmed from the crushing defeats which his army had administered in Poland, France, Norway, Holland, Belgium and almost certainly Great Britain had the English Channel not stood in his way.iv Another important point that Macksey describes is the lack of hard intelligence that the Germans possessed about the Russian army and their equipment, deployment tactics, economic situation and communication networks. They had not invested much time and intelligence agents in collecting information from

10 College Essay Topics on Poems by Emily Dickinson

10 College Essay Topics on Poems by Emily Dickinson Emily Dickinson’s literary work is considered to be a piece of timeless art and there is a universal consensus that she is one of the most prolific American poets of all times. Dickinson has written around 1800 poems, which is an achievement on its own. However, a fairly limited amount of her work was published during her life. If you are looking to write a college essay on the poems of Emily Dickinson, this is the guide you need to bank on. Here are 10 interesting facts about her poems that will assist you in writing a detailed and informative essay for your college curriculum: At the age of 18, Emily Dickinson and her family became friends with a young attorney, Benjamin Franklin Newton. Many historians have refuted the idea that Dickinson and Newton did not share a romantic relationship, though what they did share was a deep personal understanding. Newton was considered by Dickinson as her tutor and preceptor. He was the one who introduced her to the work of William Wordsworth and gifted her Ralph Waldo Emerson’s book of poems, which according to her own admission, heavily influenced her work. Although Newton died of tuberculosis, he was one of the very first to predict her greatness as he wrote this in his last letters to Emily, stating that he had wished to live long enough to watch her reach greatness. Emily Dickinson was not only a keen reader of the bible, but also showed great interest in the contemporary literature at the time. Her work was also influenced by Lydia Maria Childs Letters from New York, which was yet again a gift from Newton. Dickinson’s brother brought a copy of Henry Wadsworth Longfellows Kavanagh for her, despite her father’s disapproval. Similarly, a friend gave her a copy of Charlotte Brontà «s Jane Eyre in 1849. Although it is uncertain how much of her work was influenced by Jane Eyre, Emily did name her new found dog Carlo, which was also the name of St. John Rivers’ dog, a character in one of Eyre’s works Emily Dickinson became more and more secluded and withdrawn over the years, but this was also the peak of her career. She would start working in the summer of 1858 which would become her legacy. She started reviewing her work and put together clean copies of her previously written work. Around the same time she put her manuscripts together. Between 1858 and 1865, she wrote the Forty Fascicles which amounted to 800 poems. It was only after her death that this work was discovered. She became friends with editor-in-chief of Springfield Republican, as well as the owner, Samuel Bowles and his wife Mary, in the late 1850s. The two visited the Dickinson family on a regular basis. Emily sent them dozens of letters and a little over 50 poems. It is debated among scholars that their friendship influenced Emily to write some of the most intense pieces. That was one of the reasons why Bowles published her poems in his journal. Between 1858 and 1861, Emily Dickinson wrote some mysterious letters that have caused a lot of debate in the literary community. She wrote a trio of letters titled â€Å"The Master Letters†, which were drafted to a man whose identity has still not been discovered. In the letters, she referred to this unknown man simply as â€Å"Master†. The work she did before 1861 was considered very conventional and extremely sentimental in nature. The publisher of â€Å"The Poems of Emily Dickinson†, Thomas H. Johnson, was only able to track 5 poems written before 1858. Two out of five of these poems are a mockery of love written in a humorous style, while the other two are simple lyrics; one of these two lyrical poems is about Emily missing her brother, Austin. She wrote the last one to portray her fear of losing friends and sent it to one of her closest friends, Sue Gilbert. The period between 1861 and 1865 was the one where Emily Dickinson was the most active. This is when Emily went through a lot of seclusion and personal loss, which also reflected in her work. All the poems written between this period were very strong and highly emotional. According to the author, Johnson, she wrote around 86 poems in the year 1861, 366 in the year 1862, 141 in the year 1863 and roughly 174 in the year 1864. After 1866 however, her work simmered down as she had written more than two-thirds of her poetry before this year. Emily Dickinson’s poems had a morbid touch to them. Her poems portray her fascination with disease, the process of dying and death itself. She showed a vigorous obsession with death through her poems, as they refer to death through drowning, crucifixion, suffocation, freezing, shooting, premature burial and death by guillotine. The most insightful poems about death by Dickinson are Funeral in The Brain and â€Å"Death Blow Aimed by God†. Other poems showed her curiousness about starvation and thirst. According to Suzanne Juhasz, Emily Dickinson believed that her mind and spirit were places she could not only visit, but live in. Dickinson considered this place private and called it the Undiscovered Continent or the Landscape of the Spirit. The poem called â€Å"Me From Myself - to Banish†, is a clear example of this. Dickinson was fascinated with the flowers and this was one of her main poetic themes. Her references to gardens in her poems supposedly depict a fictional realm where flowers represent actions and emotions. She used flowers such as anemones and gentians to represent humility and youth. Her poem â€Å"My Nosegays Are for Captives† is an example of this theme. These facts will most certainly help you kickstart research on your college essay. You’ll now be able to focus on a single topic but if you need additional tips, head on over to our 20 topics on poems by Emily Dickinson for a college essay as well, which also contains a sample essay at the end and also our complete writing guide. References: Dickinson, E., Franklin, R. W. (1999). The poems of Emily Dickinson. Cambridge, MA: Belknap Press. Bloom, H. (1999). Emily Dickinson. Broommall, PA: Chelsea House. Buckingham, W. J. (1989). Emily Dickinsons reception in the 1890s: A documentary history. Pittsburgh, PA: University of Pittsburgh Press. McNeil, H. (1986). Emily Dickinson. New York: Pantheon Books. Farr, J., Carter, L. (2004). The gardens of Emily Dickinson. Cambridge, MA: Harvard University Press. Crumbley, P. (1997). Inflections of the pen: Dash and voice in Emily Dickinson. Lexington: University Press of Kentucky. Habegger, A. (2001). My wars are laid away in books: The life of Emily Dickinson. New York: Random House.

50 Words with the Most Whimsical Prefix

50 Words with the Most Whimsical Prefix 50 Words with the Most Whimsical Prefix 50 Words with the Most Whimsical Prefix By Mark Nichol The prefix be- has a variety of interesting roles in language: Causation The prefix is affixed to a verb to indicate a causative agent, as in belittle, meaning â€Å"to diminish by criticism or mockery.† Creation Become and begin, and the archaic-sounding beget, are words starting with the prefix that indicate something coming to be; the prefix also appears in words expressing the near opposite, such as behead. Intensification It’s one thing to be dazzled by a luminous object, but a reference to being bedazzled implies a higher order of enchantment. Position Be- indicates relative placement, as in below or between. Its addition to a word transforms nouns and adjectives into verbs, as in besiege and beware (â€Å"be aware†). It also changes intransitive verbs (those that do not take an object) into transitive ones, as with becalm. The simple act of attaching these two letters to an existing word enhances English by providing us with terms that entertain us with their vivid imagery. Here are some more or less obscure be- words and their definitions: becloud: to obscure or muddle bedaub: to excessively ornament or anoint bedazzle: to enchant bedeck: to fancily clothe or decorate bedevil: to annoy bedew: to moisten bedight: to equip or adorn bedim: to obscure, or to reduce light bedizen: to adorn or dress in a tacky manner bedraggle: to drench befit: to be appropriate for befool: to delude or trick begrime: to make dirty begrudge: to give reluctantly beguile: to seduce behoove: to be appropriate bejewel: to adorn with jewelry belabor: to emphasize unnecessarily belaud: to fulsomely praise belay: to stop or hold off from beleaguer: to trouble or bother belie: to falsely imply, to reveal something as false, or to contradict bemire: to expose to or engulf in mud bemock: to ridicule benight: overcome by literal or figurative darkness benumb: to deprive of sensation bepuzzle: to confuse bequeath: to leave an inheritance (the noun form is bequest) bereave: to deprive (one so treated is bereft) beseech: to beg (the past tense is besought) beseem: to be fitting or suitable beset: to attack, harass, or surround besmear: to stain or obscure, or to defame besmirch: see besmear besort: to fit or become (also a noun meaning â€Å"appropriate associate†) besot: to infatuate or muddle besoul: to endow with a soul bespatter: to splash bespeak: to claim, request, address, or identify besprinkle: to scatter or disperse bestir: to rouse bestow: to put to use or in place, or to convey a gift bestrew: see besprinkle betake: to commit, or cause to act bethink: to recall, or to cause to consider betroth: to promise to marry, or to give in marriage bewhisker: to provide with whiskers (or, as bewhiskered, to have whiskers) bewhore: to corrupt sexually, or to characterize as a whore bewig: to place a wig on bewray: to betray Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:Definitely use "the" or "a"35 Genres and Other Varieties of FictionCaptain vs. Master

Take home question Financial Markets of Latin American Essay

Take home question Financial Markets of Latin American - Essay Example However, they -as well as other emerging markets as China or Eastern Europe- appear to be overcoming this crisis much better than more mature markets as USA or the European Union. Some analysts explain that this fact is due to these countries costume and tradition of facing continuous tensions and crisis, situation that have led them to develop "overcoming mechanisms"2. According to Manuel Romera, the Latin-American countries have few to fear from this situation, since they are "those countries that are the most used to difficult and tension moments, being so the most prepared to overcome the crisis". I coincide with this hypothesis because, to my mind, if during the coming decades these countries are able to achieve solid organisational models to simultaneously stimulate innovation and efficiency, it would be seen how theses economies experiment unknown levels of development. It should be beard in mind that Latin-American economies are rich in natural resources and primary materials (resources more and more precious in such a shortage world, characterised by a frantic economic growth). Nevertheless, and once the risk of contagion is being avoided, let's remark some other facts that condition the S

StockTrak Investment Strategy Essay Example | Topics and Well Written Essays - 500 words - 1

StockTrak Investment Strategy - Essay Example Corporate and Treasury bonds have been considered in the portfolio investment for diversification purpose of the investment risks. This helps the investor to spread the investment risk to avoid incurring heavy losses due to unforeseen market volatility in future (Fabozzi and Drake 68). The portfolio investment selected by the investor has the potential of allowing income generation and capital appreciation in future due to the characteristic of the various assets considered in the investment. One of the reasons that depicts that the investment portfolio is the pricing of the stocks selected (Reilly and Brown 33). The value prices of majority of the stocks selected in the portfolio investment are relatively undervalued. This is because the recent acquisitions and mergers by Google Corporation, Tesla Corporation, Trina Solar limited (TSL), AT&T Corporation, and Bank of America BAC depict that the profitability of the companies is likely to increase in future. Mergers and acquisition are essential for a company since it helps the company to expand its investment for high revenue generation in future. The companies will be able to generate more profit in future that is vital for dividend generation and stock demand in the stock market (Fabozzi and Drake 62). Thus, the current pricing of the various stocks considered in the portfolio investment are undervalued since they do not reflect the potential growth of the stocks. Consequently, the undervaluation of the stocks considered in the portfolio investment will ensure the capital investment of the investor appreciates in future. This is because the high demand of the stocks in future due to high profit generation will cause the price of the stocks to rise significantly. Accordingly, the value of the stock assets will increase significantly for the investor in future. Similarly, the high potential of the stocks growth due to profitability

Dreams as Narrative Pullers Essay Example for Free

Dreams as Narrative Pullers Essay Eminent film makers have used many of the unreciprocated phenomena’s of human life as a device to construct their quality narratives. Buddhaded Dasgupta’s use of dreams (rather than dreaming sequences) as a device to pull off his narratives need a special mention , for its holding power of the central premises and establishing lucid presentations, also making the distinction between manifestations and reality. An analysis of his placement of dreams to the central characters also gives us a picture of how effectively he uses it as a metaphor of emerging culture and human conditions as a whole. The present article is an exploration of how the diverse characters of Dasgupta’s films- ‘Mondo Meyer Upakhyan’ and ‘Kalpurush’ are loaded with pivotal dreams that force them to jump out of their existential problems, thereby acting as able narrative pullers. ( Sudheer S Salam, Lecturer, Dept. of Mass Communication and Journalism , University of kerala) See more: how to start a narrative essay There are hundreds of studies on dreams and their purposes to mankind. While some researchers suggest that dreams serve no real purpose, many others believe that it is essential to dream for a proper mental, emotional and physical well being. Freud was fond of repeating that dreams provide a royal road to the unconscious activities of the mind. In his masterpiece, The Interpretation of Dreams, Freud makes consistent use of the metaphor of a journey. Sigmund Freud’s theory of dreams suggested that dreams were a representation of unconscious desires, thoughts and motivations. According to Freud’s psychoanalytic view of personality, people are driven by aggressive and sexual instincts that are repressed from conscious awareness. While these thoughts are not consciously expressed, they find their way into our awareness via dreams. (Freud,2000) While this theory suggests that dreams are the result of internally generated signals, Hobson(1999) does not believe that dreams are meaningless. Instead, he suggests that dreaming is †¦our most creative conscious state, one in which the chaotic, spontaneous recombination of cognitive elements produces novel configurations of information: new ideas. While many or even most of these ideas may be nonsensical, if even a few of its fanciful products are truly useful, our dream time will not have been wasted† Ernest Hoffman, director of the Sleep Disorders Center at Newton Wellesley Hospital in Boston, Mass., suggests that a possible (though certainly not proven) function of a dream is to be weaving new material into the memory system in a way that both reduces emotional arousal and is adaptive in helping us cope with further trauma or stressful events.(Hartman, 2006) Though the discourse over the actuality of dreams is yet to find proper resolve, they are made use of and interpreted in multitude of ways in various art forms propagated by humans. Filmmakers use dreams as essential helping points in their narration of their plot. Narrative is such a way of comprehending space, time, and causality. Since in film there are at least two important frames of reference for understanding space, time, and causality, narrative in film is the principle by which data is converted from the frame of the screen into a diegesis a world that frames a particular story, or sequence of action, in that world; equally, it is the principle by which data is converted from story onto screen (Branigan, 1992) Dreams often can be used to mislead the audience by making them believe that some events are actually taking place but in reality are only dreams. The films often illustrates in dramatic fashion that our dream environments (composed of, say, buildings, natural scenes, or fantastical landscapes) are all creations of our brain, somehow. Some of these creations are as enchanting as a science fiction film by Lucas or as dramatic as a tragedy by Coppola. In our dream world, we do not consider such landscapes and other creations to be self-generated, though of course both the dream setting and the image of ourselves within the setting are fabricated by the same brain. Other components of the dream world, such as decisions, preferences, and action selection can be construed as self-generated. Aspects of these self-generated processes resemble those of waking life: Deciding which alley to run down when escaping a foe is a similar deliberation in a dream or in waking life. (Morsella, 2010) By expressing a life problem metaphorically, the dream impels the individual toward his goal (often an unsocial goal) with increased emotional power. For illustration, the writer interprets dreams of falling, flying, paralysis, examinations, and other common dreams. The dreamer, self-deceived, does not recognize the purpose of his own metaphor. When he does, dreams have no further danger for him. The more courageously and realistically one meets the problems of life, the less one dreams, but absence of dreams may also be due to lack of imagination (Alder, 1936) Many film makers around the world has used dreams as a device to pull on the narratives and built on it. Budhadeb DasGupta, one of the most renowned filmmaker of India is one who presents dreams as a narrative device to hold the movie and to ‘pull’ the narrative through a chain of events. His two recent surrealistic films ‘Mondo Meyer Upakyan’ (Life at the Throw of a Dice) and ‘Kaalpurush’(Memories in the mist) which also won the highest accolades of India, the National awards for best films, rightly exemplify how this technique can be wisely used by the filmmakers of caliber, extraordinary. In all of his films, the poetic notion of dream has a prominence, rarely if ever to be found in the political or social film. Every character are planted with a definite dream, much varied from their immediate materialistic circumstances, one which is quite difficult to attain, the struggle for which propel the entire plot to a more phantasmagoric finale. The moon landing to flare up child dreams ‘ Mondo meyer Upakhyan’(2002) tells about the fourteen year old Lati’s pursuit for liberation from a type of life that has been programmed for her by her mother Rajani, the mistress of unfashionable brothel. Rajani on the other hand is not wicked or ruthless as you expect of her. She is but is trying to give her daughter a better living status than that of any usual whore residing in the brothel. She locates a wealthy middle-aged man named Natabar Paladhi, who finds it the most lovable hobby to watch pornographic films in his own theatre. Paladhi is also hoping to take the adolescent Lati as his mistress, along with her mother in a house that has been built especially for her. The girl is but disgusted at the options of a life offered to her where she is remain as a plaything of a man who is more than four times her age. She is more focused on her own ambition of pursuing her education than to approve such an agreement. However, Rajani has already taken Lati out of her school as a first step in preparing her for the new career. But Lati tries to keep in contact with her learning exercises with the help of her young friend Shibu and the teacher Nagen whom she greatly admires. Her desperate attempts to learn, finally forces her to renounce a life of prostitution and to run away to Calcutta with her teacher who has been promoted to a school there. The most interesting aspect of the movie is its narrative technique where Lati’s story is narrated parallel to the man’s attempt to land on moon and finally her liberation from the village and the brothel is interestingly placed on the same day as the man’s first moon landing. In two of the subplots of the movie are three young prostitutes who are also seeking to break free from a profession that binds them in thraldom, and an infirm elderly couple who are forced to be on Ganesh’s Jeep (driver of Paladhi), travelling around hidden in its dickie to find a hospital. It is more than a poetic connotation to say that for Lati’s dreaming of being in Calcutta for pursuing her education from a distant, isolated village is more like what had been the dream of being in moon to Neil Armstrong and the entire mankind. It even seems further away and harder to get into Calcutta than the moon landing itself. Also depicted are the other moons to be reached for by the other characters on screen, such as the promotion in Calcutta to which the country School master is headed. Interestingly, in the entire film, the school teacher of Lati is shown always in a bicycle travelling across frames, but never is he shown teaching in some school. The three young prostitutes is the movie realize of their ‘ moons’ only in the finale of the narratives- the desire of ultimate freedom from exploitation where there is reciprocal love and wholesome satisfaction. The entire characters in the movie, except Lati and Rejani does not seem to have solid ideas of how to reach their moons (dreams) and the journey to it’s fulfilment is likely to be as subjected to probabilities and chances, as the elderly couple finally settle down in excitement and fulfilment with the play of ludo rather than looking for proper medication. They were traveling far and wide hiding in the jeep in the dreams of locating a distant hospital, the possibility of which is mentioned intermittently but never ever shown. But it seems that the entire travelling for days, the rarest of the things that may have happened in their life, has transformed them from ailing seniors at decrepitude to young minds who could even enjoy the childish games. Whether they are ultimately successful or not is of no interest; what matters is that they from their adverse conditions are human enough to dream and courageous enough to realize their fulfilment and their dreams in a Ludo board. The sphere of acquisitiveness and venality that is Rajani’s moon depends entirely on others for its attainment. It can be reached only if circumstance out of her dreams can change, but Lati’s journey to her moon is clearly determined. (Hood,2005) Perhaps Nadaber Paladi enriched in his world of fantasy and drowsiness is altogether unaware of his definite moon and so is comfortable, remaining in his cinema hall repeatedly dosing in front of the pornographic loop, which doesn’t in fact bore him even after repeated views, and in him the filmmaker suggests the possibilities of a subtle moon(dream) which goes satisfied with his repeated vision of the same stuff. Nevertheless, the capriciousness of the world in which Dasgupta has placed this young girl, Lati, is hardly minimized by the execution of her intention, for the most prominent determinant in this film is chance. Film advances the idea that maybe life does progress by chance as though it is determined by the throw of a dice. The importance of chance as a determinant in the life is determined in a number of ways, across all the characters in the movie. Mystic memories around an American dream Kalpurush’ is all about the life of Sumanto, a selfless and generous government servant, who eventually wins over the grim circumstances of his life. Belittled professionally and betrayed in his marriage and treated as a figure of ridicule by almost all he meets in life, Sumanto but make adjustments to life suprisingly different from the regular ones.(Mehta,2008) The movie opens in a tram at night with Sumanto and Ashwini seated on different chairs. And when the tram comes to a stop, Sumanto gets down followed by Ashwini down the deserted lanes of this para city. Ashwini begins to narrate the story where we understands that Sumanto is his son and that he has yet to tell him a lot. An element of suspense creeps in as the audience is left in doubt whether Ashwini is real or apparitional. The narrative, almost immediately, jump-cuts to a rugged village where Ashwini is seen talking to his wife Putul, under a leafless tree that has gathered the twilight grey. Ashwini tells her about his meeting with their son and asks about how she is keeping these days. Ashwini’s conversation with Putul gives us a feeling of dejavu: they seem to have met after a separation of a few days, or a few days, or may be a few months. The suspense deepens as the narrative leaps back to Sumanto’s routine life of a plain and honest Govt. employee married to a school teacher, Supriya -a visibly irritable lady without any respect for Sumanto, who she believes, epitomizes failure. She converses with her lover over the land phone, evenwhile Sumanto is in the vicinity. It is, however, not made clear whether she is aware of Sumanto’s presence or she underestimates him so much that she does not care whether he is in-the-know or ignorant of her extra-marital liaison. If honesty defines Sumanto’s basic nature, a loveless world around forces him into worshipping human bonds. He appears naà ¯ve and open up to his father Ashwini about how his eyes were up tears as he sees someone wiping the tears off the cheeks of someone else. Very submissive and docile, he almost makes a fool of himself as he admiringly gazes at a couple making love in the public park, and even surprises the television news reader whom he mets on street by asking him immature questions about the business of news reporting. Even when Supriya almost blandly tells him that he is not the father of his children, he hardly reacts and never let this information dwindle his love for the two kids. We are often made to think that Sumanto has already known about this information, which has no effect on his equation with them. Sumanto appear irritable and upright while he upset the hierarchy by not penning a favorable inspection report to support one of the business men. Making his unconventionality, a mode of rebellion, he with a greedy and cruel world around is shown with a penchant for connecting with love. This aspect of his character recalls the network of electric cables with which the film open, this network metaphorically signifies the importance of human bonding. The sequential convergence of two separate historically and personally relevant time periods of Sumanto and Ashwini also helps Dasgupta to reveal Sumanto’s and Ashwini’s behavioral pattern of anonymous affairs, emotional isolation, and inner chaos, paralleling their self-destructive behavior with the national crisis of identity, and cultural disconnection. There are two dreams that act as the primary determinants of the narrative routes of ‘Kalpurush’. The first is Supriya’s obsession with â€Å"America’ –a land to which her longing is so much intense that she hardly recognizes the routine bests available around her, including Sumanto or her kids. From the opening reels Supriya is obsessed with her impending two-month sojourn in the United States at her brother’s. And towards the end, Supriya is shown to have reached her dream winning a prize to be in her dreamland.(Mehta, 2008) The second dream is a fallen one, about Kusumpur, the imaginative land which Ashwini looks for all his life. Nobody knows the geographical location of this land, suggested as an impossible knowledge. Placing diametrically opposite to Supriya’s realization of her America, the Kusumpur(s) of the mind, appear as a Utopian destination which means different things to different people. As in Das Gupta’s earlier movie Uttara, where a group of illiterate, underfed, haggard old men embarks on a journey by foot to America, the land where nobody starves, here Kusumpur is Ashwini’s America, the land of overabundance, prosperity and nourishment. This highly politicized representation of America as the dreamland, the land of wish-fulfilment, projected so in every popular discourse of an average Indian has etched upon the collective unconscious of the masses, especially of the Third World. Therefore, Supriya, a mundane school teacher almost goes berserk as the invitation of his brother to spend a couple of months in the States. She urges Sumanto to buy her every possible Bengali book available on America. The titles available, to Sumanto’s astonishment, are countless, and underscore the authors’ sycophantic reverence for the country. While Supriya revels in the golden opportunity of flying to this dreamland, which also becomes her Kusumpur, the regional television channel airs news about America’s imperialistic designs almost unemotionally. Only once, does the newsreader lose control and intersperse the news with unspeakable abuses, giving expression to his anger directed to â€Å"butcherng† America. However, all this happens is Sumanto’s imagination/dream, the newsreader’s outrage actually a projection of his feeling. The ‘Other’ as hero Simple, concrete and pictorial images of the poet turned filmmaker in DasGupta, is affected with an economy of language. The presentation of image and idea bears meticulous attention to an appropriate relationship with form; and the piece has a clear integrity which accommodates the emotions as much as the intellect. (Hood, 2005) His Naxalite sympathizing and hope for a class –less equi focal world has created a notion of ‘distance’ in his films, with its ramifications of detachment, alienation and remoteness governed by a poetic perspective. This might be the reason for the formulation of a distanced ‘Other’ that is often the ultimate destination and hoped for in all his movies. Moving close to the setup of neo-sociopolitical and moral binaries America/ the rest of the world, city/country, cinema/other forms of popular art, dishonesty/honesty, so on and so forth, DasGupta’s films offer a lot of codes that stands apart for its placement of oppo sites. (Hood,2005) In ‘Mondo Meyer Upakhyan’, Calcutta with its immaculate freedom, wisdom and knowledge is set as a binary to the isolated brothel housing Lati and Rajani, with hardly any freedom or space for learning. And ultimately, the schoolmaster Nagen is destined to join the ‘other’ with the ever aspiring strong willed Lati, who seems like wrongly placed in the opposite part of the esteemed elements. Even as Neil Armstrong finally clinches his long chased moon, his one of the binary here is the jeep and its driver Ganesh who transverse through isolated unending landscapes, seeking to look for what is not to be found (this case, a hospital).The three young prostitutes, who long for an escape from their life of deceit and humiliation in the brothel is looking for an other possibility of a life without men.(Mehta, 2008) Honest and idealistic, with his root firm on a craggy village with its share of mythological ballads and myths, the protagonist of Kalpurush seldom shows any inclination to America, which his wife finds as the best of the world’s that she can accomplish. That’s enough reason to look upon him as the ‘Other’ . Another similar reference is of an ideal ‘Kusumpur’ a place long ago and far away, which beckons us when life’s complexities beckons us to return to nature’s solidities, the perfect other space than the couple’s, contrasting life . But by Ashwini’s mention about this place that cannot be travelled, DasGupta also cites that life is not that full and perfect, even in the most idealistic ‘Kusumpur ‘or in ‘America’. Dasgupta also travels an ‘Other’ in a typical Bengali folk art ‘Jatra’ with its share of heavy emotions, glittering costumes, and loud make-up, which for ms the central to the narrative of ‘Kalpurush , even while dealing through the most dazzling and powerful of the modern media – cinema. In both these movies the maverick filmmaker seems to have shown his affinity to deficient and entirely unattainable conundrums of our romantic social structures, that is the family. At the risk of generalization, it may be said that DasGupta’ attempts to establish counter-hegemony of the ‘Other’ of complete, well served families with the placement of incomplete fundamental social group in its settings through his films. In fact, DasGupta seems to be looking on for very prosaic conceptualization of ‘concept of lack’. This ‘lack’ is their in Mondo Meyer Upakhyan, as Lati is presented with a mother, but not a father. And Shibu, the child of washerman is presented with a father, but not a mother. Natabar Paladhi makes mention of his wife and family, but is never shown one. There is no reference to the family life of Ganesh or Nakul or Nagen. The old couple is rejected by their larger family and is left now in the mindset of venturing children. Similar is the fate of the inmates of the brothel, whose ‘lack’ is infuriated with every one night stands. In ‘Kaalpurush’, Sumanto is not dissatisfied or regretful with his fate of being alone with adopted children, after his wife walks out of his life. Supriya is more than happy to lead a life with avarice and materialism, even lonely, but in America. Putul and Ashwini’s women friend working with Jatra is also shown isolated and trauma- filled for their existance. Dr.Ashwini continues with his work after being left out of his wife and is attempted to be killed by his son, but in his later spiritual talks ,express his nostalgia for a life that he put an end to without knowing its value. And this remains the only point where Dasgupta constructs the values of form of their relationship more than the relationship itself. However, such an observation is also subject to debate. In the ultimate analysis, what one sees in a Dasgupta movies are welcome minimalism and ordinary individuals with mostly unattainable dreams, shorn of weird dramatization, so regular in Indian cinem a. References Adler, A.(1936) On the interpretation of dreams. Int. J. Indiv. Psychol., 2, 3-16. Branigan, Edward (1992): Narrative Comprehension and the Fiction Film. London: Routledge Ezequiel Morsella (2010), On the Film Inception: Observations about Dreams and in Dreams , Published on July 29, 2010 Freud,S.(1900) The Interpretation of Dreams, Hartman, E. (2006). Why do we dream? Scientific American. Hobson, J. A. (1999). Consciousness. New York: Scientific American Library. Hood, John.W, (2005) The Films of Buddhadeb Dasgupta, Delhi: Orient Longman. Mehta,Anita(2008), On Times that pass and men who live in them, Osian Cinemaya, Vol.1,No 3. Monaco, James(2007) How to read a film: the world of movies, media and multimedia, New Delhi: Oxford University Press.

A Comparison of the Heat and Cold Imagery Used in Woman at Point Zero a

A Comparison of the Heat and Cold Imagery Used in Woman at Point Zero and Thousand Cranes In the books Woman at Point Zero by Nawal El Saadawi, and Thousand Cranes by Yasunari Kawabata, both authors use various forms of imagery that reoccur throughout the works. These images are used not to be taken for their literal meanings, but instead to portray a deeper sense or feeling that may occur several times in the book. One type of imagery that both Saadawi and Kawabata use in their works is heat and cold imagery. In the works, Woman at Point Zero and Thousand Cranes, Nawal El Saadawi and Yasunari Kawabata each use heat and cold imagery to portray the same feelings of love and fear and /or the lack thereof. In both works, the authors use heat and cold imagery in order to portray the presence and/or lack of love in three different forms. These three forms of love that are illustrated through the use of heat and cold imagery are protection, comfort, and intimacy. Heat and cold imagery is used repeatedly in both works to provide a feeling of love in the form of protection and security, usually having the presence of heat or warmth representing a feeling of protection and security, and the absence of heat representing a lack of security or protection. In the following lines from Kawabata’s Thousand Cranes, it is a memory of Mrs. Ota that provides Kikuji a sense of security during a conversation with Fumiko: â€Å"Mrs. Ota’s warmth came over him like warm water. She had gently surrendered everything he remembered, and he had felt secure† (Kawabata 36). In Woman at Point Zero, Saadawi uses the warmth of Firdaus’ uncle’s arms as an image for love in the form of protection in the following lines: â€Å"During the cold winter night, I curled up in my uncle’s arms like a baby in its womb. We drew warmth from our closeness† (Saadawi 21). This passage provides an even greater sense of protection through Saadawi’s use of the simile, â€Å"like a baby in its womb† (21). The second form of love expressed through the use of heat and cold imagery in both works is comfort. In Woman at Point Zero, heat is used in order to provide comfort to Firdaus who is â€Å"shivering with cold† and â€Å"soaked in rain† (63). The third and final form of love expressed through the use of heat and cold imagery in Thousand Cranes and Woman at Point Zero is that of intimate relations. It is f... ...ng used simultaneously with the cold imagery. Both in the beginning of the book when she first sits down to speak with Firdaus and when she is about to get up, Saadawi refers to there being a â€Å"coldness which did not reach my body†, and says, â€Å"It was the cold of the sea in a dream. I swam through its waters. I was naked and knew not how to swim. But I neither felt its cold, nor drowned in its waters† (107). Perhaps after analyzing these two matching passages, one could make a claim that we must first humble ourselves in order to become insensitive to the coldness of this world. In the end, whether it is protection, comfort, intimacy, uneasiness, or death that Nawal El Saadawi and Yasunari Kawabata are portraying through their usage of heat and cold imagery in Woman at Point Zero and Thousand Cranes, we can easily see that both authors use heat and cold imagery as the dominant reoccurring literary device to portray feelings of love and fear and/or the lack thereof. Bibliography Kawabata, Yasunari. Thousand Cranes. Trans. Edward G. Seidensticker. Vintage Books: New York, 1996. Saadawi, Nawal El. Woman at Point Zero. Trans. Sherif Hetata. Zed Books: London, 1983.