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Democracy — «Lyrics ’Get up, Stand up’» — by Bob Marley – [Video/MP4/MP3/PDF]

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="https://benjaminmadeira.blogspot.com/2017/04/get-up-stand-up-marley.html"> <img alt="Get up, Stand up - Official Website - BenjaminMadeira" border="0" height="336px" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwJVOmZ3wa5JYBLstQoC4cvN7HSZcjC1ZbIcx_lX3IUI24L7a05Cs_neET2HvoJLqDsHWKPkDYCxJfsBtxmmPf2ESxymLlKy2giM4xE16qCkaE9UOLOSJhZ7K_aL85yIsxCEanuCp_jxx0/s1600/wallpaper_20893.jpg" title="Get up, Stand up - Official Website - BenjaminMadeira" width="536px" /> </a><br />
<span> <a href="#youtube" style="text-decoration: none;"><font color="#301ce2"> Amnesty International uses "Get Up Stand Up" as its unofficial anthem </font></a> - Photo: <a href="https://www.google.com/#q=Get+up+Stand+up+Bob+Marley+site:benjaminmadeira.com" style="text-decoration: none;" target="_blank" title="Get up, Stand up"><font color="#FF4000"> ©  "Bob Marley" is licensed under CC BY 2.0 </font></a> / <a alt="Get up, Stand up" href="http://www.benjaminmadeira.com/search/label/politics" style="text-decoration: none;" target="_blank" title="Get up, Stand up"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [https://goo.gl/nPLzwM] One of Marley’s songs, and one expressing his belief in human rights for all, is_______________________  "Get Up Stand Up."</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Don't give up the fight! ▶ https://goo.gl/Sv6uMB ◀ This song expresses secularism, and at the same time its insistence that you demand your rights. | #Democracy #BobMarley </div> <br /><br />

<br />
<div align="center"><div style="border-style: ridge ridge dashed; border-color: rgb(255, 255, 255); border-bottom: 1px dashed rgb(255, 255, 255); overflow: scroll; width: 90%; color: rgb(255, 255, 255); height: 330px; background-color: rgb(0, 0, 0);" align="center"><br />
<p><span style="color: rgb(255, 0, 0);font-family:Geneva,Arial,Helvetica,sans-serif;font-size:22px"  ><strong>

Get up, stand up: stand up for your rights!  <br /><br />
Get up, stand up: stand up for your rights!  <br /><br />
Get up, stand up: stand up for your rights!  <br /><br />
Get up, stand up: don't give up the fight! <br /><br />

</strong></span></p><br />

Preacher man, don't tell me,  <br /><br />
Heaven is under the earth.  <br /><br />
I know you don't know  <br /><br />
What life is really worth.  <br /><br />
It's not all that glitters is gold;  <br /><br />
'Alf the story has never been told:  <br /><br />
So now you see the light, eh!  <br /><br />
Stand up for your rights. Come on! <br /><br />

</font></span></center><br />

<span style="font-size:18px;font-weight:bold;color:#FFFF00">
Get up, stand up: stand up for your rights!  <br /><br />
Get up, stand up: don't give up the fight!  <br /><br />
Get up, stand up: stand up for your rights!  <br /><br />
Get up, stand up: don't give up the fight! <br /><br />

</span>
</p></div></div>
<br />

Most people think,  <br /><br />
Great god will come from the skies,  <br /><br />
Take away everything  <br /><br />
And make everybody feel high.  <br /><br />
But if you know what life is worth,  <br /><br />
You will look for yours on earth:  <br /><br />
And now you see the light,  <br /><br />
You stand up for your rights. <br /><br />

</strong></span></p><br />

Get up, stand up!  <br /><br />
Stand up for your rights!  <br /><br />
Get up, stand up!  <br /><br />
Don't give up the fight! (Life is your right!)  <br /><br />
Get up, stand up! (So we can't give up the fight!)  <br /><br />
Stand up for your rights!  <br /><br />
Get up, stand up! (Keep on struggling on!)  <br /><br />
Don't give up the fight! <br /><br />

</font></span></center><br />

<span style="font-size:18px;font-weight:bold;color:#FFFF00">
We sick an' tired of-your ism-skism game - <br /><br />
Dyin' 'n' goin' to heaven in-a Jesus' name, lord.  <br /><br />
We know when we understand:  <br /><br />
Almighty god is a living man.  <br /><br />
You can fool some people sometimes,  <br /><br />
But you can't fool all the people all the time.  <br /><br />
So now we see the light (What you gonna do?),  <br /><br />
We gonna stand up for our rights!  <br /><br /> <br /><br />

<span style="font-size:18px;font-weight:bold;color:#FFFF00">
So you better:  <br /><br />
Get up, stand up!  <br /><br />
Stand up for your rights!  <br /><br />
Get up, stand up!  <br /><br />
Don't give up the fight!  <br /><br />
Get up, stand up!  <br /><br />
Stand up for your rights!  <br /><br />
Get up, stand up! <br /><br />
Don't give up the fight!  <br /><br />
Get up, stand up!  <br /><br />
Stand up for your rights!  <br /><br />
Get up, stand up! (Don’t give up the fight!)  <br /><br /> <br /><br />

</span>
</p></div></div>
<br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Lyrics: ’Get up, Stand up’ by Bob Marley, <a name="pdf">PDF</a> :: </span></div></H2> 
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<div style="text-align: center"> <span style="color: darkgreen"> <span style="font-size: 17pt; line-height:10pt"> [ <a class="explicacion"> <b>Bob Marley, intended for nonprofit, home use / domestic, educational, discussion purposes only.</b> <span> Bob Marley, for educational, discussion purposes only </span></a> ] </span> </span> </div> <br />
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<center><strong><span style="font-size:20px; color: #0B610B;"> <span itemprop="name"> <a name="mp3"> MP3 </a> — «Bob Marley» :: Index of /MP3/music/ORIGINAL/Bob Marley & The Wailers/Legend. </span></span></strong></CENTER><br />
<div id="audiomp3">

<audio preload="auto"></audio>
    <CENTER><div class="track-details"> Bob Marley & The Wailers</div> </CENTER>
<center><hr WIDTH="75%" COLOR="#FF0000" SIZE="6"></CENTER><br /> 
<CENTER>This audio file should be playable on most browsers. It has been tested succesfully on : Microsoft Edge, Adblock Browser, Lightning Browser, Firefox 10, 12, Chrome 37, Opera 11, iPhone, iPhone 3, iPhone 4, iPhone 5, iPhone 6, iPhone 6 plus, & iPad (IOS 3+) , Android 2.3 (2010) up to 4.4.4 (2014) , Internet Explorer 8, 9, 11, Surface Windows RT, Dolphin Browser for Android, UC Browser for mobiles & tablets. </CENTER>

<ol>
<li class="playing">
<a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/06%20Get%20Up,%20Stand%20Up.mp3" href="#" title="Index of /MP3/music/Bob Marley">Bob Marley – Get Up, Stand Up, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/01%20Is%20This%20Love.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – Is This Love, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/02%20No%20Woman,%20No%20Cry.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – No Woman, No Cry, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/03%20Could%20You%20Be%20Loved.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – Could You Be Loved, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/04%20Three%20Little%20Birds.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – Three Little Birds, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/05%20Buffalo%20Soldier.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – Buffalo Soldier, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/07%20Stir%20It%20Up.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – Stir It Up, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/08%20One%20Love_People%20Get%20Ready.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – One Love_People Get Ready, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/09%20I%20Shot%20the%20Sheriff.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – I Shot the Sheriff, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/10%20Waiting%20in%20Vain.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – Waiting in Vain, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/11%20Redemption%20Song.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – Redemption Song, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/11%20Satisfy%20My%20Soul.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – Satisfy My Soul, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/12%20Exodus.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – Exodus, MP3 - 3min</a> </li>

<li><a alt="Index of /MP3/music/Bob Marley" data-src="http://mhoerner.dyndns.org/mp3/Bob%20Marley/Legend/13%20Jammin'.mp3?source=http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html" href="#" title="Index of /MP3/music/Bob Marley"> Bob Marley – Jammin', MP3 - 3min</a> </li>

</ol>

</span> </span> </strong> </ul> </div> </strong></font></span> </CENTER> </div>  </div>
<br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  —  In-Text Quotation – Reference:  </span> <br /><br />

• (Marley, 1973, stanza #, line #)   </div> <br /><br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  —  Page Reference:  </span> <br /><br />

• [1, APA] Marley, B. (1973). Get up, stand up [Recorded by Bob Marley and The Wailers]. Burnin' [CD]. Kingston, Jamaica: Tuff Gong, Island Records <br /><br />

• [2, MLA] Marley, Bob. "Get up, stand up" [Recorded by Bob Marley and The Wailers]. Burnin' [CD]. Kingston, Jamaica: Tuff Gong, Island Records (1973).   <br /><br />

Cite: (APA) Madeira, Benjamin (2017). "Democracy – Lyrics ’Get up, Stand up’ by Bob Marley – [Video/MP4/MP3/PDF]." [Blog post] Retrieved on (place Month here) (place Date here), (place year here), from http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html <br /><br />

Cite: (MLA) Madeira, Benjamin. " Democracy – Lyrics ’Get up, Stand up’ by Bob Marley – [Video/MP4/MP3/PDF]." 2017. Web. 
< http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html >. Retrieved on (place Month here) (place Date here), (place year here). <br /><br />

Cite: (CHICAGO) Madeira, Benjamin, " Democracy – Lyrics ’Get up, Stand up’ by Bob Marley – [Video/MP4/MP3/PDF]." 2017, accessed (place month here) (place date here), (place year here), http://www.benjaminmadeira.com/2017/04/get-up-stand-up-marley.html.

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Democracy — «Lyrics ’Get up, Stand up’» — by Bob Marley – [Video/MP4/MP3/PDF]

Amnesty International uses "Get Up Stand Up" as its unofficial anthem - Photo: © "Bob Marley" is licensed und...

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Podcast — «TalkAboutFilms: The Movie «Crash» - [MP4/Video]

<div class="JBMCode"> "OVER BLACK we hear the sound of a violent rear-end COLLISION, brakes locking, metal crunching, tires skidding as a car spins, horns blaring, gravel spitting. Then silence. We start to glimpse faint, unfocused images of flashing lights". ["Crash" is a 2004 crime drama film co-written, produced, and directed by Paul Haggis.]</div><br /><br />

<div class="citajbm"> • ✔ <b> <a href="#clip" style="text-decoration: none;">"Crash" — is a movie</a></b> that exposes different kinds of <b><a href="#movie" style="text-decoration: none;"> social and multicultural differences </a>. </b> <a href="#mp3" style="text-decoration: none;"> I am creating a presentation on race relations, identity and integration, as well as the film Crash (directed by Paul Haggis, 2004)</a>. </div><br />

<center><font color="#301CE2"><strong> <a alt="Movie clip, via Youtube API" href="https://www.youtube.com/results?filters=long&lclk=long&search_query=movie+crash+2004" style="text-decoration: none;" target="_blank" title="Movie clip, via Youtube API"><font color="#301ce2">Movie clip, via Youtube API</font></a> | <a href="https://plus.google.com/111394417792438554096/about" rel="author" target="_blank"> — Madeirinha — </a> 
<a href="https://plus.google.com/111394417792438554096/posts" rel="publisher" target="_blank"> Benjamin Madeira — </a></strong></font></CENTER><br /><br />

<div itemscope> <div class="center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2014/09/podcast-film-crash.html"> <img alt="Sociology Through Film CRASH - Official Website - BenjaminMadeira" border="0" height="336px" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsOQLXaTVvZiAGHb1ut-C7umCmypdhwnYxk7YAP-LpYahcigNL1k4u7DWG8HN_YktgHmxMBO9vj8ERtKLNXpyCQ0EebaE3FtkGBbIj5MIA-WvHBrIWhKQbI5vZWrwxwew1TSwjtYzqs_v6/s600/crash-movie-BenjaminMadeira-com.jpg" title="Sociology Through Film CRASH - Official Website - BenjaminMadeira" width="520px" /> </a><br />
<span>Movie Crash 2004 - Photo: Hollywood</span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The independent and foreign film discussion group "TalkAboutFilms" talks about the film: Crash. </span> </div> </H2> <br />

<H3> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Keywords: independent foreign film films cinema movie movies discussion discussions review reviews <br /><br />

Creative Commons license: Attribution-NonCommercial-NoDerivs </span> </div> </H3> <br />

<div class="comillas">Crash is set in Los Angeles, a city rich in diversity. Do you think that an area with such diversity would be more open or close minded about differences? Why?</div><br /><br />

<br /><br />

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<ul> <strong><span style="font-size:15px;">
  • <a href="#podcast" onclick="jwplayer('podcast').load({file: 'https://archive.org/download/TalkAboutFilmsCrashcrashmp3/crash.mp3'}); jwplayer('guate').play();"> [Full Audio / English] (mp3 file - 60min) "Talking about the film: Crash".</a> </span> </strong> </ul> </div> <br />

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<div style="text-align: center"> <a alt="Play - Crash (2004), Drama,  Director: Paul Haggis, Online" href="javascript:void(0);" onclick="window.open('https://redirector.googlevideo.com/videoplayback?requiressl=yes&id=9d895b36b283aaad&itag=22&source=webdrive&ttl=transient&app=explorer&ip=2604:a880:0:1010::10f8:7001&ipbits=32&expire=1481233267&sparams=requiressl%2Cid%2Citag%2Csource%2Cttl%2Cip%2Cipbits%2Cexpire&signature=57FD2A69FADB2552261799F6AAD181B4DCFBB581.9FF8A052458882635307ABB69DDC28C585AE2FF9&key=ck2&mm=31&mn=sn-ab5l6nsy&ms=au&mt=1481218792&mv=u&nh=IgpwcjA0LmxnYTA3KgkxMjcuMC4wLjE&pl=48', 'popup', 'left=390, top=200, width=910, height=830, toolbar=0, scrollbars=0, status=0, resizable=0')" style="text-decoration: none;" title="Play - Crash (2004), Drama,  Director: Paul Haggis, Online"> <img alt="Play - Crash (2004), Drama,  Director: Paul Haggis, Online" border="0" itemprop="photo" oncontextmenu="alert('Play - Crash (2004), Drama,  Director: Paul Haggis, Online');return false" oncopy="alert('Play - Crash (2004), Drama,  Director: Paul Haggis, Online');return false" src="http://diferenciaentre.info/wp-content/uploads/2016/05/youtube.gif" style="height:100%;width:100%" title="Play - Futbol, Soccer, Balompie, Directo Online" /> </a> </div> 
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Para dispositivos moviles: smartphones, tablets, Android, iPhones</span></div></H2> <br /><br />
<CENTER> <a alt="Play - Crash (2004), Drama,  Director: Paul Haggis, Online" href="javascript:void(0);" onclick="window.open('https://redirector.googlevideo.com/videoplayback?requiressl=yes&id=9d895b36b283aaad&itag=22&source=webdrive&ttl=transient&app=explorer&ip=2604:a880:0:1010::10f8:7001&ipbits=32&expire=1481233267&sparams=requiressl%2Cid%2Citag%2Csource%2Cttl%2Cip%2Cipbits%2Cexpire&signature=57FD2A69FADB2552261799F6AAD181B4DCFBB581.9FF8A052458882635307ABB69DDC28C585AE2FF9&key=ck2&mm=31&mn=sn-ab5l6nsy&ms=au&mt=1481218792&mv=u&nh=IgpwcjA0LmxnYTA3KgkxMjcuMC4wLjE&pl=48', 'popup', 'left=390, top=200, width=910, height=830, toolbar=0, scrollbars=0, status=0, resizable=0')" style="text-decoration: none;" title="Play - Crash (2004), Drama,  Director: Paul Haggis, Online"> <table border="0" cellpadding="5"> <tbody> <tr><td><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEMnrwj1i9mx-WqbLAzZ0yoOa7xx7briDJ702IoYd5_gcNH_4lrbyCa6riyS10IQ415-DftdiMYSuaTmHTXHIJ6riATlycnVcimi5SIt8JsW6ekFsf25islCR-jeYDWzxOQUwvXWcygrTr/s600/video-clip-play-BenjaminMadeira-com.gif" style="width: 150px; height: 150px; border: 0px none ;" /></td> <td><span style="font-family: Impact; font-size: x-large;">Play - Crash (2004), Drama,  Director: Paul Haggis, Online</span></td></tr> </tbody></table></a> </CENTER>

<div style="text-align: center"><span style="color: #301ce2"><span style="font-size: 14pt; line-height:15pt"> <a alt="BenjaminMadeira - Videos, Documentales, Literatura, Idiomas, Fotografia, Musica, Online" href="http://www.benjaminmadeira.com/feeds/posts/default/-/study-notes?max-results=100" style="text-decoration: none;" target="_blank"><font color="#301ce2"> RT: #Podcast #Crash #Movie ✔ #Film — Race relations, identity and integration. </font></a> #Youtube </span></span></div><br/>

Podcast — «TalkAboutFilms: The Movie «Crash» - [MP4/Video]

"OVER BLACK we hear the sound of a violent rear-end COLLISION, brakes locking, metal crunching, tires skidding as a car spins, horns ...

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MonicaAli — «Brick Lane: Migration, Identity, and Belonging» — Women’s Writing (PDF)

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/03/identity-brick-lane.html"> <img alt="Study Notes - Official Website - BenjaminMadeira" border="0" height="599px" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4pJdGm05vS4H9K4-nMVDGNCrMEJm8RCNUJyPRnxNfVv4TN9q3-GO6Y_HfUqwhso_2Z6znKld7T-2j1YDirXFN-zbcYsFOYGJdEBaLFSo4X3teluyfesm0GzD_JQ9F_dIo5nJ6FVk7gbaj/s600/tannishtha-chatterjee-BenjaminMadeira-com.jpg" title="Migration, Identity, and Belonging - Official Website - BenjaminMadeira" width="420px" /> </a><br />
<span> <a href="#youtube" style="text-decoration: none;"><font color="#301ce2"> Monica Ali, “Brick Lane”, Migration, Identity, and Belonging </font></a> - Photo: <a alt="Brick Lane, by Monica Ali" href="http://www.benjaminmadeira.com/search/label/study-notes" style="text-decoration: none;" target="_blank" title="Brick Lane, by Monica Ali"><font color="#FF4000"> Tannishtha Chatterjee/illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/JYD5pq] Brick Lane (2003), Monica Ali’s novel about migration and settlement which she situates in the Bangladeshi community of East London, does not warrant the unconditional optimism voiced by Razia on its ﬁnal page. </span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Migration, Identity, and Belonging in British Black and South Asian Women’s Writing : <a alt="Brick Lane, Monica Ali, Google Book, PDF" href="http://books.google.com/books?id=9U5h9RNKDRQC&printsec=frontcover&hl=en&source=www.BenjaminMadeira.com&output=embed&redir_esc=www.BenjaminMadeira.com" style="text-decoration: none;" target="_blank" title="Brick Lane, by Monica Ali"><font color="#FF4000"> Monica Ali’s Brick Lane </font></a> | #MonicaAli #BrickLane #Immigration #Culture #Integration #Assimilation #StudyNotes #Literature #UniversityStudies </div> <br /><br />

<div class="JBMCode"> Monica Ali’s Brick Lane tells the story of two sisters brought up in a privileged family in a small Bangladeshi village. The younger and more beautiful Hasina breaks with her family when she elopes at 16 for a love marriage that ends in domestic violence. The older sister, Nazeen, is married at the age of 18 to a man who is 22 years her senior and ﬁnds herself transplanted to a socially deprived council estate in the East End of London. The novel traces Nazeen’s shifting subjectivity and gradual emancipation from total compliance with conservative diasporic Bangladeshi norms of femininity, which are reinforced by religion and a strong belief in fate. Ice-skating, which Nazeen sees on television soon after her arrival in Britain, becomes a visceral metaphor for freedom and escape from the very real physical and emotional constraints of everyday life in a pocket of English–Bangladeshi society.</div> <br /> <br />

<div class="citajbm"> Anna Wierzbicka shows how the results of linguistic semantics and pragmatics, and especially those of the so-called ‘natural semanticmetalanguage’ (NSM) theory developed by the author and colleagues, allow us to better identify different cultural assumptions, values and understandings associated with different languages and to articulate different ‘cultural scripts’ in a way which would reﬂect the perspective of cultural insiders while being intelligible to outsiders. </div> <br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  —  REFERENCES | FURTHER READING:  </span> <br /><br />

• [1] Weedon, Chris(2008), Oxford University Press. <b><a alt="Cultural dislocation in Monica Alis Brick Lane: Freedom or anomie?" href="https://drive.google.com/file/d/0B4kGy0lOHL12NzJHNG1naTlWVDA/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/identity-brick-lane.html" style="text-decoration: none;" target="_blank" title="Cultural dislocation in Monica Alis Brick Lane: Freedom or anomie?"><font color="#FF4000">Migration, Identity, and Belonging in British Black and South Asian Women’s Writing</font></a> </b> Article. Contemporary Women’s Writing 2:1 June 2008. doi:10.1093/cww/vpn003 -  2008. Print. </div> <br /><br />

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<CENTER> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> Brick Lane: Actrees Tannishtha Chatterjee Interview Video :: </span></strong>  </CENTER> <br />
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<CENTER> <strong><span style="font-size:16px; color: #FFFF00;"> <a class="explicacion">Video: Brick Lane, 2007, intended for nonprofit, educational use / study purposes only. <span> Videoclip for study purposes only </span> </a> </span> </strong> </CENTER>
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MonicaAli — «Brick Lane: Migration, Identity, and Belonging» — Women’s Writing (PDF)

Monica Ali, “Brick Lane”, Migration, Identity, and Belonging - Photo: Tannishtha Chatterjee/illustration — [http://goo.g...

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Multicultural tolerance? — «The Myth of the Andalusian Paradise» — (Videos/PDF)

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="https://benjaminmadeira.blogspot.com/2016/07/al-andalus.html"> <img alt="The Myth of the Andalusian Paradise - Official Website - BenjaminMadeira" border="0" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBs0dQZ7itcNGe19lCHI1LPKYoA8SBTsXFpPKYjsXB3MAza1mKNWcGNxrAAN-2YeDrJgx8-v75UyeR79iV13wkjmLPC5M45tBzvRBD_O60MxfNraOfHUzPw54EEkr4gaBZ6KQP9N0QlSwC/s600/Al-andalus-woman-BenjaminMadeira-com.jpg" style="height:436px;width:536px" title="The Myth of the Andalusian Paradise - Official Website - BenjaminMadeira"/> </a><br />
<span> <a href="#mp3" style="text-decoration: none;"><font color="#301ce2"> A Myth Demolished </font></a> - Photo: <a href="https://www.google.com/#q=The+Myth+of+the+Andalusian+Paradise+site:benjaminmadeira.com" style="text-decoration: none;" target="_blank" title="The Myth of the Andalusian Paradise"><font color="#FF4000"> © Creative Commons</font></a> / <a alt="The Myth of the Andalusian Paradise" href="http://www.benjaminmadeira.com/search/label/religion" style="text-decoration: none;" target="_blank" title="The Myth of the Andalusian Paradise"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-size:17px; font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/Zn7nlO] The Myth of the Andalusian Paradise: Muslims, Christians, and Jews Under Islamic Rule in Medieval Spain_______________________by Darío Fernández-Morera.</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Darío Fernández-Morera ▶ https://goo.gl/E1ARwR ◀ «The existence of a Muslim kingdom in Medieval Spain where different races and religions lived harmoniously in multicultural tolerance is one of today’s most widespread myths. | #mozárabes #christians #muslims #jews #religion #salafism </div> <br /><br />

<div class="JBMCode"> In this groundbreaking book, Northwestern University scholar Darío Fernández-Morera tells the full story of Islamic Spain. The Myth of the Andalusian Paradise shines light on hidden history by drawing on an abundance of primary sources that scholars have ignored, as well as archaeological evidence only recently unearthed. <br /><br />

This supposed beacon of peaceful coexistence began, of course, with the Islamic Caliphate’s conquest of Spain. Far from a land of religious tolerance, Islamic Spain was marked by religious and therefore cultural repression in all areas of life and the marginalization of Christians and other groups—all this in the service of social control by autocratic rulers and a class of religious authorities. <br /><br />

The Myth of the Andalusian Paradise provides a desperately needed reassessment of medieval Spain. As professors, politicians, and pundits continue to celebrate Islamic Spain for its “multiculturalism” and “diversity,” Fernández-Morera sets the historical record straight—showing that a politically useful myth is a myth nonetheless. </div>  <br /><br />

<div style="text-align: center"> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> Scholars, journalists, and politicians uphold Muslim-ruled medieval Spain—“al-Andalus”—as a multicultural paradise, a place where Muslims, Christians, and Jews lived in harmony.</span></strong></div> <br />
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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> The Myth of the Andalusian Paradise, Darío Fernández-Morera, 2016. </strong> </span></span></div> 
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<div style="text-align: center"> <span style="color: darkgreen"> <span style="font-size: 17pt; line-height:10pt"> [ <a class="explicacion"> <b>Darío Fernández-Morera, intended for nonprofit, home use / domestic, educational, discussion purposes only.</b> <span> Darío Fernández-Morera, discussion purposes only. </span></a> ] </span> </span> </div> <br />
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<div class="citajbm"> Darío Fernández-Morera has done the work of serious scholarship in demythologizing the supposed tolerant and benevolent Islamic civilization in Spain. North African Berbers, or “Moors were Islamic warriors that entered Christian Spain and defeated the Visigothic king Rodrigo. The brutality with which the Muslims subjugated the Catholic population was NOT very harmonious. </div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> "The Myth of the Andalusian Paradise: Muslims, Christians, and Jews under Islamic Rule in Medieval Spain," by Darío Fernández-Morera, 2016, <a name="pdf">PDF</a> :: </span></div></H2> 
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Multicultural tolerance? — «The Myth of the Andalusian Paradise» — (Videos/PDF)

A Myth Demolished - Photo: © Creative Commons / illustration — [http://goo.gl/Zn7nlO] The Myth of the Andalusian Parad...

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Essay — «The Solace of Open Spaces: Travel Writing» — Analysis [PDF/Video]

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<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> "The Solace of Open Spaces" </font></a> - Photo: <a alt="The Solace of Open Spaces — Creative Nonfiction: Travel writing" href="http://www.benjaminmadeira.com/search/label/essays" style="text-decoration: none;" target="_blank" title="The Solace of Open Spaces — Creative Nonfiction: Travel writing"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/l2C8cn] It involves writing about personal experience, real people, or events.  _______________________Travel writing.</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Creative Nonfiction: Travel Writing http://goo.gl/l2C8cn The Solace of Open Spaces | #Essay #GretelEhrlich #TravelWriting #LiteraryJournalism #CreativeNonfiction #Wyoming #CowboyLife #USAliterature #Literature #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society </div> <br /><br />

<div class="JBMCode"> With delicate, yet piercing, words she weaves an inspiring and memorable relationship between the individual and nature. </div> <br />

<div class="citajbm"> The <i>Solace of Open Spaces</i> bears some of the characteristics of travel writing; it makes use of background information that builds up to the events in Ehrlich’s texts, “[s]eventy-five years ago, when travel was by buckboard or horseback [...]” (7). She travels to the past and tells Wyoming's history and people's stories because in Wyoming "private histories are largely public knowledge" (9). It is the simple pleasures she experiences that have made the protagonist stay in Wyoming so long after her first visit: "Despite the desolate look, there's a coziness to living in the state. There are so few people [...] that ranchers who buy and sell cattle know one another statewide; [...] despite the physical separation, people stay in touch, often driving two or three hours to another ranch for dinner" (Ehrlich 7). </div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Creative Nonfiction: Travel writing :: </span></div></H2> 
<div class="citajbm"> The <i>Solace of Open Spaces</i> (1985) by author Gretel Ehrlich is all about an exploration of what Wyoming brings out in Ehrlich the narrator/protagonist and the reader. What stands out is how Ehrlich the narrator/protagonist expresses her long stay in the west. The Solace of Open Spaces gives a profound description of the vast State of Wyoming and the solace that can be experienced in its open planes. Gretel Ehrlich "has done her best to portray the truth as she knows it and to the best of her ability" (Robbins-Sponaas, lesson 9). Ehrlich's text is ultimately memoir, but it inevitably crosses borders with other forms of creative prose, such as a relationship between the individual and nature, and literary journalism. Furthermore, throughout the story, Ehrlich gives her account of a personal observation and aspects that make Wyoming attractive. Ehrlich shares Wyoming’s solace with the reader; she shares the sheltering look of the vastness (Ehrlich 2; Robbins-Sponaas, lesson 9). One can argue, thereby, that <i>The Solace of Open Spaces</i> has characteristics of travel writing. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Nonfiction writing :: </span></div></H2> 
<div class="citajbm"> Travel writing is a form of nonfiction writing whose sole purpose is to document the events people, sights and feelings of the author. The writer might be visiting new places for the sake of new experiences and pleasure of travel. Many travel books reach out to the readers advising them on the sights to see or even where to find the national cuisine of a foreign land. They focus on presentation of information (Robbins-Sponaas, lesson 9). Travel writing can explore the field of adventure, entertainment, and even diary. Travel writing has continually gained a wide range of audiences who seek to get more information about certain places. In this type of travel writing “the place is the most important focus of the text” (lesson 9). Ehrlich’s writing, however, is not an informational text but a true story about a period in her life; it resembles a novel more than it resembles a guidebook. It is a cultural artefact containing her experiences, “a sense of humanity in general” (Thompson 13-14; Robbins-Sponaas, lesson 10). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The "eye," and the “I” :: </span></div></H2> 
<div class="citajbm"> As a memoir, <i>The Solace of Open Spaces</i> transcends the boundaries of Ehrlich’s experience. All the events that Ehrlich sees through the "eye," affects Ehrlich's feelings, emotions and thoughts; it affects her “I” and also the self of her readers (Nguyen and Shreve 2; Robbins-Sponaas, lesson 9). Throughout <i>The Solace of Open Spaces</i> there is intense observation, description and immersion into Wyoming’s landscape. It is therefore not merely information; it is not fiction. In other words, it is literature of fact. As a memoir, <i>The Solace of Open Spaces</i> is “a window into a life” (Zinsser 136). Ehrlich draws on “experiences emerging from personal experiences” (Nguyen and Shreve 2). <i>The Solace of Open Spaces</i> is about how she interprets Wyoming and that interpretation is determined by her own experience of the State (Robbins-Sponaas, lesson 9). Nguyen and Shreve point out that "[a] prominent form of personal creative nonfiction is the memoir because it mines the material of personal history" (2). <i>The Solace of Open Spaces</i> by author Gretel Ehrlich is a reflection on the people and events that take place in Wyoming which influence the life of Ehrlich. It is explicitly a characteristic of literary work to adequately describe a people’s way of life (Ehrlich 10-11).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Weather is capricious and mean :: </span></div></H2> 
<div class="citajbm"> Ehrlich's text begins in medias res, somewhere in the middle of the story. The purpose of this type of beginning is to grab the readers’ attention and compel them to reader further. In <i>The Solace of Open Spaces</i>, Ehrlich employs remarkably descriptive imagery including personification, metaphors and similes, “[t]he morning sky looks like cheese” (24), “Spring weather is capricious and mean” (12), “[c]anyons curve down like galaxies” (3) and "[d]ays unfold, bathed in their own music. Nights become hallucinatory; dreams, prescient" (12). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Winds howl all night and day :: </span></div></H2> 
<div class="citajbm"> There is a recurring image of water and wind throughout Ehrlich's text. The protagonist has "just awakened from a nap [...] sheltered from wind" (2) in Wyoming's openness which "is all about wind". (4) The protagonist mediates that in that State "[w]inds howl all night and day" (14) and "[t]ough it was water that initially shaped the state, wind is the meticulous gardener" (13). The protagonist is in love "with this wind-swept state" (13). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The doing of a mad architect :: </span></div></H2> 
<div class="citajbm"> This imagery about “wind” links the landscape that “seems to be the doing of a mad architect--tumbled and twisted” with those images and creates a vivid experience between the narrator and the reader. In this open country “good-naturedness is concomitant with severity” (Ehrlich 8). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A few verbs :: </span></div></H2> 
<div class="citajbm"> In this context, one finds solace in simple places, similar to the particular language that Wyomingites use, “a few phrases imply a complex of meanings” (Ehrlich 10). The sentences people employ consists of a few verbs as if to shorten conversations. Cowboys would ask, for instance: “Which one needs rode” (10-11). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A sensory experience :: </span></div></H2> 
<div class="citajbm"> Ehrlich “[places] greatest weight describing the place and giving the reader a sensory experience” (Robbins-Sponaas, lesson 9). The readers do not only see shepherd, horse, dog, and sheep in the planes but they also see them with all their detail, "[e]agles look like small people" and "[a]ntelope [move] in small, graceful bands [...], their mouths open as if drinking in the space” (Ehrlich 9). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Mixed reflections on the experience :: </span></div></H2> 
<div class="citajbm"> Another characteristic of travel writing is its ability to use mixed reflections on the experience. This helps the reader see the importance of the experience and appreciate the writer’s perspective. Ehrlich recalls her memories utilizing a very visual, detailed, descriptive language:  <br /> <br />

“A few weeks ago, I helped them deliver a calf who was stuck halfway out of his mother's body. By the time he was freed, we could see a heartbeat, but he was straining against a swollen tongue for air. Mary and I held him upside down by his back feet, while Stan, on his hands and knees in the blood, gave the calf mouth-to-mouth resuscitation. I have a vague memory of being pneumonia-choked as a child, my mother, giving me her air [...]” (Ehrlich 12-13). 
 </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Fruition is also death :: </span></div></H2> 
<div class="citajbm"> The story brings out her feelings, and she explicitly admits that she is in a romantic relationship with Wyoming, she is in “romance with this wind-swept state” (Ehrlich 13). Just when the readers are thinking of love, Ehrlich returns them to another reality of life by reflecting that “Autumn teaches us that fruition is also death; that ripeness is a form of decay. The willows, having stood for so long near water, begin to rust. Leaves are verbs that conjugate the seasons” (27). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The exploration of the open country :: </span></div></H2> 
<div class="citajbm"> <i>The Solace of Open Spaces</i> portrays that Ehrlich is not a stranger to every aspect of Wyoming. It “[makes] the reader experience the location vicariously through [Gretel Ehrlich]” (Robbins-Sponaas, lesson 9). Ehrlich interacts with the people knowing their culture and terming them as very friendly (8-9). The fact that she can recognize the change in the use of language by the Wyoming residents makes it clear that she is fully immersed in the society (10). Her interaction with local people and working together with her neighbors form a big part of what she feels about the place (11-12, 22). Ehrlich makes this piece of work a travel writing by describing in detail the exploration of the open country and its planes where “the vistas look like music” (5) as well as the friendliness of its people.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Thus, travel writing is a form of creative nonfiction literary work whose nature demands that the writer expresses her personal experiences. It “not necessarily detail a journey” (Robbins-Sponaas, lesson 9). In the writing of this type of literature, it is not about “[bringing] the reader to the destination” but rather about what the destination brings out of both the narrator and the reader (lesson 9). Ehrlich attempts to share Wyoming with the reader, that destination where she “lost herself.” Author Gretel Ehrlich makes the solace of Wyoming real and enjoyable to her readers (lesson 9). Undoubtedly, <i>The Solace of Open Spaces</i> is memoir within nonfiction writing but it also meets the set characteristics of travel writing. </div> <br />

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<CENTER> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> This conversation with author Gretel Ehrlich took place at the Sun Valley Writers' Conference in 2014 :: </span></strong>  </CENTER> <br />
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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Ehrlich, Gretel. The Solace of Open Spaces. New York: Penguin Group, 1985. <br /><br />

• [2] Nguyen, B. Minh, and Porter Shreve. Contemporary Creative Nonfiction: I & Eye. New York: Pearson Education, Inc., 2005. Print. <br /><br />

• [3] Robbins-Sponaas, Rhonna. "Lesson 9: An introduction to Creative Nonfiction." ENG6012 Course Website, Spring 2015. Take Credit, Trondheim: NTNU. Web. Retrieved on May 2015 from https://goo.gl/5ItFpF <br /><br />

______.  "Lesson 10: Ehrlich." ENG6012 Course Website, Spring 2015. Take Credit, Trondheim: NTNU. Web. Retrieved on May 2015 from https://goo.gl/WyTwch <br /><br />

• [4] Thompson, Carl. Travel writing. New York: Routledge, 2011. Print. ISBN: 978-0-415-44464-4 <br /> <br />

• [5] Zinsser, William. On Writing Well: The Classic Guide to Writing Nonfiction. New York:  Harper-Collins Publishers, Inc., 2001 (6th. Ed). Print. <br />  </div>

Essay — «The Solace of Open Spaces: Travel Writing» — Analysis [PDF/Video]

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Essay — «Souls Belated and All the King’s Men» — Analysis [PDF/Videos]

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<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> "Souls Belated" and <i>All the Kings Men</i> </font></a> - Photo: <a alt="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—" href="http://www.benjaminmadeira.com/search/label/essays" style="text-decoration: none;" target="_blank" title="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/TRgsD1] Anne Stanton was "simply a name for a peculiarly complicated piece of mechanism".  _______________________(Warren 311, kindle location 5963).</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Anne Stanton, http://goo.gl/TRgsD1 the upper-class thin girl, "brown-toned, golden-lighted and quiet-face, big-eyed, goes on to start an affair with Willie Stark, the local governor and womenizer, to keep her societal status (Warren 39, 103, kindle locations 783, 2008); Interdisciplinary Course with Cultural Studies | #Essay #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society </div> <br /><br />

<div class="JBMCode"> In both texts, women's roles are very different, yet there are identical characteristics between Warren's female characters and Wharton's women. Undeniably, beneath their façade of defending moral values lies a deep hypocrisy. </div> <br />

<div class="citajbm"> Jack struggles both against the morality of his ancestors and the present-day morality in a world of moral ambiguity. All this morality struggling becomes Jack's burden. <br /><br />

Lydia, on the other hand, struggles against the document of divorce and the theme of marriage that hung over their head as a sword restrained only by a delicate thread. She struggles against “fossilized sandwiches” (Wharton 83) in a little microcosm full of a ‘certain tone’ (102), a ‘belated society’, gossip old ladies still dragging their feet; she struggles against the limitations of such rigid American society, those "old cats in caps" (Wharton 99-100).<br /><br />

Jack's mother had had at least five men. She was a woman, "who loved merely power over men and the momentary satisfaction to 
vanity or flesh which they could give her" (Warren 433, kindle location 8257)</div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men— ; Interdisciplinary Course with Cultural Studies, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Female characterization in the short story “Souls Belated” and the novel <i>All the King’s Men</i> :: </span></div></H2> 
<div class="citajbm"> The short story "Souls Belated" (1899) and the novel <i>All the King's Men</i> (1946) present very distinct female characters in very different environments. “Souls Belated” depicts women during the turn-of-the-century New York and <i>All the King's Men</i> does the same in post-Great Depression American society. Furthermore, while women's roles are very different, Warren's female characters and Wharton's women share certain characteristics. As will be seen, in both, “Souls Belated” and <i>All the King's Men</i>, female characters are depicted in patriarchal environments. Against a background of puritan, wealthy New Yorkers, social hypocrisy, on one hand, and urban and rural settings, on the other, some female characters seek to preserve their social standards while others oppose the repressive societal norms. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Archetypes in patriarchal history :: </span></div></H2> 
<div class="citajbm"> Both literary works depict women that represent archetypes in patriarchal history. There is an important difference between Edith Wharton’s depiction and Warren’s adaptation of women. Warren's female characters sprang from the mind of a male and are fictional women (Brent vii). Moreover, Wharton's short story centers on authentically human women characters who seek their happiness through socially privileged marriages, and Lydia who considers marriage to be society’s restrictions imposed on women. While Warren searches inside himself to draw a picture of his women, Edith Wharton addresses a social critique on all the benefits that were dampened by the lack of freedom that characterized married women during the Gilded Age.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Point of view :: </span></div></H2> 
<div class="citajbm"> In “Souls Belated,” the narrator-focalizer Edith Wharton utilizes a third-person omniscient which can relate events that secondary characters experience directly while giving access to their thoughts and motivations. While <i>All the King’s Men</i> utilizes first-person narration, the reader has to rely on the protagonist, journalist and researcher, Jack Burden. Jack Burden is the story-telling persona of most of the story in <i>All the King’s Men</i>. A third-person limited is embedded in chapter four and the end of chapter ten, in which Jack is closely followed throughout. The first-person point of view can present certain opportunities, but can also entail particular challenges and limitations. One limitation of first-person narration is giving the readers access to secondary characters’ thoughts and motivations. Another is relating events that the narrator does not experience directly and it can be challenging to show clear primary character development and a self-aware perspective.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> In medias res :: </span></div></H2> 
<div class="citajbm"> While Wharton starts her short story as the readers follow Lydia and Ralph Garnett on a train trip which symbolizes their journey in life, Warren's story begins <i>in medias res</i>, somewhere in the middle of the story, and it entails subsequent use of flashback —"a type of ping-pong effect in the novel"— (Robbins-Sponaas, lesson 6) and nonlinear narrative —out of chronological order —. The narration starts full of long sentences of description that become Highway 58 and the readers will start travelling along as active observers (Warren 1, kindle location 28). Social realist Edith Wharton employs remarkably descriptive imagery including metaphors and similes. Lydia and Gannett’s journey through Europe on the train is, in itself, a metaphor of their evolving journey in their life. The female narrator-focalizer observes that “[t]he direction of the road had changed” [...] “[t]heir railway-carriage [which] had been full” becomes empty as it advances (Wharton 83). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> American riches and English aristocrats :: </span></div></H2> 
<div class="citajbm"> In “Souls Belated,” one of the most prevalent themes is turn-of-century New York society’s preoccupation with procuring socially advantageous marriages. Nina Baym in Woman's Fiction observes that “the ethos of money and exploitation [...] is perceived to prevail in American society” (27). In New York aristocratic society, the female characters struggle because of the inadequacy of their respective marriages. Lydia's staying at the Anglo-hotel represents an internal struggle in her opposition to the forces that quell women’s emancipation. Lydia had internalized the repressive societal norms towards women who refuse “the normal conditions of life” (Wharton 125). She behaves as a married woman among American riches and English aristocrats (102-107, 117-118). At the hotel, Lydia has to cope with complications due to her attitude to the ‘institution of marriage’; “marriage” understood by its political nature, rather than a self-chosen relationship (Holmes 113). Lydia went on to start an extra-marital affair with Ralph Gannett who saw her as his equal. Against a background of wealth and social hypocrisy, both lovers flee the stiff regulations and the tedious regularity of New York and enjoy their passionate relationship. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> In accordance with traditional values :: </span></div></H2> 
<div class="citajbm"> An evolving journey is what Lucy Stark, Governor Willie's wife, has not chosen. She lives in accordance with traditional values. Unlike Lydia, Lucy has a special devotion to her marriage and her family; she is depicted as “a dutiful wife and mother” (Robbins-Sponaas, lesson 6). Although, different than Lydia, Lucy Stark abandons her conjugal relationship, leaving Willie to his political and sexual intrigues. In “Souls Belated,” Lydia assumed the responsibility of charting her own path of personal autonomy. Similarly to Lucy Stark, at some point in her trip together with her lover, Lydia felt that marriage still meant something for her, she gained respectability within aristocratic society (Wharton 120). Yet, unlike Lydia, Lucy Stark did not divorce Willie as a divorced woman’s behavior did not conform to social norms. Her last name is the antithesis of her apparent strength of character. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Mrs. Murrell :: </span></div></H2> 
<div class="citajbm"> Considering that all events, situations, interpretations of other characters' dialogue are filtered through the narrator-focalizer, the readers do not see much of Mrs. Murrell’s character since Jack pays far more attention to her appearance. Jack's mother was that "big-eyed thin-faced woman who [had a new] man she got herself" (Warren 40, kindle location 807). Jack's mother, Mrs. Murrell, "a real looker," had had an affair with Judge Irwin, the friend of Jack's family, and there were also "those men who had married [his] mother" (Warren 40-41, kindle location 807, 809). Unlike Mrs. Murrell, Lydia soon realized that she had to be honest with herself. It had become a matter of moral principle, and she was determined to disclose the nature of her affair to others (Wharton 95). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A highly desirable woman :: </span></div></H2> 
<div class="citajbm"> Anne Stanton is Jack's life-long love, who he still regards as a highly desirable woman until he learns she has become Willie's mistress (Warren 266-269, kindle location 5086-5145). Anne Stanton, however, was waiting for him to find a career in order to secure a stable future. Jack, however, had no ambitions. Thus, in contrast to Anne's highly respected father, former Governor Stanton, and her brother, surgeon Adam, Jack was a poor marriage prospect. Contrary to Anne Stanton, Lydia is determined to condemn that women are conditioned to ‘lead a dependent and abject life,’ which undermines their self-confidence and her self-respect. For Lydia, self-reliance was suppressed by marriage (Holmes 112). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Anne Stanton went on to pursue an affair :: </span></div></H2> 
<div class="citajbm"> On deciding to oppose the repressive societal norms, Lydia chooses to abandon her marriage to Tillotson, a rich member of upper-class society, although it offered a series of social privileges. While preoccupied with preserving her respected, comfortable life, in <i>All the King’s Men</i>, well-educated, conformist, Anne Stanton went on to pursue an affair with Governor Willie Stark, who had provided her brother with the opportunity to preserve his social status as a surgeon. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Keep her societal status :: </span></div></H2> 
<div class="citajbm"> Considering her marriage with Tillotson, Lydia held the view that her relationship lacked the intimacy that she would wish to have with a man who saw her role as equally valuable. Anne's expectations in a marriage to a high-society man reveals that she was relying on the social privileges marriage offered. Anne relies upon the traditions of her aristocratic upbringing to give her support. The well-educated Anne Stanton overlooks the corruption in Willie Stark and sees only an advantage to keep her societal status. Anne Stanton honors a patriarchal figure in Willie Stark, while Lydia is fleeing the burden of patriarchal relationships. It took a strong conviction from Lydia to demonstrate her dissatisfaction with the conventional social norm, regardless of the benefits that marriage offered. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Although in different environments, both Wharton and Warren depict women as willing to preserve their social status despite their freedom. Is evident that, for Warren, marriage represented the final domestication of his heroine, Anne Stanton, who ended up married to Jack. Wharton, however, does not define a self-made woman in terms of marriage but in not providing the readers with an explicit ending, she promotes public debate on women’s self-determination. Wharton had the courage to keep her heroine unmarried under the risk that her short-story was read as a mere story of the frustration of female nature (Baym, 1981, 135). She does not define Lydia by her remarriage with Ralph Gannett but defines her, instead, by her relationship with him, without labeling it as marital relationship. </div> <br />

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<CENTER> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> "All the King's Men" (2006 [featuring: Sean Penn, Jude Law, Antonhy Hopkings, Kate Winslet) || Quality: 480p (High Definition) || original audio [Swedish subtitles] (USA English) :: </span></strong>  </CENTER> <br />
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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Baym, Nina. “Melodramas of Beset Manhood: How Theories of American Fiction Exclude Women Authors.” American Quarterly 33 (1981): 123-139. Web. Retrieved on June 2015 from: http://www.jstor.org/stable/2712312  <br /><br />

______.  Woman's Fiction: A Guide to Novels by and about Women in America, 1820-70. Rev. ed. Urbana: University of Illinois Press, 1993; originally published: Ithica: Cornell University Press, 1978. ISBN-13: 978-0252062858. Print. <br /><br />

• [2] Brent, Martha Schaefer. "Female Characterization in the Novels of Robert Penn Warren: Variations on a Cinderella Theme." A Thesis Presented to the Faculty of the Department of English. Bowling Green, Kentucky: Western Kentucky University, 1995. Web. Retrieved on May 2015 from http://goo.gl/UtHSGZ  <br /><br />

• [3] Holmes, Mary. "Second-wave feminism and the politics of relationships." Women's Studies International Forum 23.2 (2000): 235–246. 2. <br /><br />

• [4] Robbins-Sponaas, Rhonna. "Lesson 10: Warren." ENG6012 Course Website, spring 2015. Take Credit, Trondheim: NTNU. Web. Retrieved on May 2015 from https://goo.gl/p2o1Ow <br /><br />

• [5] Warren, Robert Penn. All the King's Men. 1946. Reprint edition, 1996. Houghton Mifflin Harcourt. Kindle Edition. ISBN-13: 978-0-15-101163-6 <br /> <br />

• [6] Wharton, Edith (1899). <b><a alt="Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12TkNKZ1M1Qm12MWc/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">"Souls Belated."</font></a> </b> Wharton, Edith. The Greater Inclination. New York: Charles Scribner’s Sons, 1899. 83-130. Print. ISBN: 3 2106 00215 4307 </div><br /> <br />

<CENTER> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> 2006 - All The King's Men Soundtrack - Based on the Robert Penn Warren novel. The life of populist Southerner Willie Stark, a political creature loosely based on Governor Huey Long of Louisiana :: </span></strong>  </CENTER> <br />
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