SPUTLiNK

How to Correctly Fit for a Bra

2011-10-18T13:29:00.006+01:00

Statistics show that around 75% of women are wearing the wrong size bra, and after six years working as a lingerie expert (yes, that job title does exist), I would say the actual percentage is even higher than that. Straps riding up, straps falling down, ugly lumps here there and everywhere, back pain and discomfort…. These are just a few of the problems women everywhere struggle with day after day. Well ladies, help is finally at hand.

Finding a well fitting bra is easy when you know how. There are no mysterious formulas or industry secrets. You don’t need to spend a fortune on expensive lingerie, or buy the scary hammocks-with-scaffolding that our grannies used to wear. Just follow these common-sense rules and you will be well on the way to proper posture, a smooth silhouette and most importantly - comfort!

The Basics

The instructions that you often read about how to measure yourself for a bra are actually pretty good. Yes, you do measure in two places, do some maths and hey presto - there’s your bra size. However, what these instructions don’t tell you is that they are a guide only. You will probably be a different size in every style bra that you try. Some styles will not fit you in any size. Take me for example. I have bras in two different back sizes and four different cup sizes and THEY ALL FIT. So what size am I? Who knows!

But, it’s a good place to start, so here goes - the basics of bra fitting:

1. THE NUMBER.

Measure around your rib cage, just under the bust. Two things here to make sure of. First, use a mirror to ensure that the tape is horizontal, as even a slight angle could give you the wrong measurement. Second, pull the tape tight. Tighter than you would want your bra to be. Remember, tape measures do not stretch, bra straps do, so your bra will be more comfortable than the tape. However, bear in mind that the back strap of a bra has to be quite tight. If it’s too loose, it will ride up creating bulges under your shoulder blades and around the underarms. The front will also drop down and you will be left with no support, hunched shoulders and a dreadful silhouette. Also, bras loosen up with washing and wearing so for your bank accounts sake, choose one that has room to do this.

Once you have your measurement, in inches, you need to do your sums. If your number is even, add 4 (eg 30 inches + 4 = 34). If it is odd, add 5 (eg 29 inches + 5 = 34). Et voila! Your guide size is 34. Easy eh?

2. THE LETTER

The second step is less accurate, and as professionals we used to skip it and just guess. But if you haven’t measured hundreds of women like I have, you may want to use it. Basically, you need to measure around the fullest part of your bust, making sure, as in step 1 that the tape is horizontal. No need to pull the tape tight this time. Then, more maths. Each inch between your measurements is the equivalent of one cup size. So if, as in step 1, your 1st number was 34 (after doing your sum) and your 2nd number is 37, you are a 34C. If your 1st number is 32 and your 2nd number is 37, your are a 32DD (lucky you!). The full list of cup sizes is as follows

Now for the tricky part. You need to try several sizes in each of your chosen styles and follow the checklist below. So, if you are a 34C, try a 32D, 34C, 34D and maybe a 32DD. If you’re shopping online, order all of them and send back the ones you don’t want.

Changing room workout

When you are trying the bras you need to put them through their paces. Reach down and touch your toes. Raise your arms. Stretch to the side. Jump up and down. All of these tests will give you a good idea whether the bar will stay put or ping off at the first opportunity. Also, try your clothing on over the potential bra. It’s amazing how often a well fitting bra can actually make your chest look slightly strange!

What to look for

The three key components of a bra are the straps, the wires and the cups. Here’s what they should all be doing:

The Straps

The back strap, as mentioned before, neds to be quite tight as it does most of the supporting work. It should be horizontal, and should stay that way. If it rides up at all, it is too big - tighten it, or try the next size down. It is a good idea to try to choose a bra that fits when fastened on the loosest hook. This allows for the loosening effect of washing and wearing.

Of course if the strap is so tight that it makes breathing tricky, it is too tight - try the next size up, quickly, before you pass out.

The shoulder straps should be adjusted to find a comfortable yet supportive position. The only important thing to watch out for is that they don’t dig in to your shoulders or feel uncomfortable. Don’t be tempted to compensate for a loose back strap by tightening the shoulders, as this will make the riding up back, falling down front effect even worse. And whatever you do, don’t go for a style with elasticated shoulder straps as you will have no support whatsoever, and may cause cars to crash if you run for a bus.

The Wires

The wires should fit comfortably around the breast, flat against the body. They should not touch the breast at all. In the centre, they should be flat against the breastbone. Underneath, flat against the ribcage. At the sides, in line with the hollow of the underarm. You should not be able to get much more than two finger-widths under the wire at any point. If you can, or the wire is visibly standing away from the body, the cup is too small. If, on the other hand, the wire is digging into your underarm, it may either be too big, or the style may be unsuitable for you.

The Cups

The cups should fit smoothly with no bagging or bulges. The best way to check is to put a slim fitting top over and look at your silhouette. Remember to move your arms about to see if this creates any bulges that weren’t initially obvious. If, like the vast majority of women, you have one side bigger than the other, always fit to the larger size. You may be best to try a moulded cup, like a wonderbra or balconette style as these can have a discreet pad added to even things out.

And the final, most important check of all? Is it comfortable, and does it make you feel good? If so, your days of tugging at straps, bending wires this way and that and breathing a sigh of relief when you get undressed could well be over.

Use of Narrative Voice in Fathers and Sons by Turgenev

2011-10-09T09:26:00.017+01:00

‘The narrative voice is an important element in the use of realist and non-realist techniques and conventions.’ Discuss this statement with reference to Fathers and Sons.

Essay written for Open University Literature course A210

Fathers and Sons is widely regarded as a classic realist novel, and the narrative voice exhibits many realist techniques and conventions. Authentic representations of character, place, history and mood immerse the reader in a recognisable and plausible world. However, elements of non-realist genres, including romance and comedy, are also evident within the text.

The narrative voice in Fathers and Sons is an essential aspect of the novel’s realism. Approaching Literature CD1 states that “the creation or construction of a recognisable and convincing voice is an essential function of the language of realism”. Turgenev achieves this by presenting the story from an omniscient 3rd person perspective - a position with full access to the characters’ thoughts and feelings. This enhances the realism by presenting an impartial narrative voice, allowing the reader to trust that the account is reliable.

This objectivity is a key element of Turgenev’s realistic narrative approach. Freeborn states that “one is left with the impression that there is a reality in (the novel) not of Turgenev’s making”. To convey this impression, Turgenev relies on straightforward narrative that does not draw attention to itself. The story is never presented through diary excerpts or letters, and there are no distracting time shifts - the events occur in a linear pattern. The result is a cohesive and inconspicuous narrative voice. As suggested by Freeborn “It is the objectivity of Turgenev’s attitude that is the primary characteristic of his realism”.

The language of the narrative also reinforces the realism. Turgenev uses a conversational style rich in detail, creating comprehensive yet uncomplicated imagery. Freeborn describes this as the “careful assemblage of different facets” and argues that this presents “pictures of real life which are true to life”. This is evident during Arkady‘s return to Marino in chapter three, where phrases such as ‘sparse shrub’, ‘dilapidated hay-barns’ and ‘ragged clothes’ are used. As a result, the reader gets a sense of the estate’s decline without the sentimentality that could detract from the realism.

There are, however, instances where the narrative voice intrudes upon the story. This non-realist technique is seen in chapter one, when the narrator states ‘We will acquaint the reader with him…’. By addressing the reader directly, the narrator draws attention to the novel’s fictiveness. This lends a “theatrical quality” to the narrative, and gives the impression of a scene being constructed. Narrative intrusion also occurs amid dialogue. In chapter ten, during the argument between Bazarov and Pavel, the narrator interrupts the flow of dialogue to comment on Pavel’s use of the word ‘ectually’ and explain its relevance to his aristocratic views. These non-realist intrusions, however, are rare, and the realism is not greatly reduced. Freeborn argues “There are certainly instances where Turgenev’s comments tend to violate the pictorial realism of his fiction, but it is remarkable how little this disturbs the balance of the composition.”

One striking element of Fathers and Sons is the realistic characterisation. Turgenev’s aim was to create characters that represented certain ‘types’ and “would insist that his characters were not invented, but discovered”. By compiling precise human traits and mannerisms, (such as the ‘slight waddle‘ in Fenechka‘s walk), Turgenev presents complex and credible characters. Another realist convention is evident in the characters - they are shown to change and develop. Walder states “It is the representation of character change … that typifies realist fiction”. Pavel, for example, has a ‘dandified, dry’15 nature at first, but gradually develops an emotional side, culminating in an dramatic exchange with Fenechka (‘a single heavy tear rolled down his cheek’).

The technique by which Turgenev presents the characters also helps to convey their complexity. Freeborn states “(they) are introduced into the fiction to the accompaniment of biographical and other information sufficient to explain their significance”. For example, when Odintsova is presented, the reader is quickly acquainted with her childhood, her marriage and rise to wealth, and key personality traits such as her intelligence and her composed manner (‘her face retained the same friendly, sensitive look all the time’). This narrative introduction provides a clear image and quickly establishes realism within the character. There is, however, one exception to this rule. Bazarov is given no such introduction and is instead revealed gradually throughout the novel. This deviation gives a subtle suggestion of Bazarov’s difference as a character, rather than an intrusive narrative declaration of his importance.

One important aspect of Turgenev’s characterisation is his use of contradictions. This is demonstrated by Bazarov’s romantic feelings for Odintsova and their contrast to his nihilism. Contradiction within a character could reduce realism by reducing integrity, but the contradictions suggested in Fathers and Sons appear as inevitable and plausible. Turton argues that “an element of Turgenev’s realism … is his readiness to absorb contradictions - contradictions are after all part of reality”. By allowing his characters weaknesses such as this, Turgenev contrives to communicate their humanity to the reader.

However, there are characters in Fathers and Sons that do not adhere to this realism. Sitnikov and Kukshina, although representative of ‘types’, appear as caricatures. Their lack of development, and the exaggerated traits such as her superficiality (‘everything with her seemed ‘made up’’) and his awkwardness (‘so lost his way that he sat down on his own hat’), provide comedic elements to the text. However, although non-realistic themselves, they provide a contrast which enhances the depth and realism of the other characters.

Another aspect of the novel’s realism is the detailed setting. The date - 20th May 1859 - is revealed immediately, and the events then unfold over just four months. This concentration of events allows Turgenev to retain a simple, cohesive structure and realistic pace. The settings of estates and manor houses, alongside the accurate portrayal of the contemporary political atmosphere provide the “specific geographical and historical world” that Walder suggests is a “defining feature” of realist fiction. The situation of Nikolai, for example, is representative of many Russian landowners of the time, due to the Emancipation Act. This historical accuracy provides a comprehensive image of the characters’ physical and political environment.

Setting is also used to enhance characterisation. Graber states, “Turgenev uses descriptive passages to underscore his protagonist's dominant characteristics”. For example, the description of Venetia’s ‘extremely clean and comfortable’ room illustrates her organised manner, as supported by the narrator‘s later assertion that ‘she had inherited … a love of order’. This technique enables Turgenev’s characterisation to work on different levels. The narrator speaks directly to the reader, while the metaphorical imagery offers subtle elaboration and verification.

Metaphor and symbolism indicate a non-realist aspect to Fathers and Sons - they are techniques usually associated with Romantic writing and poetry. One notable use of metaphor is in chapter 17, when Bazarov and Odintsova discuss love. Peace suggests that “her plait (in the imagery of temptation) curves and falls on her shoulders like a dark snake”. This powerful symbolism, representing the danger of temptation, provokes an emotive response. This accomplishes the “exploitation of extremes of feeling” suggested by Walder as an element of Romanticism.

Turton argues that Bazarov could be read as a non-realist convention - that of “romantic rebel”. This character type is an “isolated individual in revolt against social and political orthodoxies”. Bazarov, with his nihilistic opinions and unique personality, would seem to conform to these requirements. In addition, Bazarov’s influence over Arkady and Sitnikov supports Graber’s theory that “Romantic figures typically attract followers who are drawn to the romantic protagonist's magnetic personality and distinctive views”.

Romantic language can be recognised within the narrative descriptions of nature. On page 152, phrases such as ‘dappled clouds’ and ‘rosy pinkness of the sunrise’ appear. This language is strikingly different from the conversational tone used elsewhere. However, although poetic in tone, the effect is realistic. Turgenev constructs a multi-sensory image through elements such as the singing larks, the chill in the air and the glittering dew. Turton suggests that “we should take Turgenev’s frequent recourse to mood as a fictional device as a mark of his realism, since it is in mood, or atmosphere, that we may be said to experience in potent form a sense of our own reality”.

The combined use of realist and non-realist techniques and conventions in the narrative of Fathers and Sons demonstrates Walder’s view that “boundaries between genres are fluid and shifting”. Turgenev uses techniques such as the objective 3rd person narrator and linear plot structure to enhance realism, but draws attention to the novels fictiveness through direct addresses to the reader. His characters fulfil his aim of realistic portrayal through their precise, detailed descriptions and biographies, yet some characters appear as parodies. The detailed, symbolic presentation of nature and setting create vivid, realistic images whilst suggesting a poetic mood, and conventions such as a hero and a love story allude to Romanticism. However, the interaction of these genres within the narrative not only heightens the realism through contrast, but also echoes one of the main themes of the novel - the conflict between the fathers’ traditional romanticism and the sons’ modern realism.

Wordsworth and Blake on the theme of Childhood

2011-09-26T19:12:00.011+01:00

Compare William Wordsworth’s The Prelude with William Blake's, ‘The Echoing Green’ on the theme of childhood:
Essay written for Open University Literature Course A210.

The theme of childhood is an important element of Romantic poetry. Bygrave suggests “In the eighteenth century children were often seen as truly uncorrupted and as closer to nature” and the use of childhood as a central theme enabled the poet to address ideas such as innocence and imagination. At a time of great social change it also offered the chance of “seeing the world anew”. By comparing Wordsworth‘s The Prelude and Blake’s ‘The Echoing Green’, the reader can see how different poetical devices provide a different perspective on these key issues.

‘The Echoing Green’ is a cyclical poem that follows the course of a day. The poem begins with ‘The sun does arise’ (ln 1), and contrasts this in the third stanza with ‘The sun does descend’ (ln 23). This creates the impression of continuum, that each day will follow the same pattern over again. The poem’s form also represents the passage of life. The first stanza introduces childhood by using the spring and sunrise as metaphors. The second stanza concerns old age. The old folk are sitting under an oak tree - another metaphor, this time for age and wisdom. The third stanza, representing death, introduces this idea through language such as ‘weary’ (ln 21) and ‘ready for rest’ (ln 28).

Rhythm and rhyme add to the formality of the poem. Blake uses rhyming couplets throughout, which, according to Asbee ,“confer a formal, regular quality to the verse.” Each line is structured in tetrameters, or four metrical feet. This gives the poem a strong, regular rhythm, and mimics the simplistic form of a nursery rhyme. The refrain of ‘On the Echoing Green’ at the end of each stanza strengthens the song-like feel and creates unity. This emphasises the altered final refrain of ‘On the Darkening Green’, suggesting the loss of innocence and fading adult memories.

Blake’s use of form, rhythm and rhyme creates a simplistic, impersonal mood. Ackroyd suggests that the poem “aspire(s) to be as formal and as impersonal as the folk ballads and nursery rhymes from which Blake borrowed”. This deceptive naivety is supported by the “unelaborated expressions” which give the poem the feel of popular culture. This is demonstrated in line 3: ‘The merry bells ring’. The words chosen here, however, not only recount the story, but also control mood. Words such as ‘merry’ and ‘cheerful’ (ln 8) echo the optimism of the first stanza. Conversely, the line ‘The sun does descend’ (ln 23) reflects the metaphorical reading of stanza three. The consonance of the repeated ‘s’ and ‘d’ sounds slow the pace, creating a representation of ageing and death.

In contrast to the popular style of ‘The Echoing Green’, Cutajar describes Wordsworth’s The Prelude as “a grand poem”. It is written in blank verse, or non-rhyming lines of iambic pentameter. This was a recognisable contemporary convention, and was understood to elevate the subject of the poem. The Prelude does not follow a rigid structure and is free flowing and conversational. As Cutajar states “The iambic pentameter which is slow, sedate, and calm is very appropriate for philosophical or descriptive writing”. For example:

‘Well I call to mind,
(‘Twas at an early age, ere I had seen
Nine summers)’ (lns 310-312)

The bracketed phrase used here implies that the speaker is telling the story as it comes to mind, with no formal restriction of his words.

The rhythm of The Prelude is controlled more subtly than in ‘The Echoing Green’. Wordsworth uses devices throughout such as the enjambment between lines 322-323 (‘moon and stars Were shining o‘er my head’) and the caesura in line 342 (‘Oh! when I have hung’) to create an irregular rhythm, more reminiscent of conversation. Pace is controlled similarly. In lines 321-322, (‘hurrying on, Still hurrying, hurrying onward’), the repetition increases the pace and reflects the imagined speed of the child’s pursuer.

The language of The Prelude is also of great contrast to ‘The Echoing Green’. Where Blake used familiar, colloquial language, Wordsworth employs elevated diction. This is noticeable in line 365, ‘A favor’d Being, from his earliest dawn’. This gives the poem a reverential tone, and highlights the thematic importance of childhood. The language is also more descriptive than in ‘The Echoing Green’. Phrases such as ‘breath of frosty wind’ (ln 313) and ‘silent as the turf’ (ln 333) create a vivid, multi-sensory picture, adding to the poem’s realism and plausibility.

Realism is a key contrast between the poems. Like ‘The Echoing Green’, The Prelude is a narrative poem in which events occur and are related by a narrator. In this extract, the speaker is an adult recalling his childhood. The narrative voice is clear, and the impression created is realistic. The fanciful elements (‘the sky seem’d not a sky of earth’ lns 350-351) are plausible as they are the imaginings of a child, interpreted through the adult narrator’s experience and retrospective viewpoint. The speaker in ‘The Echoing Green’, however, is more ambiguous. At first, it seems to be the voice of one of the playing children (‘our sports shall be seen’ ln 9), but later seems more detached. In the lines ‘they laugh at our play, and soon they all say’ (lns 15-16), the speaker has access to the old folks’ thoughts, while in the third stanza the speaker comments on the lives of children in general, rather than concentrating on personal events. As Brown suggests “the narrative voice in the poem is never fully clarified”. This ambiguity lends an unreal quality to the poem, adding to the fictional tone.

However, despite the difference in plausibility, both poems address the idea that “children have a viewpoint distinct from that of adults”. In The Prelude, Wordsworth presents childhood thoughts through the retrospective knowledge of an adult (‘I grew up Fostered alike by beauty and by fear’ lns 306-307), whereas Blake addresses the difference by presenting both viewpoints through a detached, omniscient narrator. However, instead of presenting this difference as a source of conflict, both poems suggest that the innocence of children is something to be indulged and admired by older generations.

The representation of children in ‘The Echoing Green’ portrays this innocence through recognisable conventions. Pastoral imagery features strongly, with the village green shown to be the centre of community life. The children are unrestricted and follow the natural rhythm of life, ceasing their play at dusk. The overall impression created is that of a strong connection between childhood and nature, supported by the simile comparing children to ‘birds in their nest’ (ln 27). However, on closer reading there are hints of disharmony. The effect of industry is addressed in lines 6-8: ‘The birds of the bush, Sing louder around, To the bells cheerful sound’. As suggested by Brown, “the birds must raise their volume to compete with these man-made noises”. In addition, the description of the green as ‘Echoing’, suggests a distortion of the pastoral idyll. Rudd states “the poem speaks of a shallow representation of the past, almost as a shadow of a former glory which does not feel full bodied to re-create present day reflections over a fondly remembered youth.”

In The Prelude, Wordsworth presents childhood in more realistic terms. The events narrated are destructive, such as the trapping of birds and the theft of eggs from a nest. The connection between children and nature centres on nature’s retribution and influence, as imagined by the child. For example, the ‘low breathings’ and ‘steps’ of lines 331-332, and the ‘strange utterance’ of the wind in line 349 demonstrate the child’s sense of the power of nature, and his personification of its wrath.

Wordsworth follows the narration of these events by explaining nature’s effect upon a child. This is evident in lines 353-356:

‘There is a dark
Invisible workmanship that reconciles
Discordant elements’

Here, Wordsworth is demonstrating the ‘benign influence of nature’ on moral development, suggesting that nature can both ‘frame a favor’d being’ (lns 364-365), or ‘employ severer interventions’ (lns 370-371) as it did upon him. Cutajar states “it was his relationship with nature that led to his proper sense of morality and goodness”. There is also an element of gratitude in this section, in lines 362-363 (‘Praise to the end! Thanks likewise for the means!’) This shows the extent of the differing viewpoints of children and adults - an element that at one time terrified and dominated can years later come to be appreciated and admired.

Although childhood is the central theme of both poems, The Prelude and ‘The Echoing Green’ differ greatly in their poetic method. Blake employs recognisable forms and simplistic language to address the universal ideas of youth, ageing and the cycle of life. In contrast, Wordsworth uses elevated diction and blank verse to create a reverent and highly personal picture of childhood. However, despite these differences, the thematic similarity is evident. The imagination, innocence and liberty of childhood are presented though the eyes of both young and old, and are shown to be invaluable aspects of a child’s emotional and moral development.

LOVEFiLM / Kettle Chips Round 2 Answers

2011-09-23T19:34:00.049+01:00

"Movies With Extra Wallop" - LOVEFiLM Quiz

Here are all sixty answers to the LOVEFiLM Kettle Chips Movie Wallop Round 2 Competition, to win the state of the art internet TV:

» http://www.emergencylocksmithnow.com/articles/lovefilm-kettle-chips-quiz-2

Locksmith Gerrards Cross

2011-09-09T16:19:00.000+01:00

Nick Miller Locksmiths
Chalfont St Peter
Bucks

01753 886808
07765 543656 - 24 hour

For a fast, friendly and professional Locksmith in Gerrards Cross call Nick, at Nick Miller Locksmiths.

Using Insurance Approved products, Nick can fit, replace or gain access to all types of domestic and commercial locks.

A fast response emergency locksmith service is available 24hrs a day. Call Nick now.

Belly Dancing in St Ives, Cornwall

2011-08-19T14:16:00.004+01:00

Belly Dance St Ives is offering a new 6 week beginners course in the centuries old tradition of Belly Dancing. An experienced instructor will guide you through the all the basic techniques, building up to a complete routine for you to learn. A fun and friendly class, with limited places available.

The Color Purple - Transformation in Women's Literature

2011-08-18T13:28:00.027+01:00

'Transformation is a central idea in literature written by women'. Do you agree? Discuss with reference to The Color Purple and The New Dress.
Essay written for Open University Literature Course A210.

The idea of transformation is an important theme in both The Color Purple, by Alice Walker, and Virginia Woolf’s 'The New Dress'. Both texts feature oppressed characters for whom transformation is essential. However, where 'The New Dress' is concerned with the influences that prevent transformation, The Color Purple has been described by Brouwer as “the perfect emancipation novel”.

The most significant transformation in The Color Purple is Celie's development from naivety and oppression to self-awareness and independence. Married to the abusive Albert, Celie meets other women that inspire her to question her low self-worth. According to Denby “It was not until she met both Sofia and Shug Avery that she saw women in a different light”. As she witnesses the respect that Sofia’s assertiveness demands, Celie begins to reject her passive acceptance of Albert’s abuse. Simultaneously, her relationship with Shug enables her to develop her self-esteem and learn to value herself. Eventually, through the love and support of other women, “Celie recovers her own history, sexuality, spirituality, and voice”.

One representation of this is the development of Celie's writing. The novel is written in epistolary form, consisting mainly of Celie’s private letters to God.. According to McEwan, “Celie writes the early letters in a style close to the way she speaks”. For example, the use of the word ’kilt’ and the curt phrases in the lines ‘He took it while I was sleeping. Kilt it out there in the woods' provide a vivid representation of Celie‘s speech, lending plausibility to the character. The matter of fact style is significant. The “childish brevity” and unemotional description of the murder indicates Celie’s naïve belief that these horrific events are somehow ‘normal’. However, as the novel progresses and Celie grows in confidence, her command of language increases also. This is evident on page 187 where “Celie’s process of finding her own voice culminates with her enraged explosion at Mr ¾”. By now, Celie is more literate, and Albert’s words are forcefully rebuked (‘I‘m pore, I‘m black…. But I‘m here’). As Willis argues “It is through education and the process of acquiring written language that Celie begins to raise herself from the position of the ‘underclass’”. In comparison to Celie’s earlier acceptance of Albert’s abuse, the eloquence of Celie’s statement demonstrates the extent and power of her transformation.

A physical transformation is also evident in Celie’s story. Described as ‘ugly’ by Alphonso (‘she ugly’) and Shug (‘You sure is ugly’), Celie is resigned to the fact that she is not considered womanly or desirable. However, as Walker states, Celie’s “ugliness” consists of a furtive beaten down manner (she cowers)”. As Celie’s self esteem develops, her appearance changes too. The line ‘Now I know Nettie alive I begin to strut a little bit' supports Walkers statement that Celie’s “ugliness” was caused by “her physical environment and condition, and a state of mind that matched”.

The novel also shows the transformation of the main male characters, Albert and Harpo, who “exemplify male weakness and male impulses to bully”. They are products of a perpetually sexist, violent system, demonstrated in their conversation on page 23: ‘Harpo ast his daddy why he beat me. Mr ¾ say, Cause she my wife’. Here, the novel is suggesting that violence and oppressive behaviour is learnt through example and imitation. However, Walker also shows that “Those who perpetuate violence are themselves victims, often of sexism, racism, or paternalism”. When Harpo asks Celie ‘what to do to make Sofia mind’, Celie suggests that he beat her. This is partly because Celie knows no different, but is also due to her jealousy of Sofia’s assertiveness. However, Sofia’s continued refusal to allow this treatment ultimately results in Harpo’s transformation. His remorse is first seen when Sofia leaves and he changes the baby, using ‘the old dry daidie to wipe his eyes’. Eventually, Harpo realises that their relationship works when the traditional gender roles are reversed. This transformation is portrayed through the contrast between an early fight, and a later argument between Sofia and Harpo. The link between these conflicts is clear, as both are introduced by Celie hearing a crash: ‘I was coming in the yard, I hear something crash’ and ‘I raise my hand to knock, I hear a crash’. However, where the first fight is unresolved, the second ends with Harpo’s resignation and acceptance of Sofia’s independence (‘Harpo say, real soft to Sofia, Why you like this, huh?‘). This demonstrates the view stated on Sparknotes that “Only by forcefully talking back to the men who abuse them and showing them a new way of doing things do the women of the novel break these cycles of sexism and violence”.

Harpo then becomes an important influence in the transformation of his father. Albert’s respect for Celie initially increases due to their shared love for Shug, shown by their joint defiance against Albert’s father and his insults about Shug (‘Mr- look up at me. Our eyes meet. This the closest us ever felt’). However, it is not until after Harpo has nursed his father through a breakdown that Albert truly begins reassess his attitude. Harpo encourages Albert to let go of his ‘meanness’ by giving Celie her sister’s letters, enabling his transformation (‘Right after that he start to improve’). The transformation culminates by Celie’s decision to refer to him as ‘Albert’, rather than Mr ¾ , suggesting that Celie can finally recognise his humanity.

In contrast to the many transformations of The Color Purple, 'The New Dress' is the story of a failed transformation. Told in the 3^rd person, the narrative is focalised through the main character, Mabel Waring, and presents the thought process of “a self-centred character who is obsessed with appearances, with ‘fitting in’”. Unable to afford a fashionable new dress for a party, Mabel chooses an old-fashioned design that she believes will transform her into a ‘charming’ woman.

Initially, a transformation does occur. On seeing her reflection in the dress shop, ‘an extraordinary bliss shot through her heart’ and she suddenly ‘sprang into existence’. However, under the distorting glare of the party, the transformation is shattered and Mabel realises that the dress ‘was not right!’.

This distortion is a key hindrance to Mabel’s transformation. According to McNichol, Woolf was interested in the concept of a “party consciousness”, believing that “ A party was somehow able to bring into sharp focus something which in the blur of everyday life might easily escape”. In 'The New Dress', Mabel experiences “a range of different states of consciousness”, never fully trusting her own opinion unless it is self-critical. However, despite Mabel’s belief that the party has made her see the reality of her mistake, the reader is aware of her distorted response to the situation. Every gesture and comment is received as an insult, and the compliments that ‘would have changed her life’ are dismissed as ‘Lies, lies, lies!’. This emphasizes the negative effect that Mabel’s perception has on her attempt to transform.

Mabel’s need for assurance demonstrates another obstacle. Unable to overcome her insecurities, Mabel relies on outside sources for assurance and inspiration, such as compliments and 'The New Dress' itself. At the end of the story Mabel decides to seek out ‘some wonderful, helpful, astonishing book’. However, as the reader has experienced Mabel’s uncertainty about her dress, they can predict that this will be just as ineffective. This suggests that until she can overcome her feelings of inadequacy and develop her self-esteem, Mabel is destined to remain unchanged.

The structure of 'The New Dress' reflects this idea. Written as a stream of consciousness, the story is free flowing and echoes the meandering quality of Mabel’s thoughts. However, her thoughts constantly return to her own sense of inadequacy, demonstrating Mabel’s self-oppression and inability to escape her isolation. The Chinese cloak is of significance here. A key aspect of the beginning and the ending of the story, the cloak, that ‘she had worn these twenty years’ represents a familiar, protective layer. It is removed at first, leaving Mabel vulnerable and exposed. However, on leaving the party Mabel wraps the cloak ‘round and round and round’, signifying her relief at being returned to her normal, if unsatisfactory self.

Transformation, and the influences that inspire and encourage it are central themes in both The Color Purple and 'The New Dress'. Both texts suggest the importance of love and support as essential factors. Celie, Albert and Harpo are all forced to re-evaluate their attitudes because of their love for another character, and all receive the love and support necessary for their development. Conversely, Mabel‘s isolation leads her to over-analysis and distorted perceptions, highlighting the effect of self awareness. For Mabel, self-awareness is ultimately restrictive - the knowledge of her poor upbringing and social inadequacies cause her to construct an inescapable persona based on her view of herself and what she imagines are the views of others. In contrast, Celie’s self-awareness empowers her. Her increased understanding enables her to transcend expectations and prejudice and transform herself into a confident, liberated woman.

Gender values in Shakespeare

2011-08-15T10:10:00.020+01:00

Women offer an alternative set of values to those which prevail in the male world. Discuss with reference to Othello and The Rover,bearing in mind the different genres of those plays.
Essay written for Open University Literature course A210.

The female characters in Othello are representative of the limited roles available to women within a patriarchal society - that of virgin, wife and harlot. According to Goodson, ‘between the categories of ‘virgin’ and ‘whore’ lay a void, not a spectrum’, and the tragic consequences of these restrictive value systems is evident in the play. However, in The Rover, Behn subverts these ideologies to comic effect, creating a satirical view of how women achieve autonomy within a culture of male dominance.

Genre is a key difference between the plays, and the conventions of tragedy and comedy are noticeable throughout. Day states that the term ‘tragedy’ signifies ‘a play that involved the death of a great or noble person’. Othello and Desdemona are presented as ‘high on the scale of heroism and righteousness’, as the audience recognises Othello’s nobility and Desdemona’s loyalty. These recognisable characteristics follow another convention used in tragedies - the use of characters to represent ‘types’.

Comedy also utilises ‘types’, or stock figures. Galloway states ‘One of the features unique to Restoration comedy is the figure of the rake’. This role is fulfilled by Willmore, who, enabled by the genre’s use of frank conversation and sexual subject matter, demonstrates the prevailing male values of the time. However, Behn uses other features of Restoration comedy, such as witty, sophisticated dialogue to transcend expected feminine representations.

A central theme of both plays is the value system surrounding unmarried women. According to Greene, Othello criticises the view that a woman’s worth is contained in her chastity, and through Desdemona, Shakespeare presents a complicated, contradictory portrayal. Desdemona is described as ‘a maiden never bold;/of spirit so still and quiet that her motion/Blushed at herself’, suggesting her passivity. However, her defiance of the obedience expected of her is evident, shown through her manipulation of her father. In the line ‘I am hitherto your daughter. But here‘s my husband’, she first pacifies her father, and then justifies her behaviour ‘on the very grounds of patriarchal obedience and duty’. By reminding him of the different values expected of ‘virgin’ and ‘wife’, Desdemona subverts feminine passivity and exercises control over her marriage.

However, though Desdemona’s assertiveness enables her marriage, it eventually has tragic consequences. According to Kay, ‘Iago convinces Othello that Desdemona’s defiance…argues a deceitful nature’. (‘She did deceive her father, marrying you’). This observation highlights Desdemona’s disobedience to men, outraging Othello’s innate misogyny, and allowing his justification of her murder as a way of preventing further infidelities - ‘Yet she must die, else she'll betray more men’.

In The Rover, the deception of the female characters has a different effect. By subverting stereotypes and displaying forceful female characters, Behn provides comic situations that reveal much about masculine and feminine values. Chastity is also a central theme in The Rover. This is represented by Florinda, who, ‘supported by a handsome dowry, beautiful and chaste…represents the ideal virtuous lady’, and her sister, Hellena, who is expected to become a nun. However, the women display assertiveness similar to that of Desdemona by spurning their brother’s plans and seeking marriages on their own terms. The carnival setting provides ‘the perfect means of escaping from patriarchal control’, allowing the women to act freely due to their disguises. However, Pacheco suggests an irony in their situation, ‘that (their) independence must be forged upon dependence on another male figure’. Despite the women’s apparent power and control, The Rover ultimately reinforces the women’s lack of choice.

The theme of marriage introduces the idea of the ownership of women. As Owens states, ‘we are left in no doubt that her father and brother regard Florinda as an object for sale’. The disobedience displayed by the women suggests a subversion of this assumption (‘we’ll outwit twenty brothers, if you’ll be ruled by me’). However, it becomes clear that ‘Their challenge…still leads to the hierarchical man-woman relationship of Puritan wedlock’. One indication of this is Florinda’s reaction to the attempt of rape upon her. Instantly forgiving, her statement ‘The friend to Belvile may command me anything’ reveals her recognition of Belvile’s higher status. By foregoing her right to respond to the violence, Florinda accepts the view that once married, ‘the possessiveness of a husband follows as naturally as that of a father’.

Othello also addresses this concept. In Act 1, the language used to describe the loss of Desdemona suggests the idea of ownership. Brabantio is told ‘you’re robbed’ and calls Othello a ‘foul thief’, and his outraged reaction reveals the extent of these values. According to Kolin ‘having failed to exert sufficiently rigorous surveillance of the female in his custody, Brabantio loses his right to dispose of her, a right on which his ‘authority’ and ‘masculine identity’ depend’.

Despite being chosen by Desdemona, Othello displays similar views. In Act 3, he laments the inability to control women. (‘O, curse of marriage!/That we can call these delicate creatures ours/And not their appetites’). According to Newman ‘Othello perceives his human identity as depending on property rights, on absolute ownership’ and it is these values that enable Iago’s manipulation. However, Othello’s need to own Desdemona also highlights issues of race. As Day states, ‘Desdemona is more than Othello’s wife, lover and friend. She is also his ticket to ‘belonging’. Despite his reputation, Othello has an underlying sense of inferiority to white men. This insecurity strengthens Iago’s deceit, which ‘depends on the Moor’s own prejudices against his blackness’. By highlighting Othello’s imagined failings, Iago is able to make Othello forget his noble values and react to his base desires.

Desdemona’s reaction to marriage is also significant. Initially strong and assertive, Desdemona becomes a ‘stock figure for the wronged wife’. As Gajowski argues ‘Because marriage is Desdemona’s sole adventure in life, its disintegration is disorienting’. Desdemona’s response is to adopt the patriarchal concepts of femininity - obedience and silence - in the face of her husband’s increasing aggression. Her reaction ‘I am a child to chiding’ - reveals her loss of identity. However, Desdemona’s uncharacteristic submission has disastrous effects. As Sprengnether states, ‘Rather than displaying any inner consistency of character by which we may construct a plausible interpretation of her contradictory actions and utterances, Desdemona behaves in ways that enable the unfolding of Othello’s tragedy’.

The third set of values presented in both plays is that of prostitutes. Throughout Othello, Cassio is described as noble and honest, and treats Desdemona with respect and admiration (‘Cassio/He’s never anything but your true servant’). In contrast, he continually mocks and abuses Bianca (‘I marry her! What! A customer!’). The contrast between his ‘courtly idealization of Desdemona and his casual denigration of Bianca’ reveals his double standards, and suggests that sexual availability in women allows for their mistreatment. The labelling of women as ‘types’ also has an effect on Othello’s judgement, allowing for Iago’s lies to take hold. As Greene suggests ‘From conceiving of Desdemona as one ‘type’ it is a short distance to imagining her as the other ‘type’.

Behn’s treatment of ‘the harlot’ is entirely different. She ‘attempts to minimize the difference between the status of the virgin and the whore’ through the character of Angellica, who ‘capitalizes on the sexual appetites of the age to carve out her independence’. In contrast to Bianca, Angellica’s sexual availability is empowering (‘their wonder feeds my vanity’). According to Flynn, ‘Independent of husband or dowry, courtesans such as Angellica held the greatest degree of autonomy for a Restoration woman’. However, The Rover presents a similar view to Cassio in Othello - that a woman’s sexual availability justifies her mistreatment. This is evident during the attempted rapes, when the Frederick explains ‘we only believe we ruffle a harlot’. Owen argues that ‘no moral is drawn and the implication seems to be that if the woman concerned had not been Florinda, the gang-rape could have gone ahead’. These scenes also reveal issues of race within the play. Like Othello, the English men are ‘outsiders’, and also seek to gain control and self-assurance through dominance over women. As Lockey states, The Rover ‘structures imperial and colonial politics around the issue of gender’. The female characters are thus represented as the lowest in a hierarchical scale drawn from political, cultural and sexual conflict.

In Othello and The Rover there are many similarities and differences between the value systems of the male and female characters. Both plays present stereotypical male ideas of femininity based around obedience, passivity and inferiority, and through the female characters offer challenges to these ideas. The ownership of women is also a central theme in both plays, much of the action resulting from the male characters inability to control female rebellion. Yet the different genres lead to a wide contrast in presentation. Whereas the tragedy of Othello stems from ‘men’s misunderstandings of women and women’s inability to protect themselves from society’s conception of them’, The Rover uses the difference between male and female values to provide a comedic representation of women as strong and capable, yet ultimately bound by an inescapable dependency on men and marriage.

LOVEFiLM Kettle Chips Competition Answers

2011-07-11T15:34:00.042+01:00

Hello, below are the 60 answers to the first Lovefilm/Kettle Chips competition.

If you are stuck on the second round of the Lovefilm/Kettle Chips competition to win a state of the art TV, see our post here:

Round 2 Answers

Roughly left to right:

Kick Ass
Iron Man
Thank You For Smoking
Norwegian Wood
Ring
Million Dollar Baby
Rambo
The Deer Hunter
Three Kings
The Lost World (Jurassic Park 2)
Sunset Boulevard
300 (CCC=roman numerals for 300)
District 9
The Green Mile
Hook

Alien
The Wrestler
Four Weddings and a Funeral
Fight Club
Pan's Labyrinth
Black Swan
Lock Stock and Two Smoking Barrels
Salt
Man On Wire
Raging Bull
Blade Runner
Planet Of The Apes
Taxi Driver
Crash
The Box

Green Lantern
The Graduate
Scream
Cocktail
Love and other Drugs
The Mask Of Zorro
Zodiac
Goldeneye
Rocky
Milk
Seven
The King's Speech
Up
Jarhead
Ghost

Blood Diamond
Chocolat
Cars
A Clockwork Orange
Gladiator
Moon
Rabbit Hole
Toy Story 3
ET - The extra terrestrial
Saw
Saving Private Ryan
The Hurt Locker
Phone Booth
Four Lions
Hostel

Leicester Car Keys

2011-07-02T08:56:00.004+01:00

There is a new solution to your car lock and key problems: Leicester Car Keys.

A full Auto Locksmith service is provided 24 hours a day for all makes and models whatever the issue.

Lost, broken or spare key issues solved, transponder work and vehicle entry undertaken.

Just call Jason on 07846 962 825.

Tori Amos Rarities FOR SALE

2011-06-22T10:34:00.019+01:00

UPDATE: We are selling this job lot of Tori Amos CD Single rarities, Books and Fanzines.

This is a unique opportunity for the Reseller or Record Collector to purchase some very rare limited edition Tori Amos collectibles.

The Price for all of these items is just £90. Some individual items are on Discogs for over £20. Please contact us by email: toriamoscds@marcusmason.co.uk

I have listed catalogue numbers, current market values can be found online.

CD Singles

85799-2 Winter CD5 Maxi Single/handwritten lyrics, sealed perfect
85886-2 Winter Limited Edition (UK) , very good condition, very slight scuff on packaging
85885-2 Winter (UK), excellent
85865-2 Crucify (UK), excellent
85860-2 Crucify Limited Edition (UK) box with art prints, excellent
85695-2 Cornflake Girl (UK), excellent
85688-2 Cornflake Girl Limited Edition (UK), excellent
85664-2 and 85665-2 Past The Mission (2 CDs), packaged together, very good
85687-2 God (USA), excellent
85637-2 God (Germany), excellent
85677-2 Pretty Good Year (UK) CD2, good
85676-2 Pretty Good Year (UK) CD1 in digipak, very good
85525-2 Caught A Lite Sneeze (UK) ltd ed picture digipak, excellent
85526-2 Caught A Lite Sneeze (Germany), excellent
85445-9 Professional Widow (France) cardboard sleeve, sealed perfect
85450-2 Professional Widow (australia) cardboard, scuffed disc
85475-2 In The Springtime Of His Voodoo (US maxisingle), excellent
88511-2 Talula (UK), very good
88512-2 Talula (US), excellent
85494-2 Hey Jupiter (UK) UFO music product packed with book and picture, excellent
82955-2 Hey Jupiter (US) EP, excellent
PRCD #6801 Hey Jupiter US Promo, excellent
84173-2 Raspberry Swirl (France), excellent
84105-2 Spark (UK), good
84442-2 Jackie's Strength (US) 8 tracks, excellent
84163-2 Jackie's Strength (US) e-cd ecopak 3trks/2vids, sealed perfect
PRCD #6535 Promo compilation in very rare Orange picture pack, excellent
84526-2 Glory of the 80's (europe) cd single, very good

Some more Tori Amos related stuff:

16704-2 BT feat Tori Amos 'blue skies' CD1, very good
16705-2 BT feat Tori Amos 'blue skies' CD2, very good
95796-2 Tom Jones feat Tori Amos 'i wanna get back with you', very good
music from the motion picture 'higher learning' with 2 Tori Amos tracks CD compilation, very good
star profile book & picture CD documentary, mastertone 1415180892
interview disc & book, SAM 7017

Tori Amos Books, including ISBN:

Tori Amos CD Book, ISBN 1-886894-23-X
All These Years, 0-8256-1448-1
Tori Amos Collectibles 0-8256-1578-X

'Take To The Sky' fanzines

issues 1 & 2,3,4,5,6,7,8,9,10,11

Unofficial releases:

we have a number of these, details on request

Events Catering in Loughborough

2011-06-17T09:39:00.000+01:00

browns lane bar & restaurant│ 01509 217227
2a browns lane, loughborough, leicestershire. LE11 3HE

Browns Lane Events are a creative, quality outside caterer in Loughborough.

Whatever the event or however big they provide a bespoke tailored service to suit all your requirements making it truly unique. They are committed to providing high quality food and service using only the best quality, fresh and where possible locally sourced ingredients prepared by their highly experienced team.

Hull Locksmith

2011-04-06T15:54:00.001+01:00

Pixlocks
14 The Gardens,Sutton-on-Hull
07921 451467

Pixlocks is a 24 hour Hull Locksmith providing a full range of domestic and commercial services. They have a team of professional locksmiths available to attend at short notice. Non-destructive opening. Members of the National Network of Approved Locksmiths.

Babies and Music - Let's Get Wiggling!

2011-04-06T14:12:00.000+01:00

Babies and Music - Let's Get Wiggling!

Locksmith Advertising

2011-03-08T10:34:00.000Z

One form of Locksmith Advertising is the internet directory. Make sure you sign up to as many as possible, provided they include a 'dofollow' link to your own website. Without a 'dofollow' link, they are pretty useless, as no human ever reads them. Be especially careful with some of the so-called 'premium' (ie paid) listings, as they will add a 'nofollow' attribute to your link, meaning the search engines won't follow the link to your own website.

Oakham Locksmith

2011-03-03T12:51:00.001Z

Oakham Locks│07846 962825

24 hour mobile Locksmiths in Oakham. Covering the whole of Rutland. Fast and professional service. Any types of domestic or commercial lock can be fitted, replaced or repaired. Full emergency lock-out service. uPVC specialists.

Hinckley Locksmiths

2011-03-01T15:15:00.001Z

Hinckley Locks│01455 870 199

Fast response emergency Hinckley Locksmiths available for all domestic and commercial lock-outs. Lock fitting and replacement service, as well as burglary repairs. All major credit and debit cards accepted.

Melton Locksmiths

2011-02-28T13:17:00.001Z

Melton Locks│01664 650 023

Emergency Locksmith in Melton, full 24 hour domestic and commercial service. Fast response, first class service, friendly and affordable.

Leicester Locks

2011-02-22T22:15:00.001Z

Leicester Lock & Key│01163 400 131

A complete domestic and commercial locksmith service is available from Leicester Locks & Keys. The company has a wealth of experience in on-site key cutting, emergency entry and fitting of all types of locks. Call today for expert advice, from a professional locksmith.

Lutterworth Locksmiths

2011-02-21T13:52:00.001Z

Lutterworth Locks│07846 962865

Lutterworth Locks are 24 hour mobile Lutterworth Locksmiths , providing a full range of commercial and domestic locksmith services throughout the LE17 postcode area, including keys cut on site. All types of locks can be repaired, upgraded or opened in a lock-out situation, including uPVC door and window mechanisms.

Nuneaton Locksmith

2011-02-10T15:54:00.001Z

L C Locksmiths│07855 250256
574 Kingswood Road, Nuneaton

24/7 emergency locksmith in Nuneaton,no call out charge,non-destructive entry,upvc window & door repair specialists,glazing repairs,friendly & reliable domestic & commercial locksmith.

Hayle Locksmith

2011-01-24T10:05:00.001Z

Hayle Locksmith│01736 789519

Marcus is a 24 hour locksmith in Hayle. All types of Domestic and Commercial work undertaken, including lock fitting, upvc door depairs and emergency door opening.

Northwood Locksmith

2010-12-02T10:46:00.001Z

Secure Locksmith│07939 699 481
Beechwood Avenue, Middlesex HA4 6EQ

Ray is available 24 hours a day for any domestic or commercial lock emergency. So, if you need a Locksmith in Northwood, Ruislip or surrounding areas give him a call.

Birstall Locksmith

2010-11-05T10:39:00.001Z

Birstall Locks are traditional 24 hour mobile Locksmiths in Birstall, Leicestershire.

Sheffield Locksmith

2010-10-08T11:06:00.002+01:00

Sheffield Locks│Upper Allen St, Sheffield

A wide variety of services are available from this Sheffield Locksmith. Locks changed, installed or opened for all domestic and commercial customers. A UPVC door specialist, they also carry window handles. Available 24 hours a day for emergencies. Larger contracts serviced.

Business Marketing

2010-09-25T13:21:00.000+01:00

http://www.magnet4marketing.com/

Online business marketing tips, advice and information from internet marketing guru Fabrizio Van Marciano. We also have an online blog on internet marketing, website design and promotion, business marketing, email marketing, advertising and much more.

T Shirt Printing

2010-09-17T10:06:00.000+01:00

Mushy T Shirts│ 01706 667539

We specialise in T Shirt Printing, Stag T Shirts, Hen T Shirts, Personalised Printing. We print onto Aprons, Bags, Sweatshirts, Hooded Tops. We sell Fancy Dress, Novelty Aprons and Personalised Clothing. We offer Printed T Towels, Printed Workwear, Hi Vis Printing, Sweatshirt Printing. If you need a printer that can deliver fast contact us.

Photo Restoration

2010-08-21T10:00:00.000+01:00

Blue Soul Photo Restoration
If you have any old photos or damaged photographs that you would like to restore or repair then I can do this for you, our services include restoring old photographs digitally, retouching both old and new photos and applying special effects.

Market Harborough Locksmith

2010-08-07T08:50:00.001+01:00

Harborough Locks│01858 220 025
http://www.harborough-locks.co.uk/

Local Market Harborough locksmith company. All work carried out to professional standard. 12 months guarantee. No job too small.

Loughborough Locksmith

2010-08-06T16:33:00.001+01:00

Loughborough Locks│01509 400 018
http://loughborough-locks.co.uk/

Emergency 24 hour locksmith in Loughborough , accredited by the NNAL. 30 minute response time. Free call out. Locks fitted to British Standards.

free two way links

2010-07-30T18:05:00.002+01:00

If you would like us to blog about your website or business, we have a link exchange program in place.

Simply add a link to any of our blog posts, using the post title as anchor text for the link.

Then add a comment to this post below detailing your website details, the anchor text and URL for our link to you.

We will then add a blog post using the details you have provided. Simples!

(Please - no adult material.)