Conflicting perspectives are an inevitable part of human existence as they arise from the complex interplay of individual experience, social and cultural background and influences. Representations of these discrepancies are fundamentally constructed through acts of deliberate selection and emphasis, enabling composers to manipulate audience’s conscious perceptions of truth and reality. David Guterson’s Snow Falling on Cedars portrays the necessity of accepting the inexorable existence of nature, fate and prejudices within society.
Likewise Alissa Ti’s modern painting with analytical article Perfect Harmony integrates art, music and literature to represent humans’ essentiality in moving on from the difficulties in life. Together, conflicting perspectives represented through art parallels the subjectivity of life and shows that there is no conventional definition for “the truth” as it depends solely within each individual. Guterson depicts conflicting perspectives on humanity’s response to the ungraspable forces of nature and fate by selectively contrasting Western and Eastern philosophies through Ishmael and Hatsue’s past and values.
Ishmael figuratively views life as “one whole ocean”, floating between his inability to “let go” his past “war veteran” and “unconditioned” love memories for Hatsue symbolised in his unwillingness to “denervate” his “amputated arm” to its “stump”. In juxtaposition, Hatsue represents an Eastern perspective considering life and the relationship with Ishmael as an “ocean [that] won’t mix”, separated by racial prejudices from her unavoidable traditional values.
The Term Paper on The Punjabi Immigrants’ Perspective on British Culture Represented by Major Characters in Hanif Kureishi’s “My Son the Fanatic”
This story is dominated by two major characters, Ali and Parvez and another supporting character, Bettina. The character background of Parvez is that he is a moeslim. He had grown up in Lahore where all the boys had been taught the Koran. The narator also tells the reader about what happened when Parvez studied Koran, that to stop him falling asleep, the Maulvi had attached a piece of string to ...
Guterson affirms Hatsue’s recognition that “there’s no point perpetually grasping for something” as she symbolically “learn to play her” life “like an instrument” in “harmony”, emphasizing that humans should accept a ‘greater truth’ than individual desires by acknowledging “death, injustice, hardship”, as “part of life”. Guterson then metaphorically summates humans as “dust in strong wind”, susceptible to “fate” and “accident” to any situation, however “it’s all kind of a balancing act” by moving on the privations of life.
Ultimately, Guterson accentuates that while “fate and accident conspire; human beings must act on reason” and choice by figuratively acknowledging “that accident ruled the universe except the chambers of the human heart. ” Similarly, Alissa’s philosophical perspectives is exemplified through both visually and textually that “Perfect Harmony” is gained “if only we choose” to accept the ever existing conflicts and “forget the unattainable”.
Corresponding to Guterson’s Hatsue learning to live with acceptance, Alissa’s cyclic cropping of her favoured romanticist “Chopin” reflects her recognition of the human cycle; past, present and death. The lively and multi-coloured tone corresponds to “[her] childhood reluctance to learn a new sonata” which epitomizes the stubbornness of humanity; being detained from new ideals. The symbolic black tuxedo reflecting life failings, juxtaposed with the vibrant yellow background of hope respectively parallels her analogy of “life stopping” by “stumbling, hitting the wrong keys” but by “continuing [there] is still hope”.
Alissa further portrays true “peace and happiness” induced by moving on from the fragmented “stumbles” in life represented by the combination of broken and unbroken note symbols around the artwork. In essence, it is by the repetitive “next note, next chord” and the solemn gaze in Chopin’s eyes which positions us to prerequisitely accept failures and uncontrollable forces of life and death by moving on to the “next stage” to find “Perfect Harmony” in life.
The Essay on Thinking About The Endless Cycle Of Life Human Beings Have
Thinking about the endless cycle of life, human beings have always been looking for a way to express their feelings and emotions. People broke the traditional standards or styles; and found new ways of expressing their ideas through art and poetry. The new movement was called Impressionism; and the best works of the Impressionist Age include William Butler Yeatss The Wild Swans at Coole and Derek ...
However, Guterson then flaunts the imperfections in life by examining conflicting perspectives on prejudice, discrimination and the resulting injustice within a courtroom; a microcosm of the broader prejudice and intolerance afflicting San Piedro and humanity. Guterson’s condemnation of such prejudice is epitomized by the unsympathetic depiction and racial innuendos of the prosecutor Alvin Hooks who appeals to the jury to “look into [Kabuo’s] eyes’, to condemn him as a ‘Jap’ and wreak revenge for wartime injustices, symbolising the bigotry and hatred which can metaphorically blind humanity to truth and justice.
Guterson juxtaposes this viewpoint with Nels’ final summation appealing to the jury to act with integrity by standing up against the ‘endless tide’ of racism. The persuasive and dignified tone created by abstract nouns and anaphora through Nels’ speech declaring “In God’s name, and humanity’s name” must “ceaselessly conspire towards injustice” position the audience to similarly act in breaking free of “human frailty” and “irrational fears”. Ultimately, Guterson juxtaposes the “amoral forces” of nature having “the storm” of
“limits and greyness” “beyond our control” with “the outcomes of this trial [which] is not” to symbolise the central importance in choosing to transcend the “blind chaos” of intolerance and disparate perspectives within society. Although truth is often blinded by delusions of exterior prejudices, Alissa’s art then mirrors the subjectivity of the “real truth” being different to each individual by disparate perspectives. Similar to Guterson’s prejudiced trial of Kabuo, Alissa’s double illusion of the piano on Chopin’s tie and tuxedo reflects the uncertainty of every event and situation being seen “another way” from another angle.
Additionally, the musical and anaphoric allegory in “playing the notes a little differently” resonating “different interpretations, different meaning” furthermore accentuates that the interpretation of meaning can vary from each individual’s perception. Alissa’s allusion juxtaposing that some “play music” for “trophies and medals” with herself playing to “create peace in [her] soul” shows that some hold on materialistic and unattainable views, whilst some come to the “greater truth” just like Guterson’s Ishmael letting go of the ungraspable; unrequited love and fate.
The Term Paper on Analysis of Feminism in Pride and Prejudice
Abstract：Pride and Prejudice is a marvellous novel of Jane Austen. Although in her age, women are regarded as emotional, weak, nurturing, and submissive, Austen depicts her heroine, Elizabeth as a woman who has her own perspectives, feelings, and opinions. This paper analyses feminism in Pride and Prejudice from its progressive and conservative aspects. The former is reflected from the perspective ...
The illusional tesselations of doves in Chopin’s hair and the vectors separating each piano key symbolizes that peace and harmony is “somewhere embedded in the markings of time”, whilst the perception of life metaphorically as keys of “white and black”; right or wrong and the real truth is forever subjective from changing perspectives.
