Compare And Contrast As For Me And My House By Sinclair Ross

Each year, thousands of soldiers travel miles away from home, risking their lives to defend their country with a mentality of being the predator and not the prey-”kill or be killed.” These soldiers respected by most citizens for their actions- ending the lives of others. While people focus on these dauntless actions, nobody seems to question how the war emotionally and mentally affects these soldiers. Soldier's Home, by Ernest Hemingway, and Speaking of Courage, by Tim O'Brien, are both stories that explore and describes a veteran’s post-war return and adjustment to home. Hemingway writes a story about a soldier's detachment to his loved ones and unwillingness to readjust to the life he had departed from.

Between 1910-1970 up to 100,000 aboriginal children were taken forcibly from their homes and families, by police or welfare officers. These children were known as the ‘stolen generation’. The novel Home, by Larissa Behrendt puts a human face on the stolen generation by illustrating the acts perpetrated against them. In the novel home, this is delivered through the story of Garibooli and her family.

While other may just quickly glance at the narrator’s paintings and not notice anything, Rockwell had always examined the narrator’s work in silence and noticed the subtle details of the narrator’s paintings. Because of Rockwell’s unconventionality, he is able to discern through the façade the narrator puts on and unveil his true identity. Unlike the other individuals who have scrutinized the narrator’s paintings, Rockwell began “frowning at a picture [the narrator] had made.” This illustrates his peculiar thoughts where he is capable of discovering something different from the narrator’s paintings of Sara. Rockwell is able to analyze the meaning behind the narrator’s paintings of Sara and eventually pry out the true meaning of his artwork. Rockwell represents the brutal, cold reality that the narrator must confront and accept. This is demonstrated through his honest, direct words as he tells the narrator that he is “doing [him] a favour by telling you this.” He wishes that the narrator will gradually begin to abandon his painful past and embrace the reality that he must end up confronting. Towards the end, even

You wouldn’t think about how when turning a play into a movie and making a slight change can affect the overall message of the plot. Often at times lines can be changed from the play once it is made into a movie sometimes even the whole scene or the morals of an actor may differ. It can be easier to relate to a character when your understanding of their ways or you feel you have been in a comparable situation nevertheless you may be able to relate easier than you think. These differences from a film verses a book can completely change or enhance how you feel towards different people that are in the play and movie. All these aspects can be seen and understood in Cat on A Hot Tin Roof and these play a part for me when both comparing and differentiating the play

Her self expression through painting is used as an outlet for her expression as the new individual she has grown to be.

is able to help her overcome her problems. He is allowing her to express her pain threw her art because she won't speak about

Seeking to improve her skills as an artist is another result of her increasing need for self-fulfillment. As she begins to act in accordance with her own desires rather than with upper-class society's expectations, her illustrations and paintings "grow in force and individuality. " She could not become a great artist, however, because she is not focused or ambitious enough to work when depressed or in gloomy weather, a limitation indicative of her poor grasp of resolutions and

He communicates his developing understanding of relationships, reality and conflict within his world. It is through these concepts, literary techniques and the form the text

The two pieces are similar because they both tell a story of two men leaving for combat and having to deal with the cruel and terrible acts that occur in wars. Before going to war, Krebs had a normal life-like others who were never involved in a war. In "Soldier's Home", Krebs lied and exaggerated to the point that after his return home he began to suffer from nausea. This is similar to O'Brian's account when he writes that to make a war story believable to the general population, one must lie and stretch the truth. Unlike Krebs, O'Brian communicates with people about his involvements so they are able to visualize a real painted picture of what war is like. Hemingway allows the reader in his story to know that people did not want to hear the

In the prologue, Audre describes her “home” as being a place that could only be from a fairy tale (enchanted even). This home is somewhere Lorde never visited or never observed. She only knows this extraordinary place through her mother’s stories. As Audre grows older, “home” is something she does not have in life. She even expresses that the extraordinary place (Carriacou) from her mother’s stories in no longer the home, she longed for it to be (Zami 256). Even though her home was in Harlem, New York, Stamford, and Cuernavaca, they never felt like home. Throughout the novel, it appears that Carriacou helped Audre deal with the racist society. She finally accepts her character in society as a black lesbian. She in time grows to admit that

Sandra Cisneros wrote “A House of My Own: Stories of my life” as her form of an autobiography. "A House of My Own: Stories from My Life" is very much about borders and about houses, particularly "the house one calls the self." It is made up of nonfiction chapters, most of which have previously appeared as book introductions or articles in newspapers and magazines, or were presented in lectures. "My stray lambs". Throughout this passage Sandra Cisneros, shares personal stories about family and “home”. A theme throughout this passage is “home”. Home becomes less associated with her pass book, Mango Street, but more as a metaphor to other developments in her life.

As the years went by he began to paint more and more. His artistic skills improved greatly and exceptional surpassing his (orignal) understing that what he thought he would become. Before he knew it muesums were taking his work. He was becoming the artist

The house was long, white, and had blue shudders. I could always pick out which set of windows out front peeked into my bedroom because of the messy off-white paint stuck to it after years of never being touched up. Inside, so much more was going on than the typical all-American home lead outsiders to believe. Confusion, growth, fear, and lots of aluminum cans.

Philip had a tumultuous childhood with little parental involvement — after sending him to be educated at a boarding school in England, Philip’s mother was diagnosed with schizophrenia and committed to an asylum, and his father spent most of his time in Monte Carlo with his mistress, relying on wealthy relatives to support Philip in his education.

In A Portrait of the Artist as a Young Man, Stephen Dedalus defines beauty and the artist's comprehension of his/her own art. Stephen uses his esthetic theory with theories borrowed from St. Thomas Aquinas and Plato. The discourse can be broken down into three main sections: 1) A definitions of beauty and art. 2) The apprehension and qualifications of beauty. 3) The artist's view of his/her own work. I will explain how the first two sections of his esthetic theory relate to Stephen. Furthermore, I will argue that in the last section, Joyce is speaking of Stephen Dedalus and A Portrait of the Artist as a Young Man as his art.