Review on The Pursuit of Happyness Essay Example for Free

Review on The Pursuit of Happyness Essay The Pursuit of Happyness is a very moving film about a man and his quest for a better life. It is an inspiring case study of how many of the elements of happiness work together from relationships, to poverty, to positive mental attitude and determination. The movie is based on the true story of Chris Gardener, a struggling entrepreneur in 1980s San Francisco, with one driving ambition- to be a good father to his son. He tries to improve the family financial situation by purchasing and selling medical equipment, but the investment does not work out and the family sinks further into poverty. He sees his chance to make good after admiring a sports car on the street in the business district, where all the people seem happy. The car owner tells Chris he is a stock broker and anyone who is good with numbers and with people can be successful as a stock broker- even without a college degree. Chris uses his people skills and demonstrates the value of good relationships to get a chance at an internship where he must compete with 20 other candidates for 6 months for one paid position. His wife leaves him, he loses his apartment, bank accounts, credit cards, and has to spend time in jail, but all through it he is dedicated to keeping his son and pursuing his dream. The title, Pursuit of Happyness spelled with a y,comes from some graffiti at the daycare center and is also a reference to an essay written by a biracial man in the US shortly after the Declaration of Independence by Thomas Jefferson. The movie is beautifully acted by Will Smith and well written. It shows how people without money are often victimized and bullied by those who do have money and power. Yet Chris Gardener repeatedly demonstrates the importance of good relationships even with people who treat him badly. He shows the importance of knowing his strengths and using them, even in unconventional ways. His optimism turns into dogged determination as he demonstrates incredible persistence and creativity in his pursuit of happiness. The realism and emotional punch of the Christopher Gardner story makes this a moving and inspiring drama. Whether you are inspired to be grateful for your own circumstances or by the value of grace and determination, this movie is sure to show you something about happiness- its importance and how to get it. The Pursuit of Happyness teaches us a lot about the importance of virtues and strengths in our happy lives.

Death And The Maiden - Film Vs Essay -- essays research papers

The Polanski film Death and the Maiden is a wonderful and intelligent interpretation of Ariel Dorfman’s human rights problem play. Polanski has produced, in this film, an exceptional piece of direction, in which his own personal, emotional input is evident. The main theme of the play is an extremely personal one for both playwright (and scriptwriter) and director. Both Dorfman and Polanski have had to face and flee the horrors of dictatorship and human rights violations: Dorfman in Chile, under General Augusto Pinochet, and Polanski in Poland under the Nazis. But despite this similarity in past experience, significant differences exist between the original play and the film. Apart from the specific techniques of lighting and composition, whose possibilities are greatly widened in the medium of film, we see differences in both the different emphases and implied viewpoints on the various themes that the play touches on and, perhaps more importantly, the way the characters are por trayed. While the old concept of “whatever doesn’t kill you makes you stronger'; is present in both the play and the film (particularly in the characterisation of Paulina), it is much more prevalent in the movie. We can see Paulina’s strength from the start. As she strides confidently around the house and violently tears off a piece of chicken, the suggestion that she is unsuited to the domestic position which she has obviously been forced into by the side effects of her traumatic experience need not be made any clearer. Although possessing remarkable strength in both texts, the movie shows a much stronger, almost completely masculine Paulina. This Paulina has been almost entirely defeminized by her ordeal, physically, symbolised by the scarred breast and her desire to “adopt'; a child, which also serves as a glimpse of the vulnerable element of womanhood in her character that still remains. Throughout the bout of verbal jousting that goes on in the opening scene Paul ina is able to hold her ground much more firmly than she appears to do in the play. In Polanski’s version of the scene she actually manages to use her domestic role to gain power in the argument, fiercely flinging the dinner in the bin. Weaver’s powerful acting conveys the unmistakable tension associated with an incredible amount of suppressed anger. I... ...0;'; For all the rage contained in the film (significantly more than the play), and its portrayal of Paulina, there is a certain helplessness to the film, and a disturbing truth in its unresolved ending. One might argue that Polanski – in making Roberto give an overall much more genuine confession at the end of the film than Dorfman provides in the play – is falling into the Hollywood trap of offering a simple resolution to its many moral conflicts and thus making it accessible to a wider audience. I believe this circumstance serves a very important purpose, emphasized by its juxtaposition with the very last scene. It underlines this important impotence in the film’s ending: the fact that despite her having faced her demons Paulina has been permanently changed by her ordeal. And although she may have “…reclaimed [her] Schubert…'; in that she can now sit in a concert hall and listen to the music, the music will never be able to tell her the same things again. And even if Roberto is not there in person (as he is in the final scene) he will always exist as a vague presence, a “phantasmagorical'; shadow on her soul.

Reality and Fiction in Virginia Woolf’s “to the Lighthouse” Essay

Reality and fiction in Virginia Woolf’s â€Å"To the Lighthouse† I have chosen this subject because I found very interesting debate, and the author is one of the greatest writers of all times. His works is large and full, his characters are contoured such that it fascinate you. Victorian period also is one of the most famous, with most changes produced in English literature To the Lighthouse is a 1927 novel by Virginia Woolf. A landmark novel of high modernism, the text, which centres on the Ramsays and their visits to the Isle of Skye in Scotland between 1910 and 1920, skillfully manipulates temporal and psychological elements. In To the Lighthouse ,one of her most experimental works, the passage of time, for example, is modulated by the consciousness of the characters rather than by the clock. The events of a single afternoon constitute over half the book, while the events of the following ten years are compressed into a few dozen pages. Many readers of To the Lighthouse, especially those who are not versed in the traditions of modernist fiction, find the novel strange and difficult. Its language is dense and the structure amorphous. Compared with the plot-driven Victorian novels that came before it, To the Lighthouse seems to have little in the way of action. Indeed, almost all of the events take place in the characters’ minds. Although To the Lighthouse is a radical departure from the nineteenth-century novel, it is, like its more traditional counterparts, intimately interested in developing characters and advancing both plot and themes. Woolf’s experimentation has much to do with the time in which she lived: the turn of the century was marked by bold scientific developments. To the Lighthouse exemplifies Woolf’s style and many of her concerns as a novelist. With its characters based on her own parents and siblings, it is certainly her most autobiographical fictional statement, and in the characters of Mr. Ramsay, Mrs. Ramsay, and Lily Briscoe, Woolf offers some of her most penetrating explorations of the workings of the human consciousness as it perceives and analyzes, feels and interacts. The Transience of Life and Work Mr. Ramsay and Mrs. Ramsay take completely different approaches to life: he relies on his intellect, while she depends on her emotions. But they share the knowledge that the world around them is transient—that nothing lasts forever. Mr. Ramsay reflects that even the most enduring of reputations, such as Shakespeare’s, are doomed to eventual oblivion. This realization accounts for the bitter aspect of his character. Frustrated by the inevitable demise of his own body of work and envious of the few geniuses who will outlast him, he plots to found a school of philosophy that argues that the world is designed for the average, unadorned man, for the â€Å"liftman in the Tube† rather than for the rare immortal writer. The Subjective Nature of Reality Toward the end of the novel, Lily reflects that in order to see Mrs. Ramsay clearly—to understand her character completely—she would need at least fifty pairs of eyes; only then would she be privy to every possible angle and nuance. The truth, according to this assertion, rests in the accumulation of different, even opposing vantage points. Woolf’s technique in structuring the story mirrors Lily’s assertion. She is committed to creating a sense of the world that not only depends upon the private perceptions of her characters but is also nothing more than the accumulation of those perceptions. To try to reimagine the story as told from a single character’s perspective or—in the tradition of the Victorian novelists—from the author’s perspective is to realize the radical scope and difficulty of Woolf’s project. The Lighthouse Lying across the bay and meaning something different and intimately personal to each character, the lighthouse is at once inaccessible, illuminating, and infinitely interpretable. As the destination from which the novel takes its title, the lighthouse suggests that the destinations that seem surest are most unobtainable. Just as Mr. Ramsay is certain of his wife’s love for him and aims to hear her speak words to that end in â€Å"The Window,† Mrs. Ramsay finds these words impossible to say. These failed attempts to arrive at some sort of solid ground, like Lily’s first try at painting Mrs. Ramsay or Mrs. Ramsay’s attempt to see Paul and Minta married, result only in more attempts, further excursions rather than rest. The lighthouse stands as a potent symbol of this lack of attainability. James arrives only to realize that it is not at all the mist-shrouded destination of his childhood. Instead, he is made to reconcile two competing and contradictory images of the tower—how it appeared to him when he was a boy and how it appears to him now that he is a man. He decides that both of these images contribute to the essence of the lighthouse—that nothing is ever only one thing—a sentiment that echoes the novel’s determination to arrive at truth through varied and contradictory vantage points. The Sea References to the sea appear throughout the novel. Broadly, the ever-changing, ever-moving waves parallel the constant forward movement of time and the changes it brings. Woolf describes the sea lovingly and beautifully, but her most evocative depictions of it point to its violence. As a force that brings destruction, has the power to decimate islands, and, as Mr. Ramsay reflects, â€Å"eats away the ground we stand on,† the sea is a powerful reminder of the impermanence and delicacy of human life and accomplishments. Subjective Reality The omniscient narrator remained the standard explicative figure in fiction through the end of the nineteenth century, providing an informed and objective account of the characters and the plot. The turn of the 20th century, however, witnessed innovations in writing that aimed at reflecting a more truthful account of the subjective nature of experience. Virginia Woolf’s To the Lighthouse is the triumphant product of this innovation, creating a reality that is completely constructed by the collection of the multiple subjective interiorities of its characters and presented in a stream-of-consciousness format. Woolf creates a fictional world in which no objective, omniscient narrator is present. There is a proliferation of accounts of the inner processes of the characters, while there is a scarcity of expositional information, expressing Woolf’s perspective on the thoughts and reflections that comprise the world of the Ramsays. Time is an essential component of experience and reality and, in many ways, the novel is about the passage of time. However, as for reality, Woolf does not represent time in a traditional way. Rather than a steady and unchanging rhythm, time here is a forward motion that both accelerates and collapses. In â€Å"The Window† and â€Å"The Lighthouse,† time is conveyed only through the consciousness of the various characters, and moments last for pages as the reader is invited into the subjective experiences of many different realities. Indeed, â€Å"The Window† takes place over the course of a single afternoon that is expanded by Woolf’s method, and â€Å"The Lighthouse† seems almost directly connected to the first section, despite the fact that ten years have actually elapsed. However, in â€Å"Time Passes,† ten years are greatly compacted into a matter of pages, and the changes in the lives of the Ramsays and their home seem to flash by like scenes viewed from the window of a moving train. This unsteady temporal rhythm brilliantly conveys the broader sense of instability and change that the characters strive to comprehend, and it captures the fleeting nature of a reality that exists only within and as a collection of the various subjective experiences of reality.

Juan Sebastián Elcano, Ferdinand Magellans Replacement

Juan Sebastià ¡n Elcano (1487–August 4, 1526) was a Spanish (Basque) sailor, navigator, and explorer best remembered for leading the second half of the first round-the-world navigation, having taken over after the death of Ferdinand Magellan. Upon his return to Spain, the King presented him with a coat of arms that contained a globe and the phrase: â€Å"You Went Around Me First.† Fast Facts: Juan Sebastian Elcano Known For: Leading the second half of Ferdinand Magellans first round-the-world navigation after Magellan diedBorn: 1487 in Guetaria, a fishing village in Gipuzkoa, SpainParents: Domingo Sebastian de Elcano and Dona Catalina del PuertoDied: August 4, 1526 at sea (Pacific Ocean)Spouse: NoneChildren: A son Domingo del Cano by Mari Hernandez de Hernialde and an unnamed daughter by Maria de Vidaurreta of Valladolid Early Life Juan Sebastià ¡n Elcano (in Basque; the Spanish spelling of his name is written as del Cano) was born in 1487 in Guetaria, a fishing village in the Guipuzcoa province of Spain. He was the eldest of nine children of Domingo Sebastian de Elcano and Dona Catalina del Puerto. He was related to the Gaiza de Arzaus and Ibarrola families, who held important positions in the Casa de Contratacion in Seville, the Spanish crowns agency for the Spanish empire, a thin but later useful family connection. Elcano and his brothers became seafarers, learning navigation by ferrying contraband goods to French ports. He was an adventurer, fighting with the Spanish Army in Algiers and Italy before settling down as captain/owner of a merchant ship. As a young man, however, he led a prodigal and wayward life and often had more debts than money to pay them. Italian companies demanded that he surrender his ship to cover his debts, but he later found he had broken Spanish law by doing so and had to ask the king for a pardon. Young King Charles V agreed, but on the condition that the skilled sailor and navigator (with good connections) serve with an expedition the king was funding: the search for a new route to the Spice Islands, led by Portuguese navigator Ferdinand Magellan. The Magellan Expedition Elcano was given the position of ship’s master on board the Concepcià ³n, one of five ships making up the fleet. Magellan believed that the globe was smaller than it actually is and that a shortcut to the Spice Islands (now known as the Maluku Islands in present-day Indonesia) was possible by going through the New World. Spices such as cinnamon and cloves were immensely valuable in Europe at the time and a shorter route would be worth a fortune to whoever found it. The fleet set sail in September 1519 and made its way to Brazil, avoiding Portuguese settlements due to hostilities between the Spanish and Portuguese. As the fleet made its way south along the coast of South America looking for a passage west, Magellan decided to call a halt in the sheltered bay of San Julià ¡n because he feared continuing on in bad weather. Left idle, the men began to talk of mutiny and returning to Spain. Elcano was a willing participant and had by then assumed command of the ship San Antonio. At one point, Magellan ordered his flagship to fire on the San Antonio. In the end, Magellan put down the mutiny and had many of the leaders killed or marooned. Elcano and others were pardoned, but not until after a period of forced labor on the mainland. To the Pacific Around this time, Magellan lost two ships: the San Antonio returned to Spain (without permission) and the Santiago sank, although all of the sailors were rescued. By this time, Elcano was captain of the Concepcià ³n, a decision by Magellan that probably had much to do with the fact that the other experienced ships captains had been executed or marooned after the mutiny or had gone back to Spain with the San Antonio. In October–November 1520, the fleet explored the islands and waterways at the southern tip of South America, eventually finding a passage through what is known today as the Strait of Magellan. According to Magellan’s calculations, the Spice Islands should have only been a few days of sailing away. He was badly mistaken: his ships took four months to cross the South Pacific. Conditions were miserable on board and several men died before the fleet reached Guam and the Marianas Islands and were able to resupply. Continuing westward, they reached the present-day Philippines in early 1521. Magellan found he could communicate with the natives through one of his men, who spoke Malay: they had reached the eastern edge of the world known to Europe. Death of Magellan In the Philippines, Magellan befriended the King of Zzubu, who was eventually baptized with the name of â€Å"Don Carlos.† Unfortunately, Don Carlos convinced Magellan to attack a rival chieftain for him, and Magellan was one of several Europeans killed in the ensuing battle. Magellan was succeeded by Duarte Barbosa and Juan Serrao, but both were treacherously killed by â€Å"Don Carlos† within a few days. Elcano was now second in command of the Victoria, under Juan Carvalho. Low on men, they decided to scuttle the Concepcià ³n and head back to Spain in the two remaining ships: the Trinidad and the Victoria. Return to Spain Heading across the Indian Ocean, the two ships made a stop in Borneo before finding themselves at the Spice Islands, their original goal. Packed with valuable spices, the ships set out again. About this time, Elcano replaced Carvalho as captain of the Victoria. The Trinidad soon had to return to the Spice Islands, however, as it was leaking badly and eventually sank. Many of the Trinidad’s sailors were captured by the Portuguese, although a handful managed to find their way to India and from there back to Spain. The Victoria sailed on cautiously, as they had gotten word that a Portuguese fleet was looking for them. Miraculously evading the Portuguese, Elcano sailed the Victoria back into Spain on September 6, 1522. By then, the ship was crewed by only 22 men: 18 European survivors of the voyage and four Asians they had picked up en route. The rest had died, deserted or, in some cases, been left behind as unworthy of sharing in the spoils of the rich cargo of spices. The King of Spain received Elcano and granted him a coat of arms bearing a globe and the Latin phrase Primus circumdedisti me, or â€Å"You Went Around Me First.† Death and Legacy In 1525, Elcano was picked to be the chief navigator for a new expedition led by the Spanish nobleman Garcà ­a Jofre de Loaà ­sa, who intended to retrace Magellan’s route and establish a permanent colony in the Spice Islands. The expedition was a fiasco: of seven ships, only one made it to the Spice Islands, and most of the leaders, including Elcano, perished of malnutrition during the arduous Pacific crossing. Elcano wrote a last will and testament, leaving money to his two illegitimate children and their mothers back in Spain, and died on August 4, 1526. Because of his elevation to noble status upon his return from the Magellan expedition, Elcano’s descendants continued to hold the title of Marquis for some time after his death. As for Elcano himself, he has unfortunately been mostly forgotten by history, as Magellan still gets all the credit for the first circumnavigation of the globe. Elcano, although well-known to historians of the Age of Exploration (or Age of Discovery), is little more than a trivia question to most, although there is a statue of him in his hometown of Getaria, Spain and the Spanish Navy once named a ship after him. Sources Fernandez de Navarrete, Eustaquio. Historia De Juan Sebastian Del Cano. Nicholas de Soraluce y Zubizarreta, 1872. Mariciano, R. De Borja. Basques in the Philippines. Reno: University of Nevada Press, 2005. Sebastian del Cano, Juan. Original of the Testament of Juan Sebastian Del Cano Made on Board the Ship, Victoria, One of the Ships of Comendador Garcia De Loaysa on Its Way to the South Sea. The Philippines under Spain; a Compilation and Translation of Original Documents. Book 1 (1518-1565): The Voyages of Discovery. Eds. Benitez Licuanan, Virginia and Josà © Llavador Mira. Manila: National Trust for Historical and Cultural Preservation of the Philippines, 1526 (1990). Thomas, Hugh. Rivers of Gold: The Rise of the Spanish Empire, from Columbus to Magellan. 1st edition, Random House, June 1, 2004.