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"You don't choose your response to art, it is given to you," insisted Clement Greenberg. Whether it was given to this man by inborn instincts or by the players and dynamic in the art world of his generation, Clement Greenberg's 'response' to art was fueled with a passion and perception that is arguably unmatched. Greenberg began pronouncing his aesthetic judgments in the 10s with a strength that lasted well into the '50s. He wrote with clarity about Modernist art, as an editor, a critic for the Nation, and throughout many of his influential essays.

Two of these essays, "Avant-Garde and Kitsch" of 1, and "Modernist Painting" of 165 are both fine examples of his meticulous and deliberate writing style as he presents, definitively, cultural-art phenomenon that, although relevant to their current art-world, have an essential history.

In "Avant-Garde and Kitsch," Greenberg discusses and concludes the caustic distinction between the elite world and deliberate difficultly of contemporary art, and the more accessible products created by and/or for the masses. Throughout Greenberg's deliberately tight essay, he speaks with stubborn confidence even of history's events and figures, and all though these are generally stable facts, I still feel he leaves little room for an important dialogue, however abstract. Let alone he should welcome the reader into a response, which is why I found it difficult, even intimidating to naturally respond to his essay. I found the climax of Greenberg's position to be contained in the the following statement. "If the avant-garde imitates the processes of art, kitsch, we now see, imitates its effects. The neatness of this antithesis is more than contrived; it corresponds to and defines the tremendous interval that separates from each other two such simultaneous cultural phenomena as the avant-garde and kitsch...this interval corresponds in turn to a social interval (pg. 15-16)." Greenberg goes on to define this society as consisting on one side, of a minority of powerful and cultivated people embracing formal culture, and on the other side, a mass of the ignorant and poor who embrace kitsch. He states, "It is a platitude that art becomes caviar to the general when the reality it imitates no longer corresponds even roughly to the reality recognized by the general (pg. 17)." Then it is not surprising that, engulfed in his own political agenda of maintaining high culture, he would come to champion Abstract Expressionism and Color Field painting, whose artists produced works that certainly did not imitate a reality recognizable to the kitsch-ridden masses, if any reality at all. Certainly, where would we be without characters, such as Greenberg, so committed to establishing the U.S. with a respectable name in the book of Art. However, where would a near absence of pop culture and the masses put us? This is not a question that Greenberg necessarily answers but only relentlessly points out the vicious cycle of kitsch culture and the masses response to it and participation in it. He fails to discuss the essential nature of this cycle in the context that its very existence makes possible the elite position that the avant-garde art occupies. It takes the existence of both to create the very distinction that he obsesses over.

To draw on another connection between the two essays in order to dissect Greenberg's position, in "Avant-Garde and Kitsch, he speaks of the medieval artist "Precisely because his content was determined in advance, the artist was free to concentrate on his medium...the artist was relieved of the necessity to be original and inventive in his 'matter' and could devote all his energy to formal problems (pg.16)." Then the "high priest of formalism" refers to an artist of this practice as a "plastic artist who paid lip service at least to the lowest common denominators of experience." I am not attempting to make any kind of standing argument with this, as there is an immediate and obvious explanation which I am discussing, simply to explore for myself and further examine Greenberg's position. The medieval artist that Greenberg refers to was assigned his subject matter, and although this allowed him to focus on formal elements, it did not free him of having to represent the universally recognizable subject matter; realistic imitation that the masses could marvel at. In addition to this, there is still the concept of the paintings imitating and applying themselves to sculptural rules and techniques. This only helps to emphasize Greenberg's commitment to the concept of flatness being the essence of the two-dimensional art form, which he discusses in "Modernist Painting." Greenberg emphasizes the pure formal elements of abstract painting, such as its flat space, monumental scale, and patches of undiluted color. He makes clear his aesthetic theory of a notion of self-reference each painting that enters the continuum of art history is a critique of painting.

Now to move away from my own response to Greenberg, and discuss how certain art movements during and after his active years reacted to Greenberg's opinions and influence. Into the 140s and 50s, Greenberg's critiques and approval became parallel with popular opinion, as many art establishments worshipped the man who claimed he could judge the artistic merit of a piece by an intuitive inventory of its formal principles. His formal critiques were very narrow and forceful. With the rise of Pop and Conceptual art in the '50s and '60s, Greenberg's ideals came to be heavily critiqued themselves by the artists and critics interested in meaning. As we discussed in class, Greenberg pronounced what he felt art should be stripped of illusionism, the artist's feelings, storytelling, etc. With a growing number of successful artists wanting to play with these very concepts, Greenberg's notions of quality and purity began to reveal themselves as conservative and self-preserving. Post Modern art of the 170s, as varied as it was, was dancing with, not only abstraction, but political and identity related agendas, a vivid language between art and life, and a breakdown of high and low art that could simply not harmonize with Greenberg's position clearly set down in "Avant-Garde and Kitsch." Greenberg continued to write about art well into the 10s, and while much of post-Greenberg art criticism is dedicated to dismantling his ideas, they are now contained in and essential to the history, dialogue, and dynamics surrounding what art is today.

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A Comparison and Contrast between Catherine and Theresa

Paddy Cheyefsky's award winning television play "Marty", takes place in an Italian district of New York City in 15. During the first act of the play, the audience is introduced to two Italian sisters, in their fifties, named Catherine and Theresa. Though Catherine and Theresa show obvious differences, the similarities lie in the heart of their old fashion need to tend to their children.

As we get to know Catherine and Theresa, it is apparent that one of their biggest differences is their attitudes about life. Catherine has a very dismal outlook on life and everything around it. From the moment we meet Catherine, she is telling Theresa how "it's a curse to be old", referring to the pains in her left side, leg, shoulder, hip and right arm (1). She also mentions her fear of looking in the mirror, "for staring back at her would be an old woman with white hair, like those ladies in the park, wrapped in black shawls and just waiting to die" (14). Later, she warns Marty of the "chill" outside and tells him to guard against catching a cold and pneumonia instead of admitting that it is a beautiful day (101).Catherine gets so depressing that Theresa finally tells her, "Catherine, you are a blanket of gloom. Wherever you go, the rain follows. Some day, you going to smile, and we going to declare a holiday" (100). Theresa, on the other hand, has a refreshing and positive outlook on life. When she goes to visit her sister Catherine, she delightfully mentions the nice postcard her son Nicky has sent her. Theresa then tells Catherine live with her and Marty (Theresa's son) because she will be much happier there and they will be very happy to have her. Although, she knows it is breaking Catherine's heart because she is not wanted in her son's home, Theresa tries to turn it into a positive situation by indicating how much more personal space Catherine will have by moving in to her house (10). When Marty begins feeling sorry for himself and calls himself ugly, believing that women are not interested in him, Theresa makes it a point to tell Marty that he is not an ugly man and persuades him to go out dancing in order to meet women (188).

Catherine and Theresa's differences not only lie in their attitudes but also in their social skills. Catherine's continuous criticisms and judgments of others keep people at an arms length. Instead of trying to help Virginia with the baby, Catherine criticizes and demeans Virginia until she is at a point of complete frustration. Virginia, finally so irate, takes a bottle of milk and throws it against the wall. Catherine then falsely accuses Virginia of trying to throw the bottle of milk at her (184). When Theresa begins to tell Catherine about the college girl that Marty has brought over the house, Catherine immediately says, "College girls are one step from the streets. They smoke like men in a saloon" (100). This is clearly an unfair judgment against a girl Catherine has not previously met. However, though they may be sisters, Theresa does not share Catherine's indifference to other people's feelings. To be exact, she is actually a very warm and understanding individual. When Virginia goes to her Aunt Theresa, practically in tears, begging for a little peace between she and her husband, Theresa, empathetic to their situation, decides to try to find a compromise. This is when she concludes that Catherine should move in with her. Though Virginia tries apologizing for behaving like such a "terrible woman", Theresa warmly tells her that her feelings are completely understandable (184-85). Yet at the same time, Theresa cannot help but to be sympathetic towards her sister's situation. Theresa realizes that Catherine is a difficult woman, but at the same time, she understands that Catherine is an old widow without a place to call home (1).

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Perhaps Catherine and Theresa's differences in social skills are what leads them to have even bigger differences in priorities. Although Catherine loves her son Tommy, it is obvious that she is more concerned with her own happiness rather than his. When Theresa goes to see Catherine at Tommy's house, the only thing Catherine talks about is herself. All she can say is, "What am I to do with myself?" and "I want to cook and I want to clean" (14). All of her sentences start with nothing else but the pronoun "I". At no point did Catherine take into account the fact that her son is married and needs his own privacy. Thankfully, Theresa has a completely different set of priorities. She is completely aware of how unhappy and lonely her son is and wants no more than to see him find a nice girl to marry. She even goes as far as asking her nephew Tommy if he knows of any nice places Marty can go to meet a girl (186).

With the many differences between Catherine and Theresa, they also share many similarities. On the surface, they are older widows who have dedicated their lives caring and nurturing their children. Now that their children are grown, Catherine and Theresa have entered the point where their children no longer need them the way they used to. Catherine's son Tommy is married and has his wife Virginia to cook and clean for him. Theresa begins to realize the possibility that Marty will eventually find a girl he wants to marry and no longer rely on his mother the same way he did before (14). Catherine and Theresa fear that this will lead to changes in their lifestyle. A change that is unfortunately sad, but inevitable. Theresa attempts to stop this change by temporarily carrying on some of her sister's undesirable traits. The day Marty is supposed to have a date with Clara, Theresa purposely insults her, hoping she can convince Marty to stop seeing her. She later realizes that her actions are wrong and regrets what she has done (101-0).

Catherine and Theresa are examples of the popular term "the odd couple." Though they may share common blood, are both widows, and may even be close in age, their differences in attitude, relationships and priorities are peculiar. However, they are somehow able to see pass these differences and understand one another only in a way siblings know how.

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I was at a crossroads in my life, finishing up high school, about to make a decision some said was the biggest I'd ever make. What to do after high school? And who better to discuss it with than a life long friend, one who had been there more times than I could count. Herman and I both shared ideas and dreams of what we wanted to do and see, some alike, some very dissimilar, but we both knew school somewhere would be the decision. I saw many of my friends, those less confident with themselves joined the military in hopes of finding there calling, for them I hope they do well, for myself military was never part of the question. I had an idea of higher education, one which was not well understood, unclear of what I might face and what failure it may result in.

Herman and I had both been pressured to go to Gonzaga University by are parents, because so many Filipinos have graduated from there successfully. We both kept it in mind as a good option and often fathomed what it might be like to attend the same school, like we had through middle and high school. Many of my classmates and friends were being accepted by large, famous Universities far from home, some for academics, some for athletics, and others with wealthy parents. For these people I had much happiness, but at the same time a slight jealousy arose wishing I had pursued a larger school. Lack of funds, laziness in the classroom, and a fear of being to far away from home pushed me away from this type of idea. Many of my closer friends were going to attend universities in Washington or California, this had created a friendly competition among us for who would be the most successful and who would have the most fun.

Another close friend of mine was Mark, a true friend from which I relied on many times. Mark and I had met in high school during a freshman geometry class, and right away we shared many of the same interests. We had played football together and also ran track in the spring, we went through computer classes together, and we got in weekend party fights together, which made it hard to separate near the summers end. Mark as well as myself had been accepted to ITT Tech. in Phoenix Arizona; this was a serious consideration for my future, to learn a growing trade with a prosperous salary. I would have the security of a good friend in a strange new place, but I just didn't know what I wanted to do! Mark spent hours trying to convince me of the job possibilities in computers, and the money I would be able to spend after only two years of school. I questioned him about what if computers didn't turn out to be my "thing" and I decided to pursue a different career. Mark had understood my concerns and continued to offer what support he could. At this point in my life, not knowing what I want to do with my uncertain future, could I spend so much money on a school that would only educate me about one thing I wasn't even sure if I really liked. I wished Mark the best of luck, knowing he would do well and assured him we'd stay in touch.

Mark left for school in early August, his phone calls to me are what caused the questions in my head, doubting I had made the right decision not to join him in Phoenix. Mark bragged about his luxurious apartment, informed me that school was going by with ease, that his school had found him a local job paying well in his field of computer networking. I was happy for him but wasn't sure if I had made the right decision to not go, here he was having so much success and I wasn't even sure what school I was going to attend! It was time for myself to make a decision. I was so close to a decision but I wasn't sure, I needed time alone to figure out what was right.

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After a nights rest at home and a solemn day at school, I decided to stop by Herman's house after class and see what he was up to. I rolled into Herman's drive way around o'clock on another beautiful spring afternoon. I parked my car beneath an old pine tree that stood about sixty feet tall. I walked around to the back of Herman's house and up to the porch where he was sitting on an old wooden swinging bench practicing a few tunes. I had come to my decision on where to attend school, and I was going to tell him. I wanted to stay on the west coast but in a different state. I was going to the Art Institute of Seattle. I walked up the stairs and sat on a chair across the deck. We talked for a while and finally we got to the question of where are you going to school. I felt relieved when he said he was thinking of an art school. I told him about AIS and we both agreed that is where we were going. We decided not to room together from stories we heard by older friends and their past experiences. At this point my mind was at rest, I had figured out the beginning of a plan for the future of my life, how much more complicated could it be I thought?

Later that same evening I went to my parents to have dinner with them, my mom usually cooks something up around 7 o'clock every night. I was going to tell them of my decision to attend The Art Institute of Seattle, I was unsure of what I wanted to be but felt that an art school was the place for my head to be. My mom hollered down stairs that dinner was ready, I went up stairs and sat beside my dad at the dinner table. We carried on a normal daily conversation discussing weather, and how my last week of school was going. I told them I was going to AIS. Both were excited I had made a decision to further my education and said they were going to help me as much as they could, they also made sure I was going to work for money and grades. I was not concerned and was aware of the sacrifices I must make and I give appreciation to my parents for their help.

As the first quarter of school went by allot happened, and allot was noticed, that of myself, my friends, and those who surrounded me. Grades were suffering but I was having a good time. I was meeting new people and enjoying my freedom Herman was doing a lot better than me, we were still close and hung out almost every day but something was changing in both of us. We talked to each other about our problems but mine could not be solved. As the time pass I began to realize that AIS wasn't the right choice for me. I promised myself I wouldn't quit school and move back home. So I took a quarter off and began working, my parents and I discussed the situation and they recommended to me that I take some classes at a community college. I chose SSCC based on recommendations from my girlfriend. Now I think I will go ahead and pursue a career in computers and see where South Seattle will lead me.

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In the short story, "The Old Chief Mshlanga" by Doris Lessing, the author recounts a personal experience during a time when Africans were colonized and brutally treated by the usurpative white owners. The protagonist, Nkosikaas had once been an unquestioning usurpative owner among all the other whites. By meeting with the Old Chief Mshlanga, Nkosikaas realized the cruelty of the whites and the possibility to treat blacks and whites equally. Through Lessing's vivid descriptions of the various settings, she manifestly indicates the fact that Nkosikaas and all the whites are intruders and do not possess the Southern African lands.

Although Nkosikaas, along with all the other whites, lives in an African society and has the power to demand the blacks to do unreasonable harsh works, she lives in total isolation. The story opens with the description of the family farm of the "white child," Nkosikaas. It's "like every white farm…largely unused, broken only occasionally by small patches of cultivation…nothing but trees and the long sparse grass." Nkosikaas' world is "white," lonely and empty. It's a world of isolation because there's nothing except a plain, flat field with a lack of cultivation and "sparse" grass and only "white" is present. There are no blacks in sight. Nkosikaas was not allowed to communicate with the blacks because they are just things for her to use; and "for if she talked to one of them, her mother would come running anxiously 'Come away; you mustn't talk to natives.' " Nkosikaas is very lonely; she does not even have any white companions, for only "on the rare occasions," the white children would meet. And if they did meet, they would only "amuse themselves by hailing a passing native in order to make a buffoon of him." Nkosikaas, along with all other the whites, does not have any interactions with the blacks, for they are perceived "as remote as the trees and the rocks (non-humans and things)." When Nkosikaas goes to the village of Chief Mshlanga, she feels an "urgent helpless desire to get to know these men and women as people," but she cannot express it just as Chief Mshlanga is "unable to find the right forms of courtesy for the occasion (that Nkosikaas is visiting their village)." The reason such a tension is created is that there has never been an occurrence like this. The whites never tried to befriend the natives, and the natives were never allowed to communicate with the whites except "Yes, Baas" when they are ordered to work. The "white," empty surroundings around Nkosikaas evidently indicate total non-communication and isolation.

Nkosikaas, along with all the whites, feels superior to the natives by treating them as things rather than humans who have feelings also, however, this superiority is achieved by the possession of weapons. Nkosikaas always carries a gun and two dogs when she walks around the farm because they are "an armour against fear." Her fear is not merely of wild animals but of the "dangerous" natives. When Nkosikaas walks towards the Old Chief's territory, she does not have the gun and the protection of her dogs. Thus, "Fear possessed me (her)" and "Panic seized me (her)." She does not know what the suppressed blacks would do to her when she does not have the weapons to force them to bow to her and to clear the path for her. Without weapons, Nkosikaas, along with all the other whites, loses her power to harass the natives. Without this power, she is just a migrant from the white world that has no control of the African lands. She would have no rights to demand the natives to obey her because she's an alien who does not belong to the African lands. The guns and the dogs serve as a veil, and without it, Nkosikaas and the whites would lose their sense of superiority.

When the whites harshly manipulate the natives as things and non-humans, they fail to recognize that they are actually inferior to the natives because they are disrespectful to the environment and to the natives, who are the actual owner of the lands. As Nkosikaas comes upon the Old Chief's world, she sees huts "lovingly decorated," "dogs lay sleeping on the grass," "neat patches of mealies and pumpkins and millet," and thatches "tied in place with plaits of straw." The loveliness, neatness, fruitfulness, and warmness are all what Nkosikaas' world lacks. The Old Chief's territory serves as an extreme contrast to Nkosikaas' "dirty and neglected," "largely unused," empty "white" and "sparse" farm compound. The contrast clearly reveals that the natives have complete love and understanding of their own land whereas the whites do not. The natives take care of their own land much better than the whites do. It also signifies that the beauty of the village of the natives contains hundreds of years of work. The natives are the descendants of that beauty. On the contrary, the whites' farm is just "a temporary home for migrants who had no roots in it." If this were a place passed down from the whites' ancestors, then the whites would do all their might in order to sustain their home. However, they lay the farm "largely unused" and broken with "small patches of cultivation." When Nkosikaas encounters Chief Mshlanga, she finds her voice "truculent" and finds "politeness difficult, from lack of use." However, Chief Mshlanga's company "stepped forward politely" and spoke English "carefully." The Chief and his company "showed courtesy, and I (she) showed none." Since the whites perceive the natives as things, non-humans, and savages, this incident would ironically imply that the whites are worse than things, non-humans, and savages. The whites claim the African lands as their own; however, they make no obligations to prove that the land should be theirs.

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In any perspective, whether it's isolation, the veil of superiority, or the failure to be better than the natives and take roots of the African lands, Doris Lessing thunderously denotes that the whites do not belong to these lands and they never will. Lessing suggests isolation by describing Nkosikaas' "white" and barren farm; she suggests the veil of superiority by adding or subtracting the guns and the dogs as Nkosikaas' possessions; and she suggests the whites' failure to prove that they are better by contrasting the beauty of the Chief's territory and the ugliness of Nkosikaas' farm compound. Apparently, the descriptions of settings contribute greatly to the meaning and the content of the short story. Therefore, various settings are an integral part of a piece of literary work.

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LEARNING DISABILITIES By Nancy gonzalez

The topic I select for my independent study is 'Learning disabilities'. The reason why I decide on this topic is that I want to further educate myself on this issue. A learning disability is not noticeable like paralysis or blindness, (LD) is a hidden handicap. A learning disability doesn't leave any signs behind like a disfiguration, so people do not understand or offer their support. The different types of learning disabilities can be divided in to three large categories, Development speech and language disorders, academic skills disorders and attention disorders.

Developmental speech and language disorders are of speech and language problems, most often the earliest signs are of a learning disability. Those with this handicap have a tough time producing speech sounds, using speech language to communicate and understand what others are trying to get across ("People with developmental speech and language disorders have difficulty producing speech sounds, using spoken language to communicate, or understanding what other people say") Depending on the difficulty a person might be having, their diagnosis may be one of the following developmental articulation disorder, developmental expressive language disorder and developmental receptive language disorder. When children have developmental articulation disorder they may have trouble controlling the pace in which they speck. Also they tend to stay behind their classmates in learning to make speech(Wallace at age 6 still said "wabbit instead of "rabbit" and "thwim" for "swim") This disorder is found in at lest 10 percent of children under the age of 8. But good news articulation disorder can be out grown or it can be departed with speech therapy. Children who have developmental expressive language disorder have difficulties expressing themselves in their dialogue for example a child might call objects by their incorrect names ("Susan, who often calls objects by the wrong names, has an expressive language disorder") This disorder can take other forms like if a child only specks in two word sentences, also if they seem to have trouble answering simple questions. Some people have problems with different areas of speech, further more this disorder is called developmental receptive language disorder. This disorder can make someone seem slow because they can't understand or do a simple task ("There's the toddler who doesn't respond to his name, a preschooler who hands you a bell when you ask him for a ball, or the worker who consistently can't fallow simple directions")

Individuals who suffer with academic skills disorder are often students. They are years behind in their development of understanding reading, writing and arithmetic skills. The anguish student can be diagnosed with developmental reading disorder, developmental writing disorder or developmental arithmetic disorder. Starting with developmental reading disorder, this is also known as dyslexia. Surprising out of 8 percent of elementary school children are affected by this disorder. Remember to read you must focus your attention on the printed words and control eye movements across the page, recognized the sounds of letters, understand words and grammar, create ideas and images, evaluate new ideas to what you already recognize and store ideas in memory. All of that requires an interactive network of brain cells which are in charge of vision, language and memory. Scientists have found that people with dyslexia have problems differencing the sounds in verbal sounds ("However scientists found that a significant number of people with dyslexia share an inability to distinguish or separate the sounds in spoken words") Though if the brain is incapable to shape images when reading or to relate new thoughts to those stored in memory, the reader will not recognize and even keep in mind the new concepts. This to can bring new difficulties to his/her future education ("So other types of reading disabilities can appear in the grades when the focus of reading shifts from word identification to comprehension") A person can also be diagnosed with developmental writing disorder this to involves the brain. The brain has to be working well in the areas of vocabulary, grammar, hand movement and memory to be a productive writer ("So a developmental writing disorder may result from problems in any of these areas. For example, Dennis, who was unable to distinguish the sequence of sounds in a word, had problems with spelling") Arithmetic disorder is when you have difficulties to answer simple math questions (0 divided by 5 equals) To understand math you have to memorize and identify the different equations and math symbols. This disorder also has to do with a part of the brain malfunctioning.

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An attention disorder affects 0 percent of school children. This disorder enables them to focus their attention. This disorder makes people daydream, and when you do get their attention they often are distracted easily ("Children like Susan may have a number of learning difficulties. If, like Susan, they are quiet and don't cause problems, there problems may go unnoticed") Boys are more affected by this disorder. This problem can be escorted by hyperactivity ("Dennis is an example of a person with deficit hyperactivity disorder 'ADHD'. They act impulsively, running into traffic of toppling desks") This disorder can go with them in to their adulthood, this can make them restless and in their work seem not to follow directions, finish work and not well organized.

Scientists believe that learning disabilities can be causesd by the in take of drugs by an expecting mother. The fetus brain my not form properly. Also an error during a woman's pregnancy, this is that the neurons may be changed or how they interconnect. LD can also be genetic. If someone in your family has or had a learning disability (it can be your mother/father) you might have been born with it. Learning Disabilities can be life-long conditions that, in some cases affect many parts of a person's everyday routines like school, work, family life and sometimes with there friendships and play. Sometimes if the person is fortunate a signal learning problem has little impact on other areas of their lives. Learning disabilities can not be diagnosed like some other illnesses which have predictable symptoms. LD can show up in so many forms, it's difficult to diagnose and pinpoint the causes. Therefore no such pill exists nor remedy that will eliminate the problem.

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In Gwen Harwood's poetry, the changes in an individual's perspective and attitudes towards situations, surroundings and, therefore transformations in themselves, are brought on by external influences, usually in the form of a person or an event. These changes are either results of a dramatic realisation, as seen with shattering of a child's hopes in The Glass Jar, or a melancholy and gradual process, where a series of not so obvious discoveries produces similar reformation. An example of the later case would be Nightfall, the second section of Father and Child, where the persona refers to her forty years of life causing maturation. For the most part these changes are not narrated directly but are represented by using dynamic language techniques to illustrate constant change in the universe of the poem.

One of the significant aspects of changing self covered in Harwood's poems is the process in which, a child's innocent mind, like a blank page, is inked and tainted by some experience. Their hopes, dreams, beliefs, founded on their naive perspective of life, and the way the young restyle themselves consciously or subconsciously as they make new discoveries are all explored.

In the poem The Glass Jar we witness the heart-wrenching episode in a little boy's life, where he is made to discover a distressing reality. Putting his faith first in a monstrance and then in his own mother, he finds himself being betrayed by both. With the many allusions to nature (for example the personification of the sun and references to animals and woods and so on) Gwen Harwood constructs a dynamic backdrop which allow the responder to dwell on the subtle shifts in the child's personality. The setting is the terrain of nightmares and dreams, where conscious will is suppressed and the reigns are handed to the subconscious mind.

By making subtle changes in the ways dreams are portrayed, she shows us that the boy has been changed by his experiences. Before the betrayals the dreams are quite indefinite, relying on incomplete images of pincers, claws and fangs to represent the horror. The lines, His sidelong violence summoned/ fiends whose mosaic vision saw/ his heart entire are literal indications of his incapability to comprehend what is happening to him. Then he wakes and attempts to seek comfort from the monstrance. His hopes for a miracle, brought on by his innocence, fell headlong from its eagle height. Then he runs to the final [forbidden] clearing that he dared not cross, forgetting in his desperate fear, all the inhibitions placed upon him. It is here that he is again reminded that his rival and contender for the love of his mother, has been taken preference on, and his plight is ignored.

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The readers will now clearly see through his secret hate, even if there is no evidence that the boy himself has realised consciously that it is directed towards his father. Defeated and in anguish he returns to his nightmares. This time round the dreams become more definitive. The father appears, conducting the dance of death and actually directing the monsters that haunt him. This shows that his subliminal self has learned, to some extent, the cause of his pain, even if he is still hasn't managed to consciously comprehend the events.

The early learning processes of the young are potrayed more adequately in the poem Father and Child where an older child, this time a girl at a rebellious age, experiments with the constraints of authority in an attempt to seek control for herself. This experimentation leads to an important discovery in her life; death is real and unclean. Just like The Glass Jar, the allusions to nature show the certainly of change and setting the tone for the events.

Daybreak; the household slept. I rose... I crept out with my father's gun. Let him dream... Using such highly narrative fast paced (an illusion created by delivering it in pulses) and confident language to show the single mindedness of the young, Harwood describes the actions of the girl as she creeps out at daybreak to the barnyard. There she was to prove to herself that she and not her father is in command of her own actions. Possibly not realising the effects of death at such a young age she fires a bullet into the owl's body. The pace of the poem changes as two or more verses dwell on the horrible death

bundle of stuff that dropped, and dribbled through loose straw

tangling in bowels, and hopped

blindly closer. I saw

those eyes that did not see

mirror my cruelty

Her father comes to her side and makes her carry the responsibility she had assumed to the end by asking her to kill the animal.

In contrast to innocence of the young, Gwen Harwood also attempts to understand death and how it changes the personality of the people experiencing its influence. In the second part of Father and Child we see a middle aged woman, a completely different person from the child once quick to mischief, attempting to cope with her father's imminent death. Set appropriately in the twilight of the day we are taken through the feelings of the women who is narrating the story herself. In stark contrast to the narrative of Barn Owl, the language of reflection and memories constructs Nightfall

Who could be what you were?

Link your dry hand in mine,

my stick-thin comforter.

Far distant suburbs shine

with great simplicities.

Birds crowd in flowering trees,

At a much slower, more controlled pace we toy with the many faces of death, trying to penetrate its mysteries. References to time and transience fill these verses. Intervening with the many allusions to nature we see constant movement and change; since there is no more to taste... Father we pick our last / fruits of the temporal. But this time the approach is less seeking, more slow and uncommitted, reflecting the calmness and control acquired by experience.

More than death itself, Harwood's poetry shows how many people fail to accept death. Their belief in immortality and fear of the end is also potrayed in Nightfall. Although when the subject of the poem is death, the words describe life, as if reluctant to face up to reality. The images are of suburbs, lights, birds and trees. Even with so many experiences, many of us will forever be ignorant seems to be the truth ringing perpetually though Harwood's verses.

As we can gather from the examples, Gwen Harwood uses language to create dynamic backgrounds and images to subtly delineate the changes experienced by the persona in the poems. Sometimes the characters themselves are not aware of these changes but the readers are able to appreciate them with the aid of skill Harwood posses in using language to such great measures.

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Andrew VanderVeen

Mr. Hoekstra

Bible Interpretation

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Haggai

Some background information taken from the Life Application Study Bible. In 586 B.C., the armies of Babylon had destroyed the Temple in Jerusalem (Gods House), the symbol of His presence. In 58 B.C. King Cyrus decreed that Jews could return to their beloved city and rebuild the Temple. So they traveled to Jerusalem and began the work. But then they forgot their purpose and lost their priorities, as opposition and apathy brought the work to a standstill. Then Haggai spoke, calling them back to Gods values. The people were more concerned with their own needs then with doing Gods will, and, as a result, they suffered. Then Haggai called them into action. This is what the Lord Almighty says Consider how things are going for you! Now go up into the hills, bring down timber, and rebuild my house. Then I will take pleasure in it and be honored, says the Lord (Haggai 14). And Gods message through his servant Haggai became the catalyst for finishing the work. (Life Application Study Bible, 16).

Haggai is considered to some to be the most precisely dated book of the Bible, with the dates of each sermon given. The book is even so accurate that it has led some to think that he may have kept his writings in some sort of a journal. Four of the five (1,,4,5) messages are so precise in their dating that it tells the year, month, and day in the second year of Darius I (Haggai, Book of,45), and cover a period of about three and a half months around the end of the year 50 B.C. This is why Haggai is considered one of the most precisely dated books of the Bible. (Vanderwaal, 1)

Haggai is addressing his book of the Bible directly to the Jewish exiles at Jerusalem and those already living in Jerusalem who were disheartened in their failing efforts to rebuild the Temple. His purpose in writing them the book was to encourage them in rebuilding the temple and that there faithful service would be richly rewarded. Also, that God would be with them throughout the entire task of rebuilding His Temple and He would help them fulfill their dissatisfied lives.

Other than being a prophet and writing the book of Haggai, very little is known about him with absolute certainty. His name comes from the root word hag, which means festive or festival. This is why some believe that he may have been born on or near a day of festival.

One problem that Haggai addresses is that the people are leading dissatisfied lives. You eat but are not satisfied, you drink but dont become drunk Haggai 16 (Holy Bible NIV,88), I think that this shows they were trying to seek happiness through pleasure and not God. Also, Haggai says, You earn money and put in a purse with holes, which may suggest that they earn money but use it to buy possessions or use it for the wrong reasons and then end up with no money at all. Haggai then gives the people motivation to get to work on rebuilding the Temple for two reasons 1. Please the Lord, . Glorify God. Before rebuilding the temple the people had had their priorities all wrong and this is why things werent going right for them. God had decided to bring curses down on them because they were trying to find happiness in all the wrong places and His temple had just sat there in rubbles. So this is why God sends Haggai to tell encourage the people in continuing there efforts in rebuilding the Temple and therefore glorifying God. Haggai encouraged them enough that the people recognized their hearts were in the wrong place and started to become more obedient to God and began the process of rebuilding the Temple with God by their sides at all times.

Next, in the second chapter of Haggai he preaches to them about motivation and makes sure that they have the right and proper motives in doing this work of rebuilding the temple for the Lord. He starts out by comparing the Temple that they were building to Solomons Temple. Stating that God doesnt want them to be motivated by the wrong reasons like pride (having a bigger and better temple then Solomon). This means that if they were doing it for pride they were just trying to build it for themselves and not for the glory of God. He also says that they should have a lot of courage and peace while building the temple because God will be with them through it as long as they are faithful to Him.

Also, in the second chapter Haggai preaches on the subject of cleanliness and how sin can contaminate everything one does. The only way out of sin is to seek Christ and be obedient to Him. Haggai points out the past to them and shows them that when they werent obedient to God that they didnt prosper and the only way for them to prosper is once again to seek God and all His glory. A saying that I think fits this is If you are depending on material things for happiness, God will take them away. If you are depending on God for happiness God will bring you all the material things that you need. This is telling us that is important to live a clean life and to have pure motives. Otherwise, when we do something good it is spoiled by bad motives or impure hearts.

Lastly, Haggai talks to the people about what God will do for them in the future. He says that God will do two things 1. God will overthrow the nations . The covenants of the Lord are guaranteed to be fulfilled. This is shown when after being rebuked from Haggai, the people obeyed Gods message and began the work of rebuilding the temple. Which then enabled them to worship God and it brought the Holy Spirit into their lives so that they could do the work of the Lord. After revealing that God was going to destroy their enemies and that He was going to establish His kingdom with them, this gave the people hope for the future.

Some principles that can be learned from Haggai are that it is never too late to start obeying God. The covenants of the Lord are guaranteed to be fulfilled. Sin contaminates everything that we do. In order to heal a disheartened heart we need to seek God and become obedient to Him. Never procrastinate the work of the Lord. Also I found Haggai 14, Why are you living in luxurious houses while my house lies in ruins?, to be the key verse of Haggai. The reason being is that it basically sums up what the whole book is about by saying that the people of Jerusalem were procrastinating the rebuilding of the Temple because they just figured that it wouldnt affect them and that it wasnt a very pressing subject. Although, when Haggai came and preached to them he opened their eyes proving that they needed to get off of their haunches and show their obedience to the Lord, and that they needed to put Him first in their lives in order to feel fulfillment.

Please note that this sample paper on Haggai is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Haggai, we are here to assist you. Your persuasive essay on Haggai will be written from scratch, so you do not have to worry about its originality.

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