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Throughout the world, violence has occurred in some form in each individual’s life since the beginning of time. Violence is any action, inaction, or structural arrangement that results in physical or nonphysical harm to one or more animals. There are three types of violence to classify the act, which is Institutional, Interpersonal, and Structural. Within each type of violence are specific categories that occur, such as family, religion, educational, corporate, and even economical violence.
Violence doesn’t always lead to bad things. Fist,Stick,Knife,Gun by Geoffrey Canada is about how violence in South Bronx, New York. It tells us how violence had became more deadly and dangerous in New York and how he had to deal with it. Soon he became aware of it and decided to help make a change in his community. Geoffrey Canada’s main message for the story is that the effects of violence on someone’s life can influence them to make change in their community.
Melba Pattillo Beals is a woman who has recalled her memories of the Little Rock Nine and the integration of Little Rock Central High School during the years 1957-1958 through her book Warriors Don’t Cry. Within this book Melba recalls on page 155, “ I wanted to be alone so I could search for the part of my life that existed before integration, the Melba I was struggling to hold on to… I was trying hard not to face the notion growing inside me that I was no longer normal, no longer like my other friends.” During these years of integration both blacks and whites felt a sense of abnormality as seen through Beals and her fellow students accounts throughout Warriors Don’t Cry. The experiences that the Little Rock Nine and white students in Central
Geoffrey Canada does an excellent job of bringing his readers to the streets of the South Bronx and making them understand the culture and code of growing up in a poor, New York City neighborhood in the ‘50s and ‘60s. In his book, Fist, Stick, Knife, Gun, Canada details, through his own childhood experiences, the progression of violence in poverty plagued neighborhoods across America over the last 50 years. From learning to be “brave” by being forced to fight his best friend on a sidewalk at six-years-old, to staring down an enraged, knife wielding, “outsider” with nothing to defend himself but nerve, Canada explains the nightmare of fear that tens of thousands of children live through every day growing up in poor neighborhoods. The book
Andre Dubus’ spiral towards violence in the memoir Townie exposes the authors fear of being unable to protect himself, his family and loved ones. Dubus’ fear of being unable to protect himself stems from the relentless bullying Andre experiences growing up. Dubus started experiencing bullying at an early age. Andre was often on the receiving end of taunts and teasing from other boys at school and in his neighborhood. Dubus felt afraid and states, “soldiers have to be brave, and I was not...
NWA (National Wrestling Alliance) is one of the most watched programs on television where people are ripping at each other to compete for money. People around the world seem to enjoy violence. Writer’s use violence in their pieces to draw outsiders in because there is a common interest, which is violence in this case. The principal characters in the short story’s “Thank you, M’am”, “Harrison Bergeron”, and “The Cask of Amontillado” show a universal flaw. Violence is common in the personalities of the leading characters in these short stories.
The novel ‘Heroes’ by Robert Cormier features a young war veteran, Francis Cassavant, who returns to his childhood home of Frenchtown from serving in the Second World War and has suffered severe deformities from a fall “on a grenade” which has led the readers to sympathise him and to believe that he is a “poor boy”. Francis has returned to Frenchtown with a specific purpose of killing Larry LaSalle, who is first portrayed as the glamorous and perfect man with a “smile that revealed dazzling movie-star teeth” and “a touch of Fred Astaire in his walk”. Through Larry’s character, Cormier is able to explore the various themes of the novel: masks, power, heroism, and guilt. Although Larry LaSalle is presented as a “hero” and a “champion”, there is an air of ambiguity about him that suggests that he is wearing a mask, exploring the theme of masks, as it contrasts with his “dazzling movie star” good looks and his “big hero” persona.
Michelle Cliff’s short story Down the Shore conspicuously deals with a particularly personal and specific, deeply psychological experience, in order to ultimately sub-textually create a metaphor regarding a wider issue of highly social nature. More specifically, the development of the inter-dependent themes of trauma, exploitation, as well as female vulnerability, which all in the case in question pertain to one single character, also latently extend over to the wider social issue of colonialism and its entailing negative repercussions, in this case as it applies to the Caribbean and the British Empire. The story’s explicit personal factor is developed through the literary techniques of repetition, symbolism, metaphor, as well as slightly warped albeit telling references to a distinct emotional state, while its implicit social factor is suggested via the techniques of allusion, so as to ultimately create a generally greater, undergirding metaphor.
Le Thi Diem Thuy in her story, “The Gangster We Are All Looking For,” reflects on the narrator’s innocent demeanor by analyzing her actions to understand her own past. Diem’s conflict with adjusting to assimilation in the United States coincides with Helen Morton Lee’s piece, “Ties to the Homeland: Second Generation Transnationalism,” where she argues that the overall influence an individual’s homeland generates a structure that shapes their presence in the new country. Moreover, Thuy’s experiences during her childhood are properly explained in Elena Cohen’s article, “Understanding Children's Exposure to Violence,” which argues that when individuals face traumatic experiences during their childhood that they are more more likely to be emotionally damaged later in their life. The narrator’s desperate search for self-identity affects her after realizing she cannot assimilate well into the new culture. In “The Gangster We Are All Looking For,” Diem Thuy utilizes themes, point of view, and her traumatic childhood to justify the profound shift in tone implemented found throughout the story that describes
A warrior’s homecoming is typically thought to be full of loving comfort from family and friends, exemplified in images in popular culture. However, there is in fact a tragedy behind the whole ordeal, caused by the lack of effective communication by the homecoming warriors. Coming home from war may regularly be exhibited as an emotional and heartwarming event, but there is an inherently tragic distance between a warrior and their family. This
In 2003, the motion picture, Kill Bill Volume 1, debuted in theaters. Set to a backdrop of bloodshed and violence, the film offers 112 minutes of savagery, as the main character attempts to get back at every person who has wronged her in the past four years. Kill Bill is only one of the many films in which violence is the number one attraction. “Kill or be killed,” seems to be the overarching motto, as millions of moviegoers flock into theaters each weekend to watch as characters fight to the death. In contrast, violence portrayed on the silver screen is no longer acceptable outside of the theater.
Numerous scenes in the novel, The Things They Carried, by Tim O'Brien, are riddled with violence. Those horrid scenes shape the themes of a heightened mental state and revenge. The actions of the Alpha Company are driven by emotion and stress. These issues create great problems for the Company, stripping them of their civilized societal standards and leaving only natural human instinct.
Chris Hedges, a former war correspondent, has a memory overflowing with the horrors of many battlefields and the helplessness of those trapped within them. He applies this memory to write War Is a Force That Gives Us Meaning, where he tutors us in the misery of war. To accomplish this goal, Hedges uses impactful imagery, appeals to other dissidents of war and classic writers, and powerful exemplification. Throughout his book, Hedges batters the readers with painful and grotesque, often first-hand, imagery from wars around the globe. He begins the book with his experience in Sarajevo, 1995.
What is violence? Violence is, as described by Google,”behavior involving physical force intended to hurt, damage, or kill someone or something. Strength of emotion or an unpleasant or destructive natural force. And the unlawful exercise of physical force or intimidation by the exhibition of such force.” Both 1984 by George Orwell, and Brave New World by Aldous Huxley have violence threaded throughout each novel.
“In the streets it 's getting hot, And the youths dem a get so cold…” are the famous lyrics of Reggae sensation, Richie Spice, that pivots around writer and director, Ian Strachan’s Gun Boys Rhapsody. It is one of Ringplay and Ceibo productions’ latest and most heart-wrenching dramas. It provides a host of parody, humor and tragedy on a fictional Caribbean society, I-Land. Strachan dedicates the theatrical piece to his former student of C.I Gibson, Marcian Scott, who was brutally brought to his demise in his driveway by a convict out on bail, in 2006. Gun Boys Rhapsody investigates the impact of crime and violence on the youth of the Bahamian society.