It talked about how there was little space, and dirty conditions. According to the text I know that they had such little space to live in, they built another house so they didn’t live on the streets. After reading the text I know they had to live with rats in their airshafts and houses. Airshafts are little homes. According to the story I know that the immigrants had to live in dirty conditions and didn’t have much space because they had to live in small tenements. Tenements are apartments, but the immigrants lived in small tenements. After righting about the immigrants lives and how they lived, I am now going to conclude this essay.
Theme of Cruelty Throughout the novel, I’m Not Scared the hero, Michele, realises that the adult world is not as innocent and caring as he originally thought. Niccolo Ammaniti’s novel takes the reader on a journey through an innocent and too trusting world seen through the eyes of a nine year old boy, Michele. It is set in Southern Italy in the hot summer of 1978. Michele finds a dirty, incoherent boy, Fillipo, chained in a hole hidden outside his village, but is too scared to speak of it. He begins to connect the boy, his own impecunious parents, and an unexplained visitor, with a headline kidnapping that has the whole country on edge. Michele discovers that people around him, particularly his father, are capable of cruel actions.
“Then he said we were all going to the sweatbox. None of us knew what he was talking about, but it didn’t sound like a good place. He cursed and said, ‘I’m gonna ask you one more time, who broke that window.’ So i answered, ‘I did’”(Lowery 46). Lynda and everyone else passed out in the sweatbox due to the fact that there were no windows, no beds, no toilets, and no lights. All they had was an iron door. This strengthened Blackmon because it gave her the courage to fight for what she thought was right, even though there would be consequences. This decision affected the lives of those around Lynda because when the policeman came and asked who broke the window, after Lynda confessed, five of her friends said that they did it. All the “other” Lynda Blackmons were put into the sweatbox. This experience showed that the marchers had to stick together, it taught them that there is strength in numbers. Lynda helped her friend Pat and made sure that she was healthy and safe afterwards. This decision affected the lives of those around Lynda because when the policeman came and asked who broke the window, after Lynda confessed, five of her friends said that they did it. All the “other” Lynda Blackmons were put into the sweatbox. This experience showed that the marchers had
Rivera wrote a short exposition; but we observe the drastic impacts of the new world on the characters. Watching the characters deal with the juxtaposition of before and after chaos ensuing is very engrossing. Some resist the change and others deny it. In response, the characters must find their way through this world and can only survive by revising their mindset. However, the story is surreal and disoriented because it lacks definition of time and space. Elapsing time is only understood with the present of a new character within the scenes. Also, the staging of this production amplifies this feeling of confusion. Metal walls—one with a sliding door, a gated
The depiction of the characters is a vital aspect of Szymborska’s works. This is notable in the poems ‘Lot’s Wife’ and ‘The Terrorist, He's Watching’ (see Appendix 1). This depiction of the characters is influenced by many literary techniques, one being narrative voice. Narrative voice can be defined as the
“We define existential mattering (EM) as the degree to which individuals feel that their existence is of significance and value; to feel a sense of EM is to feel that one’s existence is important and relevant.” (39) Demonstrated by Batthyany et al. definition of existential mattering, is the importance of self-awareness, a theme that perpetuates through Antonioni’s L’Avventura. Anna, Sandro and Claudia, three of the characters of interest in Antonioni’s film, are in constant limbo with their self-awareness and seem as if they are unable to achieve conscious, rational self-evaluation. Throughout this text, we will evaluate the existential anxieties of Anna, Sandro and Claudia as presented through the narrative and filmography of L’Avventura.
Through the study of the records of courts, both secular and ecclesiastical, which exists in thousands of European and American archives and libraries, a patient and careful researcher can reconstruct particular images of “the world we have lost” and of the people who inhabited that world. From this vast, largely untapped repository of judicial records, Gene Brucker uses the notarial protocols of Ser Filippo Mazzei, which contains the transcripts of the litigation in the archiepiscopal court and the catasto records, which provides information about Florentine households, to piece together the dossier of Giovanni and Lusanna. The story of Giovanni and Lusanna explores the love and marriage in renaissance Florence and uncovers the gradation of the city’s social hierarchy and the role of women in society.
The spectacle of detention centres does not only lie within public perception but also within the architecture of the facility (Grinceri, 2016, p170-171). The barbed wired fence of detention centres is an example. It allows the spectators (citizens) to witness the enclosure of refugees while simultaneously binding refugees within its constraints, punishingly (Pugilese, 2008, p206-207). The visibility provided by the wired fence enables photography and videoing, thus acting as a spectacle.
Cosimo de’ Medici was born on September 27, 1389 in Florence, Italy at the time his family was middle class bankers. At a young age his father Giovanni, introduced his son to the family business of banking. As Cosimo grew older, he took on more duties in the
Critical Commentary “Crocicchio” by Ardengo Soffici is a poem written in the era of the historic avant-garde in which Italy was facing a technological revolution; railways, cars and trams were all being transformed and as such the country saw a rise in the Italian Futurist movement. This movement praised all things modern by exploring new forms and technologies, treating them as a spectacle to be revered. The influence of these futuristic ideologies is clear in Crocicchio as Soffici paints a series of pictures of city life characterised by the chaos and activity which he experiences in his passing.
Niccolò Ammaniti’s novel I’m Not Scared set in Acqua Traverse, Italy 1978 is a powerful text. It which explores the lack of compassion shown towards the helpless, through the different actions of characters, Pino and Skull. Filippo is shown little to no caring what so ever. However Michele in
In Perdido Street Station, Miéville introduces the dystopian alternative world of Bas-Lag, and it’s accreted city of New Crobuzon. Archaic yet technologically advanced; the city is simultaneously ruinous and polluted, threaded by repressive administrative agents. The city’s borders are constructed in even layers constantly deteriorating as a cycle of breakdown-
The post war period in Italy represents a time of cultural, economic and political instability, as the nation tried to re-create the social bonds broken by the war and
This paper aims to make an analysis of the short story entitled, “The Vendetta”, written by Guy de Maupassant. “Vendetta”, which means “revenge” in the English language, is the core of this short story, and the concept from which the main character depends upon in order to survive. The story revolved around the revenge of the Widow Saverini because of the death of her son Antoine Saverini. Antoine was killed by a man named, Nicolas Ravolati, who was the object of revenge of Antoine’s mother. The death of her son, and her plot for revenge made her restless and sleepless at nights, thus, motivating her to avenge the death of Antoine.
Michelangelo Antonioni’s L’eclisse is a quiet and sad film with a theme of human detachment and alienation. He shows the difficulty of connection in an alienating modern world by focusing on the environment and isolation of characters. One of the first things that is strikingly noticeable in L’eclisse is Antonioni’s set-up of the environment. With the discordance of the music in the opening credits and the long shots that emphasize the empty space, we immediately get a sense of uncomfortable isolation in the beginning of the film. Antonioni throws us into the middle of an ending of a relationship. He starts the scene with a still shot of a lamp, then pans over to Riccardo sitting in silence, almost like another object. Then he quickly cuts to a shot of Vittoria on the opposite side of the room. This editing makes empty space a defining factor for this environment. Antonioni uses this focus on spacial distancing to alienate and isolate the characters. The two are clearly separated from each other, showing both a physical and emotional disconnection. Also, the motion of the camera seems to illustrate the disconnect in their relationship. The lack of dramatic movement by the camera represents the lack of emotional connection between them. Therefore, the motion of the camera illustrates the emotions of the character as much as what is actually framed within the image itself. There is also an obsession with touch, mostly on Vittoria’s part. With the constant lack in communication