Motherhood, Meet Dystopian Fiction (I Wish You Had Never Met IRL)

Motherhood, Meet Dystopian Fiction (I Wish You Had Never Met IRL) Siobhan Adcock is the author of the novels The Barter and The Completionist. Her short fiction has been published in Triquarterly and The Massachusetts Review, and her essays and humor writing have appeared in Salon, The Daily Beast, and Huffington Post. She lives with her husband and daughter in Brooklyn. Twitter Handle: @siobhanster Margaret Atwood recently reiterated on Twitter something she has often said about her 1984 classic The Handmaids Tale: that she was very careful not to put anything in it that hadnt already happened (or that wasnt still happening) in the real world, somewhere. Children ripped away from their parents, perhaps permanently, by a government claiming to act in the best interests of all? Thats just some dystopian-novel plot twist, right? Gotta be. But as the events unfolding on Americas southern border have proven this month, there is nothing speculative, or even really fictional, about the future Atwoods novel depicts. The central tragedy of The Handmaids Tale, and the related Hulu series for which Atwood is executive producer, is the heroine Offreds loss of her daughter. In fact, of all the horrifying losses women face in Atwoods story, from sexual freedom to written language, Gileads widespread kidnapping of the children of handmaids is depicted as the most intimate and horrifying crime, the one Offred can barely make herself think about. Because it is unthinkable, that any version of the futureâ€"or the presentâ€"should sanction the forcible separation of parents and children.   Atwoods novel is a motivating work of art thats almost impossible to read without becoming a feministâ€"or that much more of a feminist than you already were. But its the rare dystopian novel that can present a vision of the future in which women are more powerful, or even just less vulnerable (Naomi Aldermans 2016 novel The Power being a notable and awesome exception to the rule). Atwoods book is one of several powerful feminist dystopian fictions that reinforce how mothers, specifically, are at risk in the kind of state-created madness that typifies these chilling near-futures. Octavia Butlers 1998 Parable of the Talents, as many of her fans now know, predicted so much about our current political moment that it even prefabricated a certain Presidents favorite catchphrase. Like Atwoods novel, the plot also concerns a mother-daughter pair struggling to find each other after a painful separation. Even in the disintegrating world this novel shows, after a two-decade apocalypse of accidentally coinciding climatic, economic, and sociological crisis” (which the narrator tells us starts, oh, like, two years ago, NBD), nothing is as frightening as a mother and her child pulled apart. If Atwoods is a dystopia made of authoritianism, and Butlers is a dystopia made of disintegration, the writer Megan Hunter has created a dystopia made of collapse in her 2017 novel The End We Start From, in which a young woman tries to keep her child alive in the aftermath of a flood that destroys London. As the narrator, a mother and a refugee, flees the violence and destruction of a dystopian near-future born of climate change and political turmoil, its possible (more than possible) to read echoes of the desperate choices faced by the parents of young children fleeing violence and destruction for America in todays headlines. Because theres more at stake in these feminist dystopian novels about motherhood than just kickstarting a page-turning plot line, of course. Mothers and fathers at our own border are right now, today, facing risks that may have once seemed as remote from contemporary American life as AI or floating cars. Mothers in the dystopian futures we read about have more to lose than Harrison Fords character in Blade Runner (although the writers of Blade Runner 2049 seem to have gotten that particular memo). Powerful feminist writers have amplified this point. Its up to all of us to make sure that dystopia stays on the page where it belongs, and where it can inspire and empower us to act in a way that preserves our humanity even in times that challenge it most. Conflict is at the heart of all great works of fiction. Empowering the disempowered is at the heart of all great works of progress. Sign up to Swords Spaceships to  receive news and recommendations from the world of science fiction and fantasy. Thank you for signing up! Keep an eye on your inbox.

Hofstede s Five Cultural Dimensions - 1331 Words

A review of Hofstede’s five cultural dimensions,this model looks at the effect of cultures, value of its members, and how they relate to behavior within that culture. The model has been successfully used for effective intercultural, interpersonal communications around the world. There are five values that Hofstede’s has identified: Power Distance; Individualism or Collectivism; Masculinity and Femininity; Uncertainty Avoidance and Short or Long Term Orientation. Each value aids in developing a model to understand an approach and the preparation that should be taken to be effective and successful in its dealings with that particular culture. I have selected two countries using Hofstede cultural dimensions model.China who has the second†¦show more content†¦These settings become formal,and status symbols become very important. Decisions are made by the few individuals that are in charge. On the other hand in a low power distance cultural, the authority iscooperative and the chain of command is readily accessible. In business settings managers utilize the individual employees or teams for their expertise. Usually in these settings the business decisions are made by a team or group environment. Canada is considered a low power distance culture with a score of 39. Short or Long Term Orientation: Short or Long term orientation is the second Hofstede value, and Russia and China have similar scores; Russia scored 81 and China 87. In a long term orientation culture that score high are usually more inclined to take a practical approach. There is usually more problem solving and looking at various options to improvethe culturein modern education,recognition and motivation which will encourage thriftiness and prepare for long term results. Cultures with short term orientation have low scores. These cultures are inclined to follow old traditions, and norms. Usually suspicious of change and look more at the present thenthe long term future values. Argentina is considered a short term orientation with a score of 20. Individualism or Collectivism The third value that Russia and China have similar scores is Individualism. Russia scored a 39, where China had a score of 20. These are both considered to be low scores. This reflects

Sentencing Models and The Correctional System Essay

How have sentencing models impacted corrections? Be sure to address the four types of sentencing models and the issues surrounding them (equity, truth-in-sentencing and proportionality). Sentencing models are plans or strategies developed for imposing punishment for crimes committed. During the 19th century these punishments were normally probation, fines and flat sentences. When someone was given a flat sentence, he or she had to serve the entire sentence without parole or early release. However, by the end of the 19th century the new models were developed. These new models include indeterminate, determinate, advisory/voluntary guidelines, presumptive and mandatory minimum sentencing (Schmalleger Smykla, 2011). Indeterminate†¦show more content†¦Even though the criminal justice system has guidelines to following when sentencing criminals, there are still sentencing issues. In other words, to make the sentencing more fair and equal, several issues have been addressed. These issues are proportionality, equity, social debt and truth in sentencing. Proportionality is a standard that deals with the punishment fitting the crime. The equity principle deals with ensuring that punishment for one crime is the same as punishment for a similar crime. Social debt is the next sentencing principle. With social debt, the judge reviews past behavior or criminal records in order to impose a fair sentence. Finally, the truth in sentencing ensures that inmates are not released from prison without serving the majority of his or her sentence. In other words, credit for good behavior or educational programs would not allow the inmate to be released if he or she only served a small portion of the sentence (Schmalleger Smykla, 2011). Additionally, these sentencing models have contributed to overcrowding in prisons and maximized case loads for community corrections as a result of diversion tactics and increased use of probation. The mandatory minimum sentencing was developed in an effort to make the criminals who committed the crime pay for what he or she did as well as deter other individuals from committing crimes. Though the goal of sentencing models wasShow MoreRelatedCorrections: From Rehabilitation to a More Punitive Model Essay1594 Words   |  7 Pages24 November 2014 Corrections Paper What changes led corrections away from rehabilitation and toward a more punitive model? Since World War II through the 1970s, many changes occurred in the United States correctional systems. Rehabilitation Model is a treatment program that was designed to reform the inmates. According to www.copower.org, â€Å"This model is similar to the medical model; it regards the person with a disability as in need of services from a rehabilitation professional who can provide trainingRead MoreThe philosophy of probation has changed over the past several years. 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Elements of Literary Analysis Free Essays

Elements of literary analysis Plot Summary Setting Character Analysis Theme Symbolism and Metaphor Conflict Moral Plot Summary The narrative structure of a story is divided into 5 parts. Organize, by list or diagram, the events of the story into the following points using as few words as possible. (Complicated stories may have multiple turning points. We will write a custom essay sample on Elements of Literary Analysis or any similar topic only for you Order Now ) #1 Exposition (introduction) Introduces the main characters, setting, and conflict. #2 Rising Action (conflict complicated) Secondary conflicts arise. Secondary adversaries hold protagonist back from his goal. 3 Climax (turning point) The turning point, for better or worse, in the protagonists affairs. When we first realize the conflict will be resolved. #4 Falling Action (loose ends tied up) Headed towards resolution, maybe with a final moment of suspense. #5 Denouement (conclusion) Characters return to normal state or resolution. May close with marriage or death. Setting The setting for a story includes the time, place, and social reality with in the story. Also includes how time passes with in the text. The historical and social context in which the story was written should also be considered. Each tale is a product of its time and place. The author’s biographical info can also be considered as context. Character Analysis Map the story’s characters by type Protagonist: The main character(s) that causes a sympathetic reaction from the reader. Also the character that moves the action in the story forward. The protagonist is not always the primary focal character in the story (see below). Focal Character: The focal character may be easily confused with the protagonist. The key difference is a reader should feel sympathetic towards the protagonist where as a focal character will trigger excitement and interest but not an emotional response. (Ex: Sherlock Holmes is a focal character) Deuteragonist: The second most important character in the text, often the side-kick. (Ex. Ron Weasley in Harry Potter series) Tritagonist: The third most important character in the text. (Ex. Hermione in Harry Potter series) Antagonist: Character or group that opposes the protagonist. Often the villain but not always a character that is aware that they oppose. (Ex: Voldamort in Harry Potter. Ex 2: Patriarchal society in Jane Austen or Bronte novels) Adversaries: Secondary to the antagonist, also opposes protagonist or focal character. Foil Characters: Character opposites who highlight the differences between themselves, the protagonist, or the different routes the protagonist may take. Narrator: Consider the narrator of the story as he/she relates to the characters. Narration may be 1rst person, 3rd person limited, or 3rd person omniscient. Is the narrator reliable or unreliable? Theme Themes are the subjects and topics addressed in the story. Not to be confused with the Conflict or the Moral. Common themes include: Friendship-Family-Individuality-Prejudice-Growing Up-Society-Love-Marriage-Lies/Deceit-Fear-Morality-Compassion/Sympathy-Justic e-Foolishness/Folly-Greed-Courage-Money-Class-Memory-Isolation-Gender-Education-Religion-Death-Nature-Ageing-Revenge-Madness-Art/Culture-Jealousy-Dreams-Innocence Symbolism and Metaphor Separate from classifying the characters as literary types, you can decide if each or any of the characters symbolize something greater than themselves, a universal type, theme, vice or virtue. A metaphor compares two distinctly different objects pointing out how the are alike. Symbolism uses a person, place or thing to stand for a complex abstract idea, truth, feeling, or experience. Both metaphor and symbolism are used to create a new and deeper meaning beyond the surface text. Look for symbolism and metaphor in inanimate objects, weather, nature, colors, politics, religion, architecture, and art within the art (ie: references to other books, painting, etc) Conflict The Conflict is the challenge that the Protagonist and/or Focal character faces. A conflict may be internal, relational, or external. Universal conflicts include: Character Vs Self – Character Vs Nature – Character Vs Society Character Vs Character – Character Vs Supernatural – Character Vs Fate Moral From the author’s perspective, the moral of the story is the message about the human condition, or the world that we live in, that he/she hopes to illustrate with the text. The reader may arrive at the author’s moral with a careful analysis of character, setting, theme, symbolism, and conflict. A reader may also see a completely different moral than the author, based on his or her own experiences. As Oscar Wilde said, â€Å"in art there is no such thing as a universal truth†. How to cite Elements of Literary Analysis, Essay examples Elements of Literary Analysis Free Essays Elements of literary analysis Plot Summary Setting Character Analysis Theme Symbolism and Metaphor Conflict Moral Plot Summary The narrative structure of a story is divided into 5 parts. Organize, by list or diagram, the events of the story into the following points using as few words as possible. (Complicated stories may have multiple turning points. We will write a custom essay sample on Elements of Literary Analysis or any similar topic only for you Order Now ) #1 Exposition (introduction) Introduces the main characters, setting, and conflict. #2 Rising Action (conflict complicated) Secondary conflicts arise. Secondary adversaries hold protagonist back from his goal. 3 Climax (turning point) The turning point, for better or worse, in the protagonists affairs. When we first realize the conflict will be resolved. #4 Falling Action (loose ends tied up) Headed towards resolution, maybe with a final moment of suspense. #5 Denouement (conclusion) Characters return to normal state or resolution. May close with marriage or death. Setting The setting for a story includes the time, place, and social reality with in the story. Also includes how time passes with in the text. The historical and social context in which the story was written should also be considered. Each tale is a product of its time and place. The author’s biographical info can also be considered as context. Character Analysis Map the story’s characters by type Protagonist: The main character(s) that causes a sympathetic reaction from the reader. Also the character that moves the action in the story forward. The protagonist is not always the primary focal character in the story (see below). Focal Character: The focal character may be easily confused with the protagonist. The key difference is a reader should feel sympathetic towards the protagonist where as a focal character will trigger excitement and interest but not an emotional response. (Ex: Sherlock Holmes is a focal character) Deuteragonist: The second most important character in the text, often the side-kick. (Ex. Ron Weasley in Harry Potter series) Tritagonist: The third most important character in the text. (Ex. Hermione in Harry Potter series) Antagonist: Character or group that opposes the protagonist. Often the villain but not always a character that is aware that they oppose. (Ex: Voldamort in Harry Potter. Ex 2: Patriarchal society in Jane Austen or Bronte novels) Adversaries: Secondary to the antagonist, also opposes protagonist or focal character. Foil Characters: Character opposites who highlight the differences between themselves, the protagonist, or the different routes the protagonist may take. Narrator: Consider the narrator of the story as he/she relates to the characters. Narration may be 1rst person, 3rd person limited, or 3rd person omniscient. Is the narrator reliable or unreliable? Theme Themes are the subjects and topics addressed in the story. Not to be confused with the Conflict or the Moral. Common themes include: Friendship-Family-Individuality-Prejudice-Growing Up-Society-Love-Marriage-Lies/Deceit-Fear-Morality-Compassion/Sympathy-Justic e-Foolishness/Folly-Greed-Courage-Money-Class-Memory-Isolation-Gender-Education-Religion-Death-Nature-Ageing-Revenge-Madness-Art/Culture-Jealousy-Dreams-Innocence Symbolism and Metaphor Separate from classifying the characters as literary types, you can decide if each or any of the characters symbolize something greater than themselves, a universal type, theme, vice or virtue. A metaphor compares two distinctly different objects pointing out how the are alike. Symbolism uses a person, place or thing to stand for a complex abstract idea, truth, feeling, or experience. Both metaphor and symbolism are used to create a new and deeper meaning beyond the surface text. Look for symbolism and metaphor in inanimate objects, weather, nature, colors, politics, religion, architecture, and art within the art (ie: references to other books, painting, etc) Conflict The Conflict is the challenge that the Protagonist and/or Focal character faces. A conflict may be internal, relational, or external. Universal conflicts include: Character Vs Self – Character Vs Nature – Character Vs Society Character Vs Character – Character Vs Supernatural – Character Vs Fate Moral From the author’s perspective, the moral of the story is the message about the human condition, or the world that we live in, that he/she hopes to illustrate with the text. The reader may arrive at the author’s moral with a careful analysis of character, setting, theme, symbolism, and conflict. A reader may also see a completely different moral than the author, based on his or her own experiences. As Oscar Wilde said, â€Å"in art there is no such thing as a universal truth†. How to cite Elements of Literary Analysis, Papers

Sir Isaac Newton Essays (374 words) - Copernican Revolution

Sir Isaac Newton Isaac Newton Sir Isaac Newton developed calculus, natural forces, and optics. Newton was born on Christmas Day in 1642. His father had died before he was born, but he was still given his father's name (Westfall 17). Isaac stayed with his grandparents when his mother went to live with her second husband. While living with his grandparents he attended day school nearby (Westfall 17). After his grandmother died and Newton was seventeen, his mother took him out of school and brought him back to the family farm. She tried to teach him how to run the farm and manage the estate; this was a failure. In all of his spare time he returned to inventing and building machines. Newton's uncle and old schoolmaster saw that he was in the wrong trade and urged his mother to prepare him to attend the University. His uncle's efforts paid off; in 1660 he returned to Grantham to finish grammar school and prepare for the university. In June of 1661 Newton entered Trinity College, Cambridge (Westfall 17). At Cambridge Newton studied mathematics. This is when Newton first started to make many discoveries. He made most of his important discoveries there: pure mathematics, theory of gravitation, and optics, all before he even graduated college. Newton made contributions to all branches of mathematics. Modern study of aerodynamics and the science of hydrodynamics would be impossible without the principles of the calculus. Newton wrote Philosophiae Principia Mathematica (Mathematical Principles of Natural Philosophy), which is usually known by the last two words. In the book Newton codified Galileo's findings into the three laws of motion. (Wilson online). Newton formulated three laws of motion, and resulting from them the law of universal gravitation. His laws of motion are the natural laws of mechanics. Newton's three laws of motion are: 1. The law of Inertia- an object at rest tends to stay at rest unless acted upon by an outside force. 2. 2nd Law- an unbalanced force applied to an object will result in the acceleration if the object. There was an equation that went along with this law which is F=ma. This means force equals mass times acceleration. 3. 3rd Law- for every action there is an equal but opposite reaction. Isaac Newton died in 1727. He was thought to be the greatest genius that ever lived by a French mathematical astronomer. Biographies

child essays

child essays The impact of sexual abuse reaches all levels of a childs emotions. These emotions and the effects are listed below: Confusion: This is usually the initial reaction of the child. They will usually question, "What is going on?" and " Is this right or wrong?". For a young child these types of questions can be an emense burden on their physcological development. Once the abuse begins the victim experience a tremnedous conflict with their emotions. They feel pleasant due to the attention they are recieving from the parent, as well as the sensual pleasure. On the other hand they experience pain, guilt, and anger for what is being done. The question, "Is this right or wrong?" posses the greatest conflict within the childs mind. The abuse feels so wrong yet the abuser insits it is okay, taking advantage of the childs mistrust and naivety. Below are the thoughts of an abused victim as she thinks back to her abuse and questions her father. It is an example of this mistrust as well as the conf usion which goes through a childs mind. "Since I was a little ten year old child, I had to deceive and hide from the world and my mother that my father tooka sexual interest in me. Remember how you taught me that art of deceit? First you put me in a situation that had to be kept a secret then you pledged me to secrecy...As a tenold child, what was I supposed to do? You are an intelligent man you figure out the options available to a ten year old in that position." (Rush, 1980) The abused will feel tremendous guilt for a numerous reasons: They feel they did nothing to stop the abuse therefore they are responsible and it should continue. They felt uncomfortable but the abuse was sometimes pleasureable. They somehow deserved and/or caused the abuse. A victim will usually feel this way when their self ©esteem has diminshed and they have no more answers for what is happenning. "A nine year old girl had a nightmare and went to her fathers room fo ...

Definition and Examples of Epilogues

Definition and Examples of Epilogues An epilogue is a concluding section of (or a postscript to) a speech or literary work. Also called a  recapitulation, an afterword, or an envoi. Though usually short, an epilogue may be as long as an entire chapter in a book. Aristotle, in discussing the arrangement of a speech, reminds us that the epilogue is not essential even to a forensic speechas when the speech is short or the matter easy to remember; for the advantage of epilogue is abridgement (Rhetoric). The etymology is  Ã¢â‚¬â€¹from the Greek, conclusion of a speech. Epilogue to Animal House Readers are often curious about what happens to the characters after the narrative ends. An epilogue satisfies this curiosity, leaving the reader informed and fulfilled. . . .[T]here is the infamous epilogue of the movie Animal House, in which stop-action frames of the characters contain comic captions describing what happened to them. So the gross-out king, John Blutarsky, becomes a United States senator; and the make-out king, Eric Stratton, becomes a Beverly Hills gynecologist. The desire to know more about characters after the natural ending of a narrative is not a critique of the story, but a compliment to the writer.(Roy Peter Clark, Help! for Writers: 210 Solutions to the Problems Every Writer Faces. Little, Brown and Company, 2011) Nicolaus on the Function of Epilogues in Classical Rhetoric (5th century A.D.) [A]n epilogue is a discourse that leads itself back upon demonstrations that have been said beforehand, encompassing a collecting of matters, characters, and emotions, and its task consists also of this, says Plato, at last to remind the listeners of the things that have been said [Phaedrus 267D].(Nicolaus, Progymnasmata. Readings From Classical Rhetoric, ed. by Patricia P. Matsen, Philip Rollinson, and Marion Sousa. Southern Illinois Univ. Press, 1990) Commentary An epilogue is where the author can be expected to wax philosophical. Here, for example, I might tell you that better listening not only transforms personal and professional relationships (which it does) but can also bring understanding across the gender gap, the racial divide, between rich and poor, and even among nations. All that is true, but if Im going to indulge in the unearned right to preach, maybe I should confine myself to matters closer to home. . . .(Michael P. Nichols, The Lost Art of Listening: How Learning to Listen Can Improve Relationships, 2nd ed. Guilford Press, 2009) Rosalinds Epilogue in As You Like It It is not the fashion to see the lady the epilogue; but it is no more unhandsome than to see the lord the prologue. If it be true, that good wine needs no bush, tis true that a good play needs no epilogue. Yet to good wine they do use good bushes; and good plavs prove the better by the help of good epilogues. What a case am I in then, that am neither a good epilogue, nor cannot insinuate with you in the behalf of a good play? I am not furnished like a beggar, therefore to beg will not become me: my way is, to conjure you; and Ill begin with the women. I charge you, О women, for the love you bear to men, to like as much of this play as please you; and I charge you, О men, for the love you bear to women (Ð °Ã · I perceive, by your simpering, none of you hate them) that between you and the women the play may please. If I were a woman, I would kiss as many of you as had beards that pleased me, complexions that liked me, and breaths that I defied not: and I am sure, as many as hav e good beards, or good faces, or sweet breaths, will, for my kind offer, when I make curtsy, bid me farewell.(William Shakespeare, As You Like It) Prosperos Epilogue in The Tempest Now my charms are all oerthrown,And what strength I haves mine own,Which is most faint: now, tis true,I must be here confind by you,Or sent to Naples. Let me not,Since I have my dukedom gotAnd pardond the deceiver, dwellIn this bare island by your spell;But release me from my bandsWith the help of your good hands.Gentle breath of yours my sailsMust fill, or else my project fails,Which was to please. Now I wantSpirits to enforce, art to enchant;And my ending is despair,Unless I be relievd by prayer,Which pierces so that it assaultsMercy itself, and frees all faults.As you from crimes would pardond be,Let your indulgence set me free.(William Shakespeare, The Tempest) Further Reading ConclusionDenouementHow to Borrow Money, by Stephen LeacockParts of a SpeechPeroration