Object Description - Phone

Phone - Samsung Galaxy SIII

So my phone is something I think everyone in this day and age takes for granted. For me I can definitely believe that I take it for granted.

There are three things I see my phone as; A selection of my music. All my favourites, classics and all the new stuff that I’m listening to right now - The music I’m getting into for whatever reason. It’s also a device for a quick burst of inspiration - A way I can create art and concepts the moment creativity strikes. Also it’s a connection, its an outlet to communicate with anyone at anytime. I can talk with friends at the same time as contacting a business partner and send important emails.

When truly - That's just what I see, in reality it’s just a phone. A advanced device that also makes calls, that's become more of a tool than anything. A small computer in your pocket. Still amazing though.

1958 to 2015

1958, and now to 2014

A lot has changed in the 57 years between then and now.

We live in a world where, whether it’s sexuality or music, the borders and genres are blended and fluid. We just choose from this broad spectrum, what area we like and continue. 

We’re now more open to equality and the expression. Nothing is in black and white, everything is now on this massive spectrum of colours.

We live in more creative societies and are being driven by the right brained, creative minds. We’ve become a more individualized culture.We live in a world so connected, we can communicate with someone around the world in a matter of seconds.

But from the eyes of the teen,

There are so many people now who are fake, we now have something called the internet and social media websites. On those "websites" many teens base their importance on the number of likes or hearts they get on their phone, that's three inches from their face. Something so small in reality.

Even with that, the internet has brought us new opportunities. Someone with an interest can meet and follow other people with the same interest as you. Some can find audiences for their work in the thousands or millions. hundreds of networks to share and create, every network for a different purpose or interest.
     

With any change, there will be good and bad parts. but to sum it up, the world is now more advanced, the world has changed as well as the minds of the people who walk on it.

John Donne - Poet/Poetry Analysis

Biography

John Donne was a famous English poet, satirist, lawyer and priest of his time. Known for his realistic and sensual style, his writings include literary works from sonnets, love poetry and religious poems to Latin translations, epigrams, elegies, songs, satires and sermons.

As a representative of metaphysical poets, his collection of poetry is a complete stand out for their vibrant language and use of metaphors. He works were mainly metaphysical poetry, usually witty, had employed paradoxes, subtle analogies and puns. One of the important themes of his poems was the idea of religion. He wrote many secular poems which showed his considerable attention in religious beliefs. Apart from the metaphysical poetry, Donne also wrote erotic and love poems.

His writings often carried ironic and cynical elements, especially human motives. Later, Donne became an Anglican priest following an order of King James I. After serving as a member of parliament twice in 1601 and 1614 and appointed as the Dean of St. Paul's in London in 1621.

Death, be not proud (Holy Sonnet 10)

Death, be not proud, though some have called thee

Mighty and dreadful, for thou are not so;

For those whom thou think’st thou dost overthrow

Die not, poor Death, nor yet canst thou kill me.

From rest and sleep, which but thy pictures be,

Much pleasure; then from thee much more must flow,

And soonest our best men with thee do go,

Rest of their bones, and soul’s delivery.

Thou’art slave to fate, chance, kings, and desperate men,

And dost with poison, war, and sickness dwell,

And poppy’or charms can make us sleep as well

And better than thy stroke; why swell’st thou then?

One short sleep past, we wake eternally,

And death shall be no more; Death, thou shalt die.

Analysis

Every person fears Death. Outside of Life, it is the only universal condition for all living things. Donne’s belief is that Death is just another stage in “God’s” plan for humans, it should not be excessively feared but accepted. In the first stanza, Donne makes Death a personification, addressing it directly as if Death was a person. This personification immediately lessens the fear of “mighty and dreadful” Death. He even states that even those who think that Death kills them, “Die not”, as their souls will be welcomed into Heaven by a forgiving God.

Death is just a passageway “from thee much more must flow” to the “soul’s delivery”.Death can be seen as only a delivery boy. Death does not take life, it only manages traffic between our earthly life and our spiritual lives with God. Death should not be feared considering how common of an occurrence it is. After death, we’ll all realize that “mighty and dreadful” Death is just something that happens.  Death should not be feared if you put it in its proper perspective.

Meditation 17

Devotions upon Emergent Occasions

'No Man is an Island'

No man is an island entire of itself; every man

is a piece of the continent, a part of the main;

if a clod be washed away by the sea, Europe

is the less, as well as if a promontory were, as

well as any manner of thy friends or of thine

own were; any man's death diminishes me,

because I am involved in mankind.

And therefore never send to know for whom

the bell tolls; it tolls for thee.

Analysis  

This poem was written as prose, as one of Donne’s religious reflections on the relationship between people as directed by God. It was written for Prince Charles, future king of England, and directs each of us, including royalty, to consider our connection to others. We have different gifts, according to the grace given to each of us.”  We need to respect each other in our daily lives, regardless of our beliefs or nationality or station in life. This is a considerable statement because most nations of Europe were often at war with each other.

Donne bluntly uses geography as a metaphor of each individual’s relationship to his fellow man. “Every man is a piece of a continent” is a graphic image that we are bound to each other for security and stability against the forces of nature and life. If even the smallest part of “the main” is broken away, it will be washed away and lost by the unforgiving “sea”. The thought that “any man’s death diminishes me” reflects Donne’s religious beliefs that each member of humanity is bound together by God’s plan and that – even if the other man is unknown to the reader, across the continent – “any man’s death diminishes me.”

It’s only social curiosity which person has died on any given day, if we believe that each individual’s life is part of the greater whole.  

Today, and on each day, we need to be “involved in mankind”, as soon it will be our turn to answer for our actions toward others.

The Flea

Mark but this flea, and mark in this,

How little that which thou deniest me is ;

It suck'd me first, and now sucks thee,

And in this flea our two bloods mingled be.

Thou know'st that this cannot be said

A sin, nor shame, nor loss of maidenhead ;

Yet this enjoys before it woo,

And pamper'd swells with one blood made of two ;

And this, alas ! is more than we would do.

O stay, three lives in one flea spare,

Where we almost, yea, more than married are.

This flea is you and I, and this

Our marriage bed, and marriage temple is.

Though parents grudge, and you, we're met,

And cloister'd in these living walls of jet.

Though use make you apt to kill me,

Let not to that self-murder added be,

And sacrilege, three sins in killing three.

Cruel and sudden, hast thou since

Purpled thy nail in blood of innocence?

Wherein could this flea guilty be,

Except in that drop which it suck'd from thee?

Yet thou triumph'st, and say'st that thou

Find'st not thyself nor me the weaker now.

'Tis true ; then learn how false fears be ;

Just so much honour, when thou yield'st to me,

Will waste, as this flea's death took life from thee.

Analysis

This poem is one of Donne’s metaphysical and erotic poems, using a blood-sucking flea to seduce a woman into having sex with him. “How little thou deniest me” tells us that the maiden is not falling for the narrator’s seduction techniques but is willing to allow herself to be invaded by a common flea, drawing her blood without shaming herself or losing “her maidenhead” (virginity). The poet argues that if she is willing to spare blood for a small flea, how bad would it be to spare blood for him. Donne then aligns his desires to the religious ceremony of marriage.

Donne even warms that the maiden should not take this situation lightly:  if she simply swats the flea dead with both of their bloods mingled, it would be “three sins in killing three”. The intentions of the narrator are overall clear and universal: sex. He uses a common flea to lessen the whoever/maiden’s concerns about what really should be a valuable asset, her virginity, to make her consider that sex is just one of the common things that happen in life. He starts with a very simple idea and adds layers of significance:  a flea bite, the joining of blood, marriage, suicide and murder. He creates it into a big idea and then brings back down to say: wouldn’t it just be easier to have sex?

Macbeth Soliloquies

Two truths are told

Two truths are told,

As happy prologues to the swelling act

Of the imperial theme. (to ROSS and ANGUS) I thank you, gentlemen.

(aside) This supernatural soliciting

Cannot be ill, cannot be good. If ill,

Why hath it given me earnest of success,

Commencing in a truth? I am thane of Cawdor.

If good, why do I yield to that suggestion

Whose horrid image doth unfix my hair

And make my seated heart knock at my ribs,

Against the use of nature? Present fears

Are less than horrible imaginings.

Macbeth sees that two of the tellings from the witches have come true, he then assumes that him becoming king will happen as well. Although his desires to be king are not unheard of, he believes the supernatural aspect from the witches are not bad, but can’t be good either. They can’t be bad because a step into a higher power couldn’t be bad. But the thought of murdering the current king; Duncan, to then take his place, is a horrible and disgusting task that just the thought makes Macbeth tense. After all the thoughts and fear of committing murder, Macbeth realises that most of the fear and danger that makes him afraid is just in his head and he’s imagining it. The real danger is less horrible than he makes it to be, Macbeth is preparing himself for the deed.

Lady Macbeth

The raven himself is hoarse

That croaks the fatal entrance of Duncan

Under my battlements. Come, you spirits

That tend on mortal thoughts, unsex me here,

And fill me from the crown to the toe top-full

Of direst cruelty. Make thick my blood.

Stop up the access and passage to remorse,

That no compunctious visitings of nature

Shake my fell purpose, nor keep peace between

The effect and it! Come to my woman’s breasts,

And take my milk for gall, you murd'ring ministers,

Wherever in your sightless substances

You wait on nature’s mischief. Come, thick night,

And pall thee in the dunnest smoke of hell,

That my keen knife see not the wound it makes,

Nor heaven peep through the blanket of the dark

To cry “Hold, hold!”

Lady Macbeth receives the news that Duncan arrives at her fortress, where he will later die. Lady Macbeth beckons the spirits and demons to fill her mind with “murderous”  thoughts to help her for the task of murdering Duncan, the King. She asks the spirits to fill every part of her body with brutal cruelty and no remorse, even to take away her sexuality. Leave her with no humane feeling in her body so nothing prevents her from accomplishing her plan. Lady Macbeth at a point asks the demons to “Come to my woman’s breasts, And take my milk for gall” She is taking one of her most caregiving and life sustaining aspect a female and to replace it with a tool for death. She wants a night of darkness, one so dark and thick, heavy air from the smoke of hell. To be so thick that she can’t see the wounds her knife has just made, so dark that The Heavens can’t see and prevent it from happening.

If it were done

If it were done when ’tis done, then ’twere well

It were done quickly. If the assassination

Could trammel up the consequence, and catch

With his surcease success; that but this blow

Might be the be-all and the end-all here,

But here, upon this bank and shoal of time,

We’d jump the life to come. But in these cases

We still have judgment here, that we but teach

Bloody instructions, which, being taught, return

To plague th' inventor: this even-handed justice

Commends the ingredients of our poisoned chalice

To our own lips. He’s here in double trust:

First, as I am his kinsman and his subject,

Strong both against the deed; then, as his host,

Who should against his murderer shut the door,

Not bear the knife myself. Besides, this Duncan

Hath borne his faculties so meek, hath been

So clear in his great office, that his virtues

Will plead like angels, trumpet-tongued, against

The deep damnation of his taking-off;

And pity, like a naked newborn babe,

Striding the blast, or heaven’s cherubim, horsed

Upon the sightless couriers of the air,

Shall blow the horrid deed in every eye,

That tears shall drown the wind. I have no spur

To prick the sides of my intent, but only

Vaulting ambition, which o'erleaps itself

And falls on th' other.

Macbeth realises the multitude effect of his plan now questioning the plan Lady Macbeth had created. He sees that there is no good but only darkness that comes from his actions, not only will they do short term harm, but do long term harm in the long term. Giving the notion that doing acts of violence to gain power over one another. He believes that Duncan, the most recent king, was an awe-some leader, and should have kept him safe while he was slept in trust of Macbeth’s home.

To be less is nothing

Is this a dagger which I see before me,

The handle toward my hand? Come, let me clutch thee.

I have thee not, and yet I see thee still.

Art thou not, fatal vision, sensible

To feeling as to sight? Or art thou but

A dagger of the mind, a false creation,

Proceeding from the heat-oppressèd brain?

I see thee yet, in form as palpable

As this which now I draw.

Thou marshall’st me the way that I was going,

And such an instrument I was to use.

Mine eyes are made the fools o' th' other senses,

Or else worth all the rest. I see thee still,

And on thy blade and dudgeon gouts of blood,

Which was not so before. There’s no such thing.

It is the bloody business which informs

Thus to mine eyes. Now o'er the one half-world

Nature seems dead, and wicked dreams abuse

The curtained sleep. Witchcraft celebrates

Pale Hecate’s offerings, and withered murder,

Alarumed by his sentinel, the wolf,

Whose howl’s his watch, thus with his stealthy pace,

With Tarquin’s ravishing strides, towards his design

Moves like a ghost. Thou sure and firm-set earth,

Hear not my steps, which way they walk, for fear

Thy very stones prate of my whereabout,

And take the present horror from the time,

Which now suits with it. Whiles I threat, he lives.

Words to the heat of deeds too cold breath gives.

Macbeth quickly accepts that his wife is dead. Dying by her own hand because she could live with she and her husband have done, she felt that only worse events will come for her if she continues living. With the acceptance of her death, Macbeth explains that life is a beautiful lie and death is the ugly truth, and acts of this wrongdoing only brings you closer to death. Throughout this, Macbeth is exhausted and remorseful. With all that has happened, even though it was his own doing, has left a toll on Macbeth.

"The Boat" Write Up

Symbolism

The real boat of “The Boat” isn’t the fishing boat that the narrator talks so much about during the beginning of the story.  “The Boat” is his father’s room. The change that’s occurring in their way of life is as different as his room is to the rest of the house:  “It was a room of disorder and disarray.”  

The narrator’s father was not meant to be a fisherman, though there’s no indication that he’s not good at it.  But his body isn’t meant for it.  His skin chafes and boils appear, he wears the brass bracelets all summer when the other fishermen wear only in the early spring. His father doesn’t want to be a part of the fishing world like the narrator’s mother is, his room is an extension of the world he wants to be a part of.

The narrator grows up at the same time that fishing is changing and their old way of life is coming to an end. Eventually the room is the boat that takes the narrator from the fishing world to his new life as a teacher at a university.  A boat is a vehicle for fishermen but his father’s room becomes a vehicle for the narrator to go to a new life.

Dialogue

The most interesting thing about dialogue in “The Boat” is that there is hardly any. Most of the dialogue is either hidden or implied. The most dramatic dialogue in the story is an argument between the narrator’s parents.

The father reads and listens to the radio alone in his room. He is having a dialogue with the outside world. One by one, the narrator’s sisters and then the narrator himself enter his father’s room and read books and then discuss literature and ideas from the outside world. As the narrator says, “Shortly after, my sisters began to read the books, they grew restless and then lost interest in darning socks and baking bread...” Each of the children use the room as a lifeboat to escape the strict fishing world. They are also escaping the very strict prejudices of their mother.

The closest thing to dialogue in the entire story is the argument between the mother and father. It’s not even fully dialogue because only one person speaks but the other reacts. When the narrator’s mother says, “Well, I hope you’ll be satisfied when they come home knocked up and you’ll have had your way”, the father wheels around and his blue eyes are “flashing like the clearest ice”. Then the father retreats to his room but the narrator calls this “The most savage thing I’d ever heard my mother say”.

The lack of dialogue, or it’s very rare use, is a metaphor for the stifling mood in the lives of the narrator’s father, sisters and himself. In their home, outside of the father's room, they’re almost mute.