The Fragments Of The Past

“The Boy in the Box” has been a mystery for many years due to the extremely limited amount of information investigators know about the boy. On February 25th, 1957, Frederick Benosis, a college student, reported that he found a nude body of a little boy between 4 and 6 inside

Looking at an artifact’s physical attributes is always the first step to uncovering the archaeological significance

My artifact is a necklace and it’s so unique and important to me because it has my name on it. And it’s so beautiful, in the middle there is my name with Arabic letters it’s so old so I don’t wear it any more but it still my favorite on of all. I allow keep it in a small box in my bed room near to me so that nobody will play or touch it. I get it when I was 11 years old from a special people in a special event. It from my family they give it to me as a present when I pass my sixth grad, I was so happy that day and until now every time I look at it I remember how hard I worked to pass that school year. It also my first necklace in my life I keep it until now because I love my family. When I feel upset or depressed I tack it out and keep

The speaker, although afraid of the unknown in the box, “there are no windows, so I can’t see what’s in there,” is fascinated with the danger that lies within it. This can be linked to “Bluebeard” in which the speaker, once again is strangely drawn to Bluebeard even though she knows he is dangerous, “my X-rayed heart,

The black box which is old and broken is also an important clue to lead the plot.

The book Spook: Science Tackles the Afterlife, is a non-fiction work by Mary Roach, that explores the unanswered questions about the afterlife. The humorous and scientific exploration includes: whether there is a soul that survives death, reincarnation, near-death experiences and out of body experiences. This is a book about what scientists are doing and have done in their attempt to find evidence that when we die we don’t just turn into bones. Roach attempts to find and the define that soul using a scientific approach in order to determine the possibilities of an afterlife. To achieve this goal, she examines what scientists have discovered in their quest to find evidence for life after death.

“He is dead who called me into being; and when I shall be no more, the very remembrance of us both will speedily vanish. I shall no longer see the sun or stars, or feel the winds play on my cheeks. Light, feeling, and sense, will pass away; and in this condition must I find my happiness.”(161)

As I read the reading “death”, I can conclude that the main idea for this reading that the author wants his readers to believe that the death is not something scary. We all should not be afraid about the fact that our bodies will cease to exist after death.

you die you will be reborn into another body which brings out the belief of Reincarnation) or

In the 7th Century AD, an important individual was buried inside a ship in East Anglia. The ship most likely hauled up from the nearby river, a burial chamber was built in the center of the massive vessel. Luckily grave robbers did not reach the ship burial as they did other nearby burial mounds, because the ship was rich in history and artifacts including gold, silver, bowls, spoons, weapons, drinking horns and much more. Originally discovered in 1939, the artifacts and ship burial have been closely examined another 2 times. The artifacts found within the magnificent burial site have created a lot of stir over the past 80 years. Theories have changed on the significance and origins of the artifacts due to changing hypothesis or the arrival of new and different evidence. Because there are dozens of artifacts within Sutton Hoo, this paper will be focusing on a select four of them including; the ‘baptismal’ spoons, the Merovingian coin hoard, the whetstone, and the scepter. According to scholars over the past 80 years, how have opinions, evidence, or assumptions changed relating to these exact artifacts? This paper will be taking a contemporary look at the perspectives of different scholars on different artifacts and, finally, analyze why these perspectives have shifted or changed over time. To my knowledge, scholars do give credit to previous perspectives, but no scholar has every brought all the perspectives together and analyzed their findings.

I set the box back onto the desk and paced back and forth with the rhythm of the clock. I felt myself watching it, as I passed by. All I could hear was the ticking and all I could think about was the clock inside. Oh! What kind of devilish clock must have been inside? I could only imagine, its grotesque features, twisting and curling, its sharp edges, its dark aura, its stark callous face, always ticking. I couldn’t restrain myself any longer, I bound toward the box, tearing the bow and parchment away, with such furry. I flung the lid open, prepared to end this fiendish terror clock, ceasing it infernal racquet, but to my surprise, I was ridiculed by an empty box. “What is this?” I shouted with disbelief. “How is this possible?” I hurled the

While consequent to opening the first box the groups was inclined to consider that the capsule is a farce used by someone to simply play games with people's minds, the message it contained played an essential role in making us understand the importance of our discovery. These objects were practically put inside this box with

Books, films, documentaries, and even memories: each serves to recount past events, each in a different way. While these accounts of the past are shared, they serve to provide the audience with an understanding; oftentimes this understanding does not and cannot portray the effect of certain, unimaginable events in history, such as the Holocaust, on individuals. In his essay, “The Presence of the Past,” Bernhard Schlink brings to the surface some of the inherited struggles that generations of German people have faced as a result of the Third Reich. Alongside his essay, Schlink also presents the effect of the past on people in his novel, The Reader, when he presents the audience with a character placed in a situation that is highly uncommon.

In “A Scrap or Time and Other Stories”, Fink 's writings challenge this idea of restraints of moral behavior on critical situations, for example those who were either compelled or forced to go to Germany to do “charitable” labor for the Reich. The question really was, can they be judged by standards that overcome in these ceasefire societies? Fink tells individual stories in a modest way, in the sense that she seems to avoid using ordinary words. Instead, she uses images, symbols, and metaphors, especially those originating from nature to highlight these facts that allude to the overall picture of the short stories. This can be seen in the opening story, “A Scrap of Time, "The Garden That Floated Away," and "A Spring Morning." This very sense of symbolism and metaphors as well as the minute details throughout the stories as a whole aid in providing a coherent pieces that allows the reader to distinguish the fact that many of the stories are not only interrelated but written by the same author. In the stories, many of the people mentioned are influenced by two types of memory the flat one which records the predictable everyday events, and the jagged one which influences deeply into the unconscious layers of the mind. In “A Scrap of Time” this very essence of a flat memory that described the predictable was quite evident within the first couple of paragraphs, “I had left my house after eating a perfectly normal breakfast, at a table that was set in a normal way.” (pg. 4)

One of the author’s tactile senses is the unknown box that Komura has to deliver to Hokkaido. Sasaki, Komura’s friend from work, gives him an attractive offer for a trip to another part of the country for free, only if Komura delivers the mysterious box to his sister. Komura accepts the offer and takes the box; however, something strange seems for him to be in the box. Sasaki ensured Komura that there is “nothing fragile, and there are no ‘hazardous materials’’’ (Murakami 508). Komura takes the small package into his hands and shakes carefully but cannot really feel anything. “As Sasaki had said, it weighed practically nothing. Komura held it in his hands and studied it a few seconds. He gave it a little shake but he couldn’t feel or hear anything moving inside” (508), Murakami writes. The author leaves another dubious question for the readers, but maybe it was Murakami’s purpose of not telling all the details about the strange box.