Economic Inequality in Australia

Economic Inequality in Australia Why has economic inequality increased in Australia since the 1970s? What have been the consequences of this increase in the quality of life in Australia? Since 1970, people have been challenging the issue of â€Å"conventional wisdom† that was connected to the scarcity aspect rather than attaining successful way of managing affluence. There have been various real problems that required to be addressed. Some of these problems were related to wastage of resources, especially on the weapons of war, the lingering poverty and the imbalance of quality among the public provided services and the privately produced goods that can be summed as â€Å"public squalor and private opulence.† After the post-war period, a new world has been delivered, where there have been dominant ideas and concerns over the past on declining significance that is more than inequality (Atkinson, Piketty Saez 2011). There are few things that can be evidenced in the modern social history rather than the interest of declining the inequality as part of the economic issue. There are various reasons to this. Inequality was not getting to it worse, but it is s till profound. Large part of the population had a sense of the economic inequality and security level. The real income level for all the people increased with dramatically while the wealth for those who were at the top stagnated. This situation was well described by certain theory of transformation. The theory indicates that, as the country was more industrialized, the citizens were able to move away from agriculture to industry. This issue caused inequality to rise since some of the people become richer while other remained poorer. Taking full industrialization aspect of the country would have caused mass education, increased wage for the workforce, and increase political powers for the mass populations. These were part of the issues that could have caused an increased level of inequality in the country. The income inequality level in most of the OECD countries has increased in the past 20-30 years among them Australia (Alderson, Beckfield Nielsen 2005) This paper will explore the causes of increased level of inequality in the country while outlining the nature of the economies using both political and historical techniques. The argument will be based on the fact that, the increased inequality level has been due to the deliberate policy, government ideas of shifting the income from wages to profits. As well, there was a shift of income from low to the middle-income earners and to those who earn higher and s queezing the consumption level with an aim of increasing the reward that is available for the investment. Skill Biased Technical Changes This has been one of the factors that have been debated as a cause of distribution of market outcomes. In Australia, the dominant explanation that can be cited for the increased income inequality is the impact created by the skill-biased technical changes that have been fostered by the globalization. Skill-biased technical changes can be set out as the shifts that are experienced in the production technology that do favor all the skilled individuals (such as the more educated, more capable and more experienced) than the unskilled individuals. They are being favored due to the increased relative production capacity hence has a relative demand (Alderson, Beckfield Nielsen 2005). Skill-biased technical changes in the country have been cited as a mean that deliver premium wages to all individual who have certain specified skills and more to the workforce that has higher education level. The first impact of this issue has been due to the globalization, where production of the unskilled i ndividual is considered quite low. In the economy, labor-intensive commodities are being outsourced to the low wage economic groups, hence reducing the prices. As well, the demand for the unskilled labor in the country has been quite low. As well, another cause is associated with the rise of the production system that do rely on the information technology levels, advanced technology. This situation has a directly increased demand for the skilled and educated staffs compared to the less educated. In the manufacturing sectors, there is an evident rise in the relative employment for the high -educated skilled production staffs, who usually receives higher salaries and wages (Bramble Kuhn 2011). Polarization of Income Distribution at the Top There have been various studies undertaken by scholars to investigate on the extent at which the income inequality may be the main product of the relative low income for the poor individuals. As well, the studies have highlighted or consider the aspect of relative higher incomes for the rich people (Bramble Kuhn 2011). According to most studies, it was found that, the rise in inequality level is related to the aspect of polarization rather than the downgrading or upgrading that may lead to hollowing out of the model income part of the society. As well, it was found that, in the societies that experience the large increased level of inequality, upgrading would have to take precedence over the aspect of downgrading causes such as polarization. In other better terms, the wells off individual have the chances of becoming much richer. This has been the pattern that is evidenced by the rapid increase for the top income earners. In Australia, the share of the total income that is taken by the top 10 percent has decreased from 50 per cent in 1929 and in 1932, it decreased to 35 percent but later in 2007, it increased to 50 percent (Bramble Kuhn 2011). Back in year 1970, the decline of inequity was celebrated but one scholar noted that â€Å"it no longer seemed possible for the ownership of tangible assets of the public and the disposal of the income to pass through negligible number of hands. After few years later, this was the situation on distribution of income changes. The situation that was experienced indicated that, almost one percent of the rich population was able to appropriate more than half of the increase in the national income. The remarkable idea was related to the degree of the top 0.1 percent of the income earners that captured the misappropriated share of the overall national income. According to statistics, the Australian growth rate offers no indication of having experience to most of the population (Brandolini Smeeding 2009). Back in year 1975-2006, the country average real income per household in the country grew by 32.2 per cent but taking the top 1 per cent, the growth was by 17.9 per cent. This is a findi ng that has been challenging the primacy of the skilled biased technical changes as part of the increased income inequality in the country. The rise in the top incomes has been greater than the suggestion of the extra productivity levels of the skilled workers. As well, very few of the top income earners have higher education and the skilled non-finance professions (Brandolini Smeeding 2009). Tax and Welfare Regime In Australia, the income inequality level has increased and the rise may significantly be fostered by the inequality in the market incomes. As well, changes in the tax and welfare regimes have in some ways reduced or increased the impact experienced in the market outcomes. There was in an increase in the inequality of the market outcome between 1979 and 2004 caused by the higher tax rates and the increased level of generosity on social assistance and employment assistance. This was taken in the ways of counteracting the effect of increased inequality in market outcomes or the households. In 1990s, the market income inequality grew rapider and, the tax and welfare program failed in reducing the polarization effect. Lowering the personal taxes mainly for the highest incomes reduced the issue of unemployment benefits, and this assisted in accounting for the rise in inequality. Increased social assistance and tax and welfare reforms were the most deliberate policy and decisions that caused the impact of inequality in the country (Card DiNardo 2002). An argument that was raised stated that, if the effect if taxation of the income at the top was frozen, there would be a very big chunk of the increased inequality for the super-rich and the rest part of the population. As well, recognizing the skill-biased technical changes to have a direct impact on the jobs and wages, it was criticized that the fixation of inequality was among the large section of the income distribution pattern. This was an issue that was obscuring the government policy that targeted becoming more generous toward individuals who were at the top (Bramble 2008). There is an extent of strength of the trade union organization that has been crucial when it comes to limiting the income inequality. This argument has been linked with the decline in income inequality in the post-war years that was d ue to the strong trade unions, the progressive tax methods, low level of unemployment and the welfare system. Collective bargaining has been cited to be the cause of reduced the inequality of pay when compared to the competitive nature market. The inequality increase has been due to the result of a decline in the crucial bargaining power in the government expenditures (Bramble 2008). Economic crisis of 1974-1975 actively contributed to the inequality in Australia. This economic crisis erupted after Whitlam Labor government was re-elected in 1974. During this time, the government policies that were in place swung from the Keynesian stimulus of austerity with struggle of a Minister policy. As well, the Australian trade union has won a case on pay rise but the level of inflation was spiral and out of control hence alarming the business. The society polarized sharply. Australia had strong and organized trade unions that laid their attempts of defending the unions and gain wage rise that could have sustained the real values of price, while the government tried to restrain the wages. This plunged the country into severe political crisis, and this caused seven years of a political impasse. The business, government, and the unions were quite mobilizing with attempts to defend their interest. The political impasse ended in year 1983, this was followed by election of new l abor government, and there were results of unprecedented and restructured economy (Borland, Gregory Sheehan 2001) To end the crisis, the new elected government has to propose Prices and Income Accord that was part of agreement set by trade unions and guaranteed an industrial peace and wage restraints in exchange of guarantee and the government way of protecting the real wages and improve the social wage. All business representative were to be consulted and the trade unions movements especially on economic, tax and social issues. After the Labor won the election, the agreements become the structure of the government for the next one decade. There were a closer ways of monitoring the prices and all the workplace and unions that attempted to increase the wages beyond the maximum agreed rate was highly disciplined (Bagguley 1995). Along the wage policies, the government was able to restructure the business taxation policies. The statutory tax rates were reduced in year 1983 to 46 per c ent and in year 1996 to 36 percent. Changes in the rules that were applied in corporate tax caused a great impact on the effective rate and corporate tax decline. Later in year 1986, the fringe benefits tax and the capital gain tax were introduced (Card DiNardo 2002). These were some of the crucial measures that tried to reduce the income inequality level. The personal taxes that were charged in the higher income individual were cut in two crucial ways. As well, the government has to introduce dividend amputation that tried to reduce the income tax on share dividend a significant reform that benefited wealthy individuals. In the history years, business used to pay for company tax, and dividends were paid to shareholders and they were expected to pay tax on them (Alderson, Beckfield Nielsen 2005) Conclusion The society will never be equal, there must be horizon for the disadvantaged, and they are hard to rise. Normal operations of the economy may place great economy power to the hand of business owners especially when it comes to employee’s relation. The government has to take some alternative and facilitate successful and profitable operations for the business that target a protection of a business owner from the employee’s harmful actions. The government has ideas of reducing the inequality with consideration of low unemployment, increased levels of social security, minimum wages and higher marginal tax rates for the income earners. References Bibliography: Alderson, AS, Beckfield J Nielsen F 2005, â€Å"Exactly how has income inequality changed? Patterns of distributional change in core societies,† International Journal of comparative sociology, vol. 46, no. 5-6, pp. 405–23 Atkinson, AB, Piketty T Saez E 2011, â€Å"Top incomes in the long run of history,† Journal of Economic Literature, vol. 49, no. 1, pp. 3–71 Bagguley, P 1995, â€Å"Protest, poverty, and power: a case study of the anti-poll tax movement,† Sociological review, vol. 43, no. 4, November, pp. 693–19 Borland, J, Gregory B Sheehan P 2001, â€Å"Inequality and economic change,† Work rich, work poor: inequality and economic change in Australia, Centre for Strategic Economic Studies, Victoria University, Melbourne, pp. 1–20 Bramble, T Kuhn R 2011, â€Å"Labors conflict: big business, workers and the politics of class,† Cambridge University Press, Port Melbourne. Bramble, T 2008, â€Å"Trade Unionism in Australia: a history from flood to ebb tide,† Cambridge University Press, Port Melbourne Brandolini, A Smeeding MT 2009, â€Å"Income inequality in richer and OECD countries,† The Oxford Handbook of Economic Inequality, Oxford University Press, pp. 71–100. Card, D DiNardo JE 2002, â€Å"Skill-biased technological change and rising Wage inequality: some problems and puzzles,† Journal of Labor Economics, vol. 20, no. 4, October, pp. 733–83. 1 2 3 4 5 6 7 8

Painting Analysis in Jane Eyre Essay

From the opening chapter of Charlotte Brontà «Ã¢â‚¬â„¢s Jane Eyre the reader becomes aware of the powerful role that art plays. There is something extraordinary about the pictures Jane admires from other artists, as well as the work she creates herself. Her solitary pastime often operates as an outlet of pain, either past or present, and offers her the opportunity to deal with unpleasant emotions and memories. Jane’s art transcends her isolation by bringing her into contact with others who see it; it functions as a bridge between her desire to be alone and her need for companionship. Despite her struggles with inner conflict and the people in her life, Jane’s art helps her find personal power, marking her true identity as her own woman. Whether it is her love of drawings or the creations of her own, artwork has provide Jane a means of agency to survive the harrowing conditions afforded to the orphan child, allowing her to emerge as a wealthy, independent social equal. The first glimpse of Jane’s resourcefulness and mental escape comes from one of the first activities in the novel. She escapes from her powerless place in the hostile Reed household temporarily through a book â€Å"taking care that it should be one stored with pictures† (2). She retreats to a solitary window-seat, â€Å"having drawn the red moreen curtain nearly close†¦ shrined in double retirement,† and buries herself in Berwick’s A History of British Birds (2). The window offered protection, but not separation from the outside: â€Å"At intervals, while turning over the leaves of my book, I studied the aspect of that winter afternoon† (2). Through the images and quotes contained therein, Jane manages to acquire the only kind of power to she access to- knowledge, â€Å"Each picture told a story; mysterious often to my undeveloped understanding and imperfect feelings, yet ever profoundly interesting† (3). Her interpretation of the illust rations provides training for the young girl, who will later produce her own images. Her quest for identity and power has begun, and the young orphan begins to discover how she can begin her journey to find her place as a social equal. Interrupting her happy retreat, looking at the pictures, is her wretched cousin John Reed. He claims that Jane, as a dependent in his household, has no right to look at books without his permission. As punishment for her transgression, he throws her favorite Berwick’s Birds at her, physically knocking Jane down with its force (3-5). A fight ensues, with Jane comparing Reed’s actions to those of murderers, slave drivers, and Roman emperors. Adults intervene; Jane is blamed for the conflict and is confined to the â€Å"red room† where she experiences terrible suffering. In this incident, Jane’s visual pleasure takes the form of looking at art objects in prints and illustrated books. Instead of being a harmless leisure activity, â€Å"this looking is regarded by the male character as a provocation, setting off various stratagems aimed to reconfirm rights of ownership by laying down restrictive or subordinating conditions of access† (Kromm 374). Confron tations between Jane and male authority would follow her from her removal from the Reed home to her schooling at Lowood. Early on in her education at Lowood, Jane finds herself in a situation similar to that of the breakfast room incident at Gateshead. Trying to escape the notice of the headmaster Mr. Brocklehurst. With no massive curtain to shield her this time, she â€Å"held [her] slate in such a manner as to conceal [her] face† (62). The â€Å"treacherous slate† slipped from her grasp and crashed to the floor. As she â€Å"rallied [her] forces for the worst. It came† (62). In a humiliating flight of indignation, Mr. Brocklehurst, placing Jane on a stool for all to see, publically admonishes her for dropping school property. He further attempts to ostracize her from the others by condemning her a liar (information he received from Mrs. Reed, Jane’s wretched benefactress). Jane serves the time, designated by her punisher, sobbing and full of shame. She realizes that this wrongdoing would eliminate Miss Temple’s promise to teach her drawing and to learn French. Jane descends from the stool in search of Miss Temple, her beloved superintendent, who often â€Å"listens to Mr. Brocklehurst’s sermonizing in ladylike silence with her mouth ‘closed as if it would have required a sculptor’s chisel to open it’† (Gilbert 784). Miss Temple kindly allows Jane to speak in her defense, such an unfamiliar concept coming from the Reed residence. Once Jane’s story is corroborated she is rewarded with beginning lessons in drawing and French. Her subsequent years at the Lowood Institution, although glossed over by Brontà «, are when Jane emerges as an artist. Her first sketch is landscape with a crooked cottage whose graphic limitations bring about a daydream that evening in which she envisions a feast of â€Å"more accomplished imagery†(72). Each imaginary scene is one she anticipates producing with her own hands: picturesque landscapes with ruins, lowing cattle that recall Dutch painters like Cuyp, butterflies hovering near roses, birds pecking at fruit. Through this elegiac, bucolic, wish-fulfilling dreamscape, she sees herself become adept at making â€Å"freely-penciled,† rather than minutely copied, renderings of the natural world intensively and expansively observed. (Kromm 377-378) Jane’s goal is clearly much higher than reproducing other’s works. She sees herself acquiring the skills of a professional artist. Jane learns at Lowood that she can create and lose herself in alternate worlds when she draws and paints. She shows the ability to envision a cheerful life different from her circumstances. However, following Miss Temple’s departure from Lowood, Jane returns to feelings of isolation. Once again she finds solace gazing out a window, realizing the promise the other side has to offer . Her â€Å"restless desire† of life outside the classroom leads Jane to seek employment elsewhere. It is through her preparations to leave Lowood that the reader learns of Jane’s growth and achievement as an artist. Her â€Å"pictorial facility is a landscape, a watercolor given to the superintendent of Lowood, who had interceded on her behalf with Brocklehurst to obtain for Jane a reference and permission to leave the school† (Kromm 379). The painting was framed, and placed prominently â€Å"over the chimney-piece,† in the parlor at Lowood. Her painting is one of several accomplishments that impress Bessie, the Gateshead servant who visits upon learning of Jane’s departure for her next job at Thornfield. Bessie thinks the painting is beautiful: â€Å"It is as fine a picture as any Miss Reed’s drawing-master could paint, let alone the young ladies themselves, who could not come near it† (90). Jane now possesses the accomplishments of a lady, and â€Å"to a degree which will ensure her economic independence as a teacher. The picture Bessie sees is not described; it has no significance for Jane other than as a social gesture†¦it functions simply as a milestone on her advance to independence† (Milligate 316). Jane’s artistic confidence and her newly acquired â€Å"social status,† follow her to her next adventure at Thornfield. During her time as a governess, Jane’s art continues to gain the attention of others. Shortly after Rochester’s first appearance at Thornfield, he summons Jane and tries to get to know Jane’s qualifications as governess for Adà ¨le. Rochester asks to view again some of her work the young girl had shown him, adding, â€Å"I don’t know whether they were entirely of your doing: probably a master aided you?† (124). Jane vehemently denies his accusation, yet Rochester remains skeptical. He orders Jane to â€Å"fetch her portfolio,† and investigates her work, promising her, â€Å"I can recognize patchwork† (124). Somewhat satisfied after his perusal, that the work is from one hand, a hand that she confirms is her own. Focusing his attention on three watercolors he asks Jane, â€Å"Where did you get your copies?† When Jane replies â€Å"Out of my head,† he continues to goad her, â€Å"That head I see now on your shoulders?† (124). Jane passes his critical judgment without becoming unsettled. She offers her own critique of her work that is occupying Rochester’s attention: â€Å"her judgment upon them was ‘nothing wonderful’ because her manual skill was not quite able to capture the vivid subjects that she had imagined with her ‘spiritual eye’† (Gates 36). The watercolor landscapes, although produced at Lowood, are far from the scene that been so admired: â€Å"A seascape, a landscape, and polarscape respectively, each fantastic natural setting has the disturbing feature of a dead, fragmented, or cropped figure† (Kromm 379). In the seascape, a wrecked ship’s mast rises above the water in â€Å"composition dominated by rough seas and clouds.† A lone cormorant sits on the mast with a sparkling bracelet in its mouth â€Å"pecked from the arm of a woman’s corpse lying almost submerged in the foreground† (Kromm 379). The second painting shows a leafy, grassy hill with a large stretch of dark blue twilight sky. â€Å"Rising into the sky† is a bust-length view of a woman: â€Å"She is an allegorical figure, her gauzy lineaments and crown justifying her description as a ‘vision of the Evening Star.’ The pleasant otherworldliness of this princess-like delineation is subverted by the account of her features, which include wild-looking eyes and hair streaming in enervated disarray† (Kromm 379). The third watercolor is a polarscape whose winter sky is â€Å"pierced† by the peak of an iceberg against which a gigantic head rests, its forehead supported by two hands. The focus â€Å"is entirely placed on the singular head whose black, bejeweled turban registers a note of orientalist exoticism. The eyes of this giant are glazed, fixed, blank, communicating only a sense of despair† (Kromm 379). Her descriptions of her work display the limitless depths of her imagination. They are, as Rochester observes, like something Jane â€Å"must have seen in a dream† (126). He asks whether she was happy when she painted them and remarks that she must surely have existed â€Å"in a kind of artist’s dreamland while [she] blent and arranged these strange tints† (126). â€Å"Here Rochester catches the essence of surrealistic art, which tends toward the kind of involuntarism best known in dreams, aiming at automatism and toward the unconscious. Jane of course was not aiming anywhere† (Gates 37). Jane says she was simply ‘absorbed† and her subjects has â€Å"risen vividly on [her] mind† (126). Jane has the visions but lacks the skill to accurately portray them: â€Å"whereas the superintendent’s picture indicated accomplishments with social and economic value, these pictures reveal Jane’s emotional status†¦she has made little progress† (Millgate 316). Jane is still maturing. The paintings may evidence a halt in her artistic promise, however, the conversation with Rochester, about her artistic promise, ignites a sense of equality between the pair. Jane views Rochester’s investigatory comments as a, â€Å"breath of life†¦ he is the only qualified critic of her art and soul† (Gilbert 352). Jane and Rochester’s shared love of art plants the seeds of their mutual affection and appreciation of one another. Besides using her art as a means to access Jane’s thoughts, Rochester offers Jane’s work to the public. Rochester becomes, â€Å"the link that enables Jane to expand her ability to share imagination† (Cassell 112). She informs her reader, â€Å"One day he had company to dinner, and had sent for my portfolio; in order, doubtless, to exhibit its contents† (129). â€Å"Jane placidly accepts Rochester’s display of her work, perhaps as an affirmation of the value of her talent, or perhaps as a means to communicate her imaginative self with a larger audience† (Cassell 112). Jane takes a risk and allows herself, through her work, to be vulnerable to society’s scrutiny. Personal scrutiny, in addition to public, accompanies Jane’s work as it transitions from the familiar natural landscapes, to the unfamiliar world of portraiture. Here Jane uses her art as a sort of punishment for not seeing reality. The way Jane’s creative imagination goes to work on its materials is quite precisely revealed in the genesis of the pictures she actually completes while at Thornfield, those contrasting portraits of ‘a Governess, disconnected, poor, and plain’ and of ‘Blanche, an accomplished lady of rank’ which she intends as medicine for a mind which love of Rochester has infected with wishful thinking. (Millgate 317) Jane’s ivory miniature of Blanche Ingram is executed before Jane has laid eyes on Blanche and is based upon Mrs. Fairfax’s flattering description of her. When Jane asks Mrs. Fairfax for her opinion of Rochester, she says of the woman’s response, â€Å"There are people who seem to have no notion of sketching a character, or observing and describing salient points, either in persons or things: the good lady evidently belonged to this class† (104). However, when describing Jane’s rival for Rochester’s affection, Mrs. Fairfax’s word is bond. Studying her own face in the mirror, she finishes her a charcoal self-portrait in less than two hours, â€Å"omitting none of what she calls her defects, the harsh lines and displeasing irregularities of her face, refusing to exercise the artist’s option to use the chalk to soften or blur the sharp planes of her features† (Kromm 382). Jane paints Blanche’s portrait on smooth ivory, â€Å"taking a fortnight to finish it, and the result is a Grecian beauty whose features are called smooth, soft, sweet, round, and delicate† (Kromm 382). Looking at both portraits, she asks herself which woman Rochester would prefer: â€Å"The contrast was as great as self-control could desire† (162). The painting exercise becomes a means of self-discipline, and â€Å"a way of representing social hierarchical position through the creation of concrete images† (Azim 192). Contemplating the two works, and their disparities, she puts herself firmly in her place. She scolds herself for her romantic fantasies about Rochester that could ruin herself and her career. The contrast between the real and the ideal â€Å"is imagined and put forth, to keep in mind the distance between desire and reality†(Azim 193). Here Jane paints out of her mind’s eye, not in order to indulge her imagination, but to control it. Jane returns to Gateshead to visit her dying Aunt Reed. Bessie greats her kindly, but Jane otherwise receives a cold greeting from her aunt and cousins. Returning to such a disheartening place, coupled with missing Rochester, Jane uses her art as a means of comfort. She carries her art with her because art supplies her with â€Å"occupation or amusement† (250). â€Å"Her first sketch there shows her thoughts in line with Rochester’s as she sketches the characters that he often associated with her† (Cassell 116). She draws: â€Å"Fancy vignettes, representing any scene that happened momentarily to shape itself in the ever-shifting kaleidoscope of imagination: a glimpse of sea between two rocks; the rising moon, and a ship crossing its disk; a group of reeds and water-flags, and a naiad’s head, crowned with lotus-flowers, rising out of them; an elf sitting in a hedge-sparrow’s nest, under a wreath of hawthorn-bloom. (236-237) Her fantasies shift to real possibility, she sketches a face-Rochester’s, all in heavy black pencil and complete with flashing eyes (237). Jane describing her own work and the qualities she seeks to emphasize in the portrait – strength, determination, flexibility and spirit – reinforce what Jane finds attractive in Rochester. The portrait of Rochester is involuntarily made and, in fact, â€Å"helps to close the gap between the mind and the representational object: spontaneity, imagination, sexuality, and sexual desire combine to produce a portrait that faithfully represents the painter’s state of mind† (Azim 195). In a time of emotional need, she unconsciously conjures up â€Å"a speaking likeness† of the man she loves (237). After leaving Thornfield, following the interrupted marriage ceremony, Jane’s art provides a temporary asylum, as she grieves for Rochester. During her stay at the Moor house, her artwork earns her the admiration of Diana and Mary Rivers. They are so impressed with her talents that they give her all of their drawing supplies (360). Once again Jane attributes her talents with social status when she remarks, â€Å"My skill, greater in this one point than theirs, surprised and charmed them† (360). Their appreciation of her artistic skills, and their generosity help strengthen Jane’s weakened disposition. As Jane struggles to cope with losing everything that mattered to her, her artwork enlivens those around her-especially Rosamond Oliver. Jane’s art excites admiration, impressing Rochester with its â€Å"peculiar† power and â€Å"electrifying† Rosamond with surprise and delight. Jane’s painting and sketching quietly â€Å"satisfy an impulse toward a kind of display that is itself subordinated to pleasure in looking, as when she happily agrees to sketch a portrait of Rosamond: ‘I felt a thrill of artist-delight at the idea of copying from so perfect and radiant a model’† (Newman 157). Jane’s first description of Rosamond presents a figure seen entirely from an artist’s angle: â€Å"eyes shaped and colored as we see them in lovely pictures†¦the penciled brow†¦the livelier beauties of tint and ray†¦Ã¢â‚¬  (372). â€Å"The ease with which this terminology is manipulated shows a new detachment in Jane, as well as suggesting a certain superficiality in the figure she exams† (Millgate 319). Even though Jane can use her imaginative faculties to alleviate the pain of reality, she does not separate from reality (Cassell 116). She grieves constantly for the loss of Rochester and her identity. Her art does not offer the same gratifying rewards that it once did. Her work has continued to mature and is evident by Rosamond’s portrait. Mr. Oliver and St. John Rivers authenticate the precision of the portrait. The painting also â€Å"causes St John to admit to Jane what she already knows – that he is in love with Rosamond – and it is while he gazes at the picture that he allows himself to give way to his feelings for a set period of time – ‘a little space for delirium and delusion’, he calls it† (Losano 256). The painting also serves another function. The portrait of Rosamond Oliver brings to fruition, Jane’s aspirations for independence. St. John recognizes her as the rightful heir of a fortune. His proof of her identity consists of a signature in â€Å"the ravished margin of [a] portrait-cover,† which Jane confronts as if it belonged to another: â€Å"He got up, held it close to my eyes: and I read, traced in Indian ink, in my own handwriting, the words ‘JANE EYRE’† (392). Jane construes her signature as â€Å"the work doubtless of some moment of abstraction† and thus disowns it as the product of her own volition, even as it fulfills the conditions of he uncle’s will and her own desires to be financially independent and to belong to a family (Marcus 217). Jane Eyre’s art is mode of self-expression, revealing in rare glimpses her depth of character and aspirations for independence. As Millgate suggests, â€Å"her work is one means of charting her growth to maturity† (315). Beginning in the window-seat at Gateshead, a ten-year-old girl escapes abuse and neglect by escaping through images in her beloved books, through twenty years of creating herself through her art, Jane ends her career as an artist when she becomes Mrs. Jane Rochester. In the account of her married life in the final chapter, all her imaginative activity and visionary skill are devoted to the task of embodying in words, for the benefit of her blind husband. Her gift of words helps her to create a new artist identity-a storyteller. Works Cited Azim, Firdous. â€Å"Rereading Feminism’s Texts in Jane Eyre and Shirley.† The Colonial Rise of the Novel: From Aphra Behn to Charlotte Brontà «. London: Routledge, 1993. Brontà «, Charlotte. Jane Eyre. New York: Barnes and Noble, Inc, 2001. Cassell, Cara. The â€Å"Infernal World†: Imagination in Charlotte Brontà «Ã¢â‚¬â„¢s Four Novels. Diss. Georgia State University, 2001. Gates, Barbara. â€Å"Visionary Woe and Its Revision: Another Look at Jane Eyre’s Pictures.† ARIEL, Vol. 7 (1976): 36-49. Gilbert, Sandra. â€Å"Plain Jane’s Progress.† Signs, Vol.2 (1977): 779-804. Kromm, Jane. â€Å"Visual Culture and Scopic Custom in Jane Eyre and Villette.† Victorian Literature and Culture, Vol. 26 (1998): 369-394. Losano, Antonia. The Woman Painter in Victorian Literature. Columbus: Ohio State University Press, 2008. Marcus, Sharon. â€Å"The Profession of the Author: Abstraction, Advertising, and Jane Eyre.† PMLA, Vol.110 (1995): 206-219 Millgate, Jane. â€Å"Narrative Distance in Jane Eyre: The Relevance of the Pictures.† The Modern Language Review, Vol.63 (1968): 315-319. Newman, Beth. â€Å"Excepts from Subjects on Display.† Charlotte Brontà «Ã¢â‚¬â„¢s Jane Eyre: A Case Book. Ed. Elsie Browning Michie. NewYork: Oxford University Press, 2006. Starzyk, Lawrence. â€Å"The Gallery of Memory†: The Pictorial in Jane Eyre.† Papers on Language and Literature, Vol.33 (1997): 288-307.

The Awful Side of College Term Paper Sample

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Essay about A Mans Struggle to Heal Himself in Big...

A Mans Struggle to Heal Himself in Big Two-Hearted River Ernest Hemingways Big Two-Hearted River* is such a rich text that it has probably received more literary critical attention than many novels of several times its length. Hemingways ardent use of intricate detail and his intentional, calculated use of short, simple sentences help to make River a treasure chest of critical ideas and possible interpretations. Historically, much of the criticism of River has examined the dark underlying themes of the story, such as the alleged omission of some preceding, devastating event and Nicks wounded spiritual and mental state. These sentences, such as There was no town, nothing but the rails and the burned-over country, are†¦show more content†¦Through this type of reading, we are able to see the great contrast that exists, especially for Nick, between the river with its fast moving current and the dark swamp, a representation of whatever wound from which Nick is trying to heal. Lewis E. Weeks offers another view, similar to Twitchells, of River. Weeks points out some problems with Nicks pitching of the tent which, not surprisingly, is described in a manner such as not to leave the reader in want of details: With the ax [Nick] slit off a bright slab of pine... and split it into pegs for the tent. He wanted them long and solid to hold in the ground... . He pegged the sides out taught and drove the pegs deep, hitting them down into the ground with the flat side of the ax until the rope loops were buried and the canvas was drum tight. (214) From this scene, we cannot dispute Nicks intentionally pitching the tent so that it was drum tight. Weeks explains: [T]he problem from the point of view of the outdoorsman is the tightness with which the tent is pegged down. Canvas shrinks from both dew and rain; and usually notched or hooked pegs are driven into the ground in line with the tension so that they will pull out as the tent shrinks... always the tent is pitched with some looseness to allow for changes in humidity. (433) The question now becomes why Hemingway, an avid outdoorsman, would allow such inconsistencies to surface in River.Show MoreRelatedPoetry by William King, Martyn Lowery, Andrew Marvell, Liz Lochhead, John Cooper Clarke and Elizabeth Jennings10576 Words   |  43 Pagesrhymed meditation. The most obvious poetic technique that these poems have in common is their use of imagery. Love and Sex ============ Surprisingly, perhaps, the most sexually explicit poems in this collection are the two older ones: The Beggar Woman and To His Coy Mistress. Of the modern poems, none of them deal with the sexual side of a relationship. Three poems, however, deal with the full spectrum of sexual involvement in relationships. To His CoyRead MoreLangston Hughes Research Paper25309 Words   |  102 Pageswith him, and a fountain clerk in St. Louis refused to serve him a soft drink. He dealt with these slights the way he would his entire life: He turned away quietly. But Langston decided that instead of running away from the color line and hating himself for being black, like his father had, he would write about the real-life experiences of black people. He was determined to write stories about Negroes, so true that people in faraway lands would read them. James Langston Hughes was born in JoplinRead MoreIgbo Dictionary129408 Words   |  518 Pagesmanuscript was partly typed without alteration into a Word processor, originally an Apple-based system. This was transferred to an IBM system quite recently, but without any conversion of the character codes. It seems that two different systems of coding diacritics were used and more than two IPA phonetic fonts. Furthermore, for some reason, the typing of the grammar sketch which precedes the manuscript is incomplete. In order to make the manuscript available, I have therefore joined together the fragments