Fahrenheit 451: Character Analysis

In order to create a basis of vulnerability, Steinbeck deprives George and Lennie of primordial necessities, forcing the characters to confront the harsh realities of the human condition. Steinbeck beautifully depicts the nature of mankind when Lennie innocently kills mice and rabbits. In a balance of ignorance of accountability and fear of getting into trouble, Lennie whispers "George ain't gonna let me tend to the rabbits." George contains an understanding of the transient nature of life, reflected by his nomadic lifestyle as a result of Lennie’s actions. Although George and Lennie have graduated beyond the years of childhood, we may relate Erikson’s theories to Lennie’s behavior because Lennie remains in a child-like mindset. From the ages

Flames of passion, curiosity, fear, and longing. Longing for freedom of "your own innermost trembling thought." Bradbury confronts his reader with the harsh realities of a dystopian world in which "people don't talk about anything" because the government has banned books, going so far as to have firemen burn all houses with books. Parallel to Bradbury’s message in Fahrenheit 451, Faith Ringgold depicts a scene wherein the subjects long for freedom and acceptance. A hand-painted and stitched quilt, Dancing at the Louvre, narrates a tale of Ringgold’s alter ego, William Marie Simone, “a 16-year-old black girl who escaped the cotton fields of Georgia and the side streets of Harlem’' and moves to Paris (Khan Academy). Simone breaks the rules by dancing in a public space of high cultural affluence. Even more, Ringgold displays the five girls with their backs toward the Mona Lisa and two other works from the upper echelon of the Western tradition. Ringgold draws upon her struggle as a black adolescent for “recognition in an art world dominated by European traditions and male artists” (Khan Academy). Ringgold's story quilts offer a criticism of cultural commentary, going so far as to note Ringgold’s expertise in the usage of materials (oil on canvas) accepted by the Western tradition. Dancing at the Louvre relates to the

The ACE Study emerged in the 1990s from an obesity clinic in San Diego and gained attention in 2012. Dr. Vincent Felitti of San Diego, California, chief of Kaiser Permanente’s Department of Preventive Medicine, could not figure out why over half of his clients dropped out of his clinic after losing over one hundred pounds. As part of the program, Dr. Felitti would ask clients to give their weight at birth, elementary school, high school, first time of sexual activity, and at other various life stages. Time after time, Felitti became shocked to hear a weight under one hundred pounds for the first instance of sexual activity, with many clients reporting childhood sexual abuse. Upon fear of unconscious bias in the wording of his questions, Felitti consulted with other colleagues who conducted interviews which surfaced with the same results of childhood sexual trauma. The mystery evolved into a twenty-five year quest involving researchers from the Center of Disease Control and Prevention, hundreds of psychologists, and many of Kaiser’s colleagues. The study, as explained by Jane Stevens of Huffington Post, revealed that adverse childhood experiences plagued clients “even in the white middle-class, and that these experiences are linked to every major chronic illness and social problem” faced in the United States. For many obese persons, the