Hunger Games essay Essay Example for Free

Hunger Games essay Essay The Hunger Games is a fictional book, which establishes the relationship between the protagonist Katniss, and the protagonist Peeta. Katniss is a 16 year old girl who lives in District twelve, Panem. She is the sole provider for her family and competes in the Hunger Games, a game where two people from each of the twelve districts are chosen to fight to the death. Peeta is a 16 year old boy who is also from District Twelve who competes in the Hunger Games with Katniss. Throughout the book there is great debate on whether Katniss and Peeta are in love, or not in love. Katniss pretends to be in love with Peeta because it helps her in the Games, and it is an act of survival. Peeta on the other hand is deeply in love with Katniss. Throughout the book Katniss often finds herself making multiple references back to her friend, Gale, who has been her best friend for years. She wonders what life would be like with Gale. Katniss pretends to be in love with Peeta. She sees it as her only way of survival in the Games. When she and Peeta are in an affectionate state, the Capitol audience is entertained. This results in her and Peeta getting both food and messages from their mentor Haymitch and their sponsors. Luckily, they entertain the audience enough to survive the games but towards the end of the book Peeta says to Katniss, â€Å"It was all for the games, how you acted. † (Pg. 372) This is legitimate proof that Katniss only pretended to be in love with Peeta. Based on much evidence from the book, it is revealed that Peeta is deeply in love with Katniss. Prior to the beginning of the Games, both Katniss and Peeta had to take part in a pre-game interview. In Peeta’s interview, he tells the audience how winning the games would not help his situation because he is deeply in love with Katniss. Katniss was not happy with Peeta’s statement, but later in the book calmly asks him, â€Å"Peeta, you said at the interview you’d had a crush on me forever. When did forever start? † (Pg. 300) Peeta responded, â€Å"Oh let’s see. I guess the first day of school. We were five. You had on a red plaid dress and your hair†¦ it was in two braids instead of one. My father pointed your out. † (Pg. 300) This is the most heart-felt moment between the two; however Katniss only asked Peeta the question because she knew she had to keep entertaining the audience. Her strategy to manipulate Peeta’s emotions was a great advantage to her game. Katniss often makes references back to her friend Gale, her long time best friend that is back home in District Twelve. She has mixed feelings about him because when Katniss was about to leave for the games, Gale was saying good bye to Katniss and was cut short with the slamming of a door. There are many misinterpretations about what Gale was trying to say to Katniss. Most people, including Katniss, think that he was about to say â€Å"I love you. † This unfinished sentence disturbs Katniss during the games when she has mixed feelings about Peeta. Katniss thinks to herself, â€Å"Gale’s not my boyfriend, but would he be, if I opened that door? † (Pg. 280) Any person who is truly in love would not be thinking about other men in this way. Throughout the Hunger Games there is great talk on whether Katniss and Peeta are in love, or not. Katniss pretends to be in love with Peeta because it helps her in the Games, and she uses it as an act of survival. Peeta on the other hand, is deeply in love with Katniss. During the book Katniss often finds herself making multiple mentions back to her friend, Gale, who has been her best friend and hunting buddy for years. She wonders what life would be like if she was with him. Too conclude, Katniss and Peeta are not meant to be. They have completely different individualities and although it may seem that their pretend love is mutual, it is not.

Italian Neorealism In Bicycle Thieves

Italian Neorealism In Bicycle Thieves It is evident that Italian Neorealism and the life of post-war shaped DeSisas film Bicycle Thieves (1948). However, with much debate, one can argue that the sentimental nature of the film overwhelms the films potential to make a powerful political statement. With reference to important scenes from the film, Italian neorealist principles focused on; location, lighting, typage, dà ©cor, loose camera shots, eye-level angles, invincible editing and reportage, as well as and the usage of sentiment One can justifiably claim that the powerful political statement is not overwhelmed by sentiment, and in fact enhances the message the film aims to give off. The uniqueness of the Italian works, vise-a-visa other relevant cineamas, lies in their stylistic organization of elements of apparent rawness, their emotional intensity, and their focus on current political and social problems. (P. Adams Sitney, 1995) Thus, one is able to identify Italian Neorealism as the harmonizing of sentiment (emotional intensity) and awareness of political and social problems through Neorealist principles, which inevitably feeds off from an happening that affected the world, and specifically as we see in the history influence in this film; Italy. This change in society brought about characteristics and principles which became noticeable in cinema during this time period. These principles not only molded the film Bicycle Thieves, but were used to bring about a message to the audience. A message which was not overwhelmed by emotional rawness but a message of a social movement awareness reflected through cinema. Neorealism was not only what I came to see as a propaganda device, but an influential and significant movement in film history, which occurred in Italy at the ending of World War II. (John Stubbs, 2010: pg 1) Italy moved from fascism and dictatorship, whereby much was revolved around a single-party position as one can clearly see in the Holocaust, to an equal and democratic society. Here we see this so effectively reflected through Bicycle Thieves when converging neorealist principles, the idea of sentiment to enhance the political statement and the apparent rawness which adds power to the social conditions through the overall statement to justifiably prove that sentiment was not a downfall to DeSicas focus. The filmmakers and directors clearly believed they had an ethical task to use cinema and film as a means to promote the social amendment that had just occurred post the war. Ideally, it wasnt so much about the storyline of the film and its characters, but more about making the public aware of the difficulties that working people had to face. Here we see a Marxist approach on the rebuilding of Italy whereby unlike the mythology of Classic Hollywood, no single person can change the world and the ultimate society would inevitably be a classless society, as Leo Tolstroy (1882) successfully explains; Everyone thinks of changing the world, but no one thinks of changing himself, for when everyone changes themselves, the world will change.   Neorealisms origin of strength lies in the documentary excellence which is used to portray the realism of the story as realism can only occupy in art a dialectal position. (Andrà © Bazin, 1971) One might speculate what Bicycle Thieves would be like in colour, however the black and white aspect highlights the tone of the film being a bleak, depressing emotion contrary to the usage of colour which would highlight liveliness and energy and go against the tone of the film. Black and white not only attaches a emotion, but Thus, clearly showing that the sentiment brings about the tone of the film which enhances the message of presenting the gloomy conditions of poverty in post-war Italy. Andre Bazin (1971: 20) describes this through referring to the term reconstituted reportage. Reconstituted reportage is seen through how the every day events are shown, and the daily happenings which would have and did happen in Italy at that period of time. This adds, as discussed above, far more truth to the film and is not the making of a documentary but rather shown and seen in a documentary-type way through what Bazin (1971) refers to as a journalistic style. Bicycle Thieves has gives off a documentary experience to the audience which could not be removed from the script without thereby eliminating the whole social setting into which its roots are so deeply sunk (Bazin, 1971: 20). Bazin (1971) points out that realism and truth in film is a product of artifice. Truth is an important principle of neorealism, as truth brings realism; the more believable the film is to the audience, the more truthful it is thus, it is seen as realistic. We see this through DeSicas film techniques extensively set out to enhance the opportunity for the audience to live in the story. The real location shooting aids far more freedom and looseness for mise-en-scene, to such an extend that the camera-man is unsure what to look for. An example from the film can be seen when Antonio and Bruno walk away from a car in the street, meander in the streets for a bit heading in the same direction and then suddenly they both go the opposite way. As a viewer, the focus of the camera comes across somewhat as uncertain as the viewer experiences when watching a film for the first time. Here we see how such a camera technique can enhance realism and the opportunity for the audience to experience it. Another technique which is so different to Eisensteins Battleships Potempkin (1925) is that montage is avoided due to jump cutting, removing a sense of truth and realism, with noting that montage is, if anything, modifies realism. This can be seen through the truth of the characters the aesthetics of realism; lighting, location, dà ©cor, camera shots, camera angles and editing. This not only brings about authenticity but also creates a much stronger message for the audience. In Bicycle Thieves, there is a correlation between truth and sentiment, and truth and the political statement Which are justifiably both used in this film without over powering one another (balance) in order to positively enhance the films message. Inevitably, in order for a director to get an actual event (post-war) understood by his audience truth and realism is the most effective approach. Neorealism focuses on the characters and themes without much focus on the plot itself as the plot is seen to warp the truth about people if focus is too much on the execution statement and not the input which is the reasoning for the statement and the very focal point the viewers need exposure to (John Stubbs, 2010: pg 4) Thus, the film wouldve not only been monotonous if there was no sentiment (due to there not being enough material if there was no storyline about characters and a central theme), but to know and understand a situation, one must be put in a stance where one has the opportunity of learning a huge amount about the faith and frustrations of a human being. Equally, a monotonous film due to no sentiment from characters and a central theme, is inevitably a failed film. Through this, neorealists are able to portray truth to a greater extend through bringing about simplicity yet a means of understanding the real life through everyday characters and a central theme (getting t he bicycle back); a main appeal in films even today. Likewise, without sentiment, we wouldnt be exposed to a equilibrium between objective shots of each of the characters and subjective shots showing the audience the characters point-of-view in the social and political conditions they are experiencing. One can also agree that the sentiment aids the whole use of Neorealism principles. Without characters, loose shots wouldnt be blatant to the audience (also in comparison to the few novelty used close-up shots) as loose shots show freedom, which thus emphasizes truth and realism. The storyline being as simple as the search for a bicycle, doesnt take the political statement too far away from the message. Likewise, the actual characters in the film are everyday normal people. We can see this through the workman being found in the factory, the child being found wondering around the streets and the wife being found through her writing. (Andre Bazin, 1971) This is known as Typage whereby there is no star system which immediately creates a far more realistic/truth approach and feel. Similarly, the locations and dà ©cor are real and not built-up or made-up, the lighting is natural which attempts to present reality as it is, the editing is invincible which enhances truth and the camera is free which is unrestricted and brings about a far more convincing viewing. Neorealists not only conformed to such techniques for that these techniques best suited execution of maximum realism in cinema, but is a cinema movement which brought about much rebellion too. Italian Neorealism had already provided a cinematic model for rebellion, both against the conventions imposed by the political and social states ideology (Mark Mesaros, 2010) and past cinema movements such as the success seen in montage in German Expressionism. With the storyline of the characters and the truth which is by principle brought about, I fully agree that it brings sentiment to the screens. However, it puts you (the audience) in a far more heart-felt and understanding position which I believe brings about the political statement in a far more expressive way, rather than a theoretical and cold approach. And as some agree, its not even sentimental its just painful. (The Internet Movie Database, 2010: retrieved 28 April) Instead of a cold theoretical approach which would entail no sentiment, we are introduced to a family who are ordinary and by no means are glamorous heros which is commonly seen in Classical Hollywood. Quite frankly, if we werent introduced to characters and the sentiment they bring, which play a role in this film, I personally dont think much of a political statement would be made as one needs interest to grasp a statement. As we see in Classic Hollywood, the emotional character identification influences the message of the film and is a central characteristic, contrary to Italian Neorealism where characters are everyday individuals who are put in a equal light which intention, also enhances the message this movement wishes to portray. The character of Ricci is the focus of the film, however we are not interested in him but rather what will happen next in the films sequence of events. And even though characters bring about sentiment and the viewer starts becoming attached to the ro le the characters plays, in Bicycle Thieves, Bruno the son unsentimentally still criticizes and looks down on his father. Noticeably very different to what we see in Classic Hollywood. In response to the representation of the political statement made in this film, we are clearly able to see this in noticeable scenes in the film. In the first scene, the camera follows Ricci from the unemployment gathering to his wife where the housing project is in the background, which is fully exhibited to the viewer showing the bleak conditions. We see the men and woman arguing about employment and shortage of water. This emphasis on long and medium shots which appeals to the truth in the film enhances the political message due to the events getting exhibited on a whole Whereas close up would bring more sentiment. Long and medium shots show the actor loosely framed in his environment and allow the viewer opportunity to look around in that environment with the added enhancement of the shots taken at eye level. As well as minimized jumps and shifts through editing to bring more real life to the cinema audience. Thus we see here that sentiment is not overwhelming the political statement, but rather the political statement is actually taking dominance in the shots. Of course DeSica did move in for close-up shots every now and then which becomes a novelty and is in effect very strong and holds the base to string along the story of the characters and the central object, which is needed to (as mentioned earlier) keep the audience interested and not bored. The central object being the bicycle. They are everywhere and yet treasured, and the shortcoming of the Ricci familys position is enforced when Antonios bicycle is stolen. Here, the object brings sentiment to enforce the political statement, and what I find even more interesting is how the title changed from Bicycle Thief to Bicycle Thieves as ultimately it becomes a vicious cycle of survival as one has to steal their own bicycle back from the thief, therefore becoming a thief resulting in thieves. This therefore constitutes to the message of the film, for the continuous battle of the haves and have-nots. Through the character of Antonio, it is the faith that drives him and allows him follow within his quest to find his stolen bicycle. Although DeSicas bleak realism of the post-war gives purpose to the central theme of the film, it is ultimately the conflict of human-optimism which gives the film and its political statement its power and without human sentiment, one can argue that the film would not produce affective power. If we look at three scenes, we are able to see how sentiment brings power to the political statement. In one scene we see Antonio and Maria trade in their bed linen. The camera moves away from them (long shot) and we see the heaps of bed-linen behind the counter-table, a tacit bleak reminder of the extensive nature of unemployment while recognizing its effect on the heart of families household lives. Again we see how realistic the lighting is and how the framing is loose to incorporate the environmental conditions to promote the political message. In another scene we see Ricci reporting his bicycle stolen and is directed by the policeman to the piles of alike reported cases. His account and circumstances are not singular, and we see here how it is not only this family that is going through this but also a lot of people. (Note the title: Thieves and not Thief) Thus portraying the political message that goes beyond this familys personal sentiment. Here we are also shown how humanitarianism prohibited Ricci from pressing official charges anti the thief, and the same moral fiber that spared him after he was caught stealing a bicycle. He did what the thief did to him. Such a film was essential in Italy as through this family we have the opportunity of being a bystander to the brutality of a civil war amoungst fascists and its on going of killing and reprisals through seeing how this effects one, and how not only effecting this family but many others. Italy in post-war was in need of healing and compassion even at the cost of a perceived injustice. (Paul Baxa, 2011) Healing does not come from the government and leaders of the country, but comes from within the everyday man on the streets you and me. Thus, from the Riccis, those being affected by the war and living within such conditions as well as the audience viewing this film who can in many ways relate. In another scene, arguably the most sentimental scene yet what I believe portrays the political message more powerfully than any other- we see the father and sons relationship come to a mend. It is understood with looking into the Italian family lifestyle, that the father and sons relationship is by far the strongest and most special. Little Brunos appearance when taking his fathers hand in the last scene is merely a realistic point of life and is a means of facing life with your father an important part in Italian culture. With Bruno being the witness of the tragedy and finally coming to realize his father is not a hero after all (contrary to Classic Hollywood), much like the audience being a witness too, this scene gives off a sense of aggravation, mortification, paradox and most of all acceptance to survival. These sentimental feelings therefore expresses the political statement as this ending of when the father and son take hands, expresses manhood and the hardship of survival one needs to go through with still looking for a sense of acceptance. Bazin (1971) explains this father/son scene as reaching puberty. Up to that moment the man has been like a god to his son and their relations came under the heading of admiration. By the fathers actions of becoming a thief, the father has in doing so compromised all heroism that his son had seen in him. However, this scene is seen as acceptance not only in survival, but also acceptance of ones father and supposed role model. He will love him henceforth as a human being, shame and all. (Bazin, 1971: pg 54) This scene inevitabely becomes a deceptive one, as the truth and reality of this acceptance and now found happiness through the fathers wrong doings, depends all on the central object the bicycle. Bicycle Thieves therefore inevitably portrayed the political statement through expressing the social conditions without expressing solutions. One might argue that this is a downfall, however at this moment in time solutions were not theoretical and if healing was going to occur it was going to have to come from the people. Thus, this film is inevitably awareness that needs to be found in each individual, which will create its own solution. Much like the theme and characters inevitably creating a plot on its own in Neorealism. The neorealist approach doesnt have an inbuilt political statement solution, as the most widespread attribute of neorealism is; on location shooting and the feeling of truth. (John Stubbs, 2010) Exactly what Bicycle Thieves so effectively does. One must also remember when viewing this film in the 21st century that twenty-five percent of the Italian workforce was unemployed at the time (William Heuvel, 2008) and if you were employed, getting to work was with th e use of a bicycle. The object of the bicycle thus symbolized survival. In conclusion, one can therefore justifiably argue that the sentimental nature of Bicycle Thieves does not overwhelm the political statement but essentially enhances it. If the political statement made in the film was to feed off a means of a solution, and the solution could only be found in the common individual like the Riccis family then one needs to understand the individuals situation as well as have an opportunity to walk in their shoes. Through sentiment that is not overly used in this film, one can see the hardship for survival through the story of these characters in order to become aware, as well as stay intrigued. Without focalizing power of the central character but rather the political statement through the characters, this film uses The death of one man is a tragedy, the death of millions is a statistic. (Joseph Stalin, 1953) to its advantage by effectively showing the tragedy of individuals with indication to the masses statistic through apparent rawness and emotional intensity focused on such political and social problems. (P. Adams Sitney, 1995)

sports management Essay examples -- essays research papers

Sports management is an area of professional endeavor in which a broad classification of sport affiliated careers exists. It is also an area of collegiate professional preparation. Careers in sports management are established in schools, collegiate sports programs, professional sports, amateur sports organizations, commercial sports establishments, sports arenas, etc. One factor of sports management is not only having athletes but also have a place to utilize their talents in. Facility management and marketing play a big role in the sports and computer industry. Facility management involves the co-ordination of the physical surrounding and related services with the user’s needs. In some cases, like privately owned gymnasiums, the facility itself is the service, while for other organizations, such as a boat club with a boat house, the facility is a storage place that aids the delivery of the service. Choosing the correct real estate for a sporting facility is vital to its succ ess. An apparent factor to contemplate is the number and proximity of prospective users. Use of a computer comes in an important role. You can use the computer to find the U.S. Bureau of Statistics printout on local government demographics to determine how many prospective users may be in the area. Other factors to take into consideration when building and managing a facility are the direct costs such as rent, utilities, insurance, physical satisfaction of the building, proximity to staff and suppliers, ...

A Cosmopolitan Girl Essay -- Self Image Media Essays

A Cosmopolitan Girl Determined, realistic, and self-confident are not words that I hold to a specific gender. That might be the difference between someone who was born in generation x and the baby boomers and earlier. According to society these few words are associated with the male gender, since most of society that is able to determine what is and what is not acceptable are older we are labeled as a whole to have come to these conclusions. Perhaps June Jordan, the writer of Memo: 1980 knew something that the rest of society did not. And it might be that her revolutionized way of thinking was foreshadowing on what was to come. Hopefully through out my analyzing and explication I can come to what Jordan was trying to get across to us the readers. And if not I will have my own opinion on what Memo: 1980 means and that is what poetry is all about for the reader come to their own conclusions of what they have read, and hopefully have developed more analytical skills. The opening three lines of June Jordans Memo: 1980 When I hear some women say she has finally decided you can spend time with other women. I wonder what she means: her mother? My mother? (Jordan pg. 158 lines 1-4) Leads me to believe the writer is referring to the jealousy women seem to have towards one another. Women say it is not jealousy, but then why is it women make awful assumptions about other women before knowing their first names or hearing a hello out of their mouths. Women tend to assume that other women are fake, annoying, and even to the extent that these other women are trying to take ones place. Women who deny these actions are lying, because we all do it. June Jordan also backs this up with the line Ive always despised my women friends.(line 5) ... ...not loser her place in society. Meaning that she knew women had higher roles than playing follow the leader. She did not want the influence of other people to changer her own ideas. Yes, it might have been lonely being a cosmopolitan girl at the time because many people were not open to her ideas of being an individual, but at least she had her own stand in the world. I highly believe that Jordan wrote this for herself as a reminder, but maybe she also was writing it for other women who had the same ideas as her but were to intimidated by the opposite gender to say anything, or maybe even men, to let them know that they are not the all mighty high and powerful ones and that things were soon going to change. Works Cited Jordan, June. Memo: 1980 Literature Reading and Writing The Human Experience. Donna Erickson. New York: St. Martins Press, 1998. Page 158.

Tools of the Trade :: Mother Tongue Amy Tan Language Essays

Tools of the Trade To many people, language was not seen as a form of communication, but as a barrier that cut them off from the world. This was a common problem for people coming from other countries or who grew up under privileged. Amy Tan and Jimmy Santiago Baca each tell a personal story of how they overcame their own language obstacles. Tan struggled with her mother’s â€Å"broken† English. Baca had to endure most of his young life facing prison and illiteracy. As they went through their experiences with speech, they defied stereotypes and became successful. Even though each story is told from a different situational point of view, they have a similar message. Amy Tan’s short article called â€Å"Mother Tongue† shows a limitation in speech does not necessarily mean a limitation on life. She tells the story of how her mother changed her view on language. While giving a well practiced speech, she realized that the speech sounded wrong. Having her mother in the audience gave her this feeling of doubt. â€Å"Recently, I was made keenly aware of the different Englishes I do use† (Tan 35). Throughout Tan’s life she’s had to overcome several difficulties that her mother’s â€Å"limited English† have brought upon her. She would take on her mother’s responsibilities of communicating with other people. Her mother’s language dependency on Tan made her feel embarrassed. Most Asian people were advised to go into engineering because of their improper English. Tan felt this label was placed on her as well. As she grew up she saw her people’s stereotypes as a reason to try for something deemed unreachable. â€Å"Fortunately, I happen to be rebellious in nature and enjoy the challenge of disproving assumptions made about me† (Tan 39). She became an English major her first year of college and started writing fiction in 1985. Tan conquered an assumption put on her by others and even herself. Tan’s article appealed to emotions and has logic because she shared her story and backed it up with how people treated her and her mother. She showed boldness by writing her article and giving her courage to others. Jimmy Santiago Baca wrote â€Å"Coming into Language† to send a message of encouragement to people who are facing illiteracy and are seeing it as a dead end.

Book Fair Essay

The theme of this year’s book fair was â€Å"E-books† keeping in mind the increasing number of IT- savvy younger generation with a penchant for internet, mobile-phones and other reader-friendly digital gizmos. It attracted over 230 participants from India and Abroad. The overseas participants were from China, Pakistan, UK and USA. The fair provided a unique platform for business-to-business transactions, establishing new contacts, entering into co-publishing arrangements, reprinting of old and rare books. The visitor profile at the fair included national and international publishers, librarian, researchers, academicians, writers, students and book lovers. Entry ticket for adults was Rs.20/- per ticket while the same for children/students(with I.D.) was Rs.10/- per ticket. For the convenience of visitors, free shuttle service was also available between the entry gates and fair venue. Besides, the facility of wheelchair with attendant was also provided for convenience of physically challenged. Hon’ble Lt. Governor of Delhi Shri Tejendra Khanna inaugurated the fair on 1st sept,12 at the auditorium, Hall No. 8,Pragati Maidan,New Delhi. Chairperson and Managing director, ITPO, Smt. Rita Menon, president FIP, Sri Sudhir Malhotra, executive director , ITPO, Sri Neeraj Kumar Gupta, Director Delhi Book Fair, FIP, Sri Shakti Mallik, ITPO, Sri B.L. Meena Diplomats, senior ITPO Officials, besides representatives of participating companies from India and Abroad were present on the occasion. Complimenting ITPO and FIP for institutionalizing a book event of international stature, Sri Tejendra in his inaugural address, pointed out  the significant role played by books in achieving global integration by building litrary bridged across the socio-cultural, linguistic and religious diversities.It was observed that basically book fulfill three functions , acquisition of knowledge, entertainment and inspiration. Sri Khanna appealed to the publishers to bring out books tha are constructive, secular and progressive in outlook as books have a significant role in shaping the next generation. Welcoming overseas exhibitors from China, Pakistan, UK and USA, he expessed the hope that the fair would give a fillip to enhance international collaborations in publishing and business transactions. He also voiced optimism that the upcoming redevelopment project of a world class integrated exhibition-cum-convention complex in Pragati Maidan would open new avenues of trade promotion. Delhi Book Fair 2012 was supplemented by a no. of seminars,workshops, poetry, and litrary evenings and book launches. The subject of concurrent seminars and workshops included : â€Å"Topper secrets of success† by AIETS, â€Å"Digital Book Market in India† by qbend LLC, â€Å"Telling Tales to Children† by NBT, â€Å"Literature and Values† by Authors Guild of India, â€Å"Public Libraries† by the Indian Library Association, â€Å"Discover the Genius in Your child† by AIETS. The workshops will be on â€Å"E-publishing† by digital media initiatives and â€Å"Mind Power Tool Intellectual Property in information age†. Besides, an exclusive program on â€Å"Strategies for Success In Your Application to American Universities, American Embassy, ‘A complete ERP solution for printing and publishing Industry’ by UNEECOPS and ‘Kitab Tere Roop Anek’ by Bachpan society and FIP was also held during the Fair. A unique feature of this Delhi Book Fair was the Screening of films based on novels of selected Indian Authors at the Shakuntalam convention centre, Pragati Maidan. As its tribute to some famous authors whose works have inspired the making of celluloid masterpieces over the last 100 years. ITPO organized a special screening of nine feature films in hindi and some regional languages during the Delhi Book Fair. The films were Duniya Ne Mane(Hindi), Meghe Dhaka Tara(Bengali), Guide(Hindi), Samskara(Kannada), Umbartha(Marathi), Vidheyan(Malyalam),Slumdog Millionaire(English),  Parineeta(Hindi), 3 Idiots(hindi). Entry to the film was free and on first come first basis. The Archie’s store attracted many small kids and students as it offered variety of gift items at heavy discount it included stuff toys, show pieces, Mugs, Key Chains and many other items. Large areas were covered with mats for visitors to get some rest after walking from stall to stall. A cafeteria was also there. As compared to the previous editions, the Delhi Book Fair 2012 attracted additional footfalls on account of the popular event, the 14th edition of stationary fair . The display profile of the fair was organized in Hall no. 12A and covered a wide range of stationary items, including writing instruments, materials, pens, pencils sketch pens, erasers, geometry boxed, drawing and painting material, crayons, paints, brushes, computer related stationary items. Other items which featured at stationary fair included office supplies, files, file covers/boards, labels, photocopy paper, staplers, highlighters, diaries, calendars, adhesives, writing pads, material for seminars, conferences, stationary packing machines and materials etc. After attracting legions of visitors, Delhi Book Fair 2012 concluded successfully on September 9, 2012. Sri Neeraj Kumar Gupta, Executive director, ITPO presented the awards for excellence in display to the winners at the fair. Present on the occasion were Sri B.L. Meena, Officer on Special Duty, ITPO, participants and media persons. Trophies were also awarded for excellence in display in the Stationary Fair with E-Monte pens bagging the gold, Pacific paper products the silver, the Srinivas Fine Art the bronze. Later speaking to the media, Sri Gupta said that ITPO would andeavour to hold future editions of the Book Fair on the larger format with cooperation and the support of all the sections of the book trade and Industry. The Vote of Thanks was proposed by Sri B.L. Meena, OSD and ITPO.

Patrick White’s “A Fringe of Leaves” Essay

Social interactions and relationships are often used in novels to establish and develop thematic concerns within the text. Within A Fringe of Leaves, Patrick White constructs characters and their relationships to expose the constraints of social expectations and simultaneously illustrate the metaphysical journey to self-realisation that the protagonist, Ellen undergoes. It is through Ellen’s complex and often confusing relationships with other characters that her journey may be traced and the extent of change at each level may be realised. The text remains, throughout such a journey, concerned with the contrast between appearances and reality, revealed though all levels of interaction, but poignantly exemplified in the upper class. Such contrasts are juxtaposed to the relatively natural, however none the less complex, relationships appearing deep within the Australian bush. Social relationships are vital in establishing themes, however Ellen’s inner struggle remains the focus of the novel. Relationships are therefor presented as complex and confusing in order to shape a deeper understanding of both the tribulations and personal conflicts Ellen must face and the complex product of her journey. Ellen Gluyas is of working class origins and it is only through her relationship with Austin that she comes to be the ‘Mrs. Roxburg’ of class and social stature. This transcending of class, although provides her with stoic and expedience, valuable in her journey, is the cause of much confusion for Ellen and she is constantly reassessing her situations in able to assume her appropriate role. White clearly expresses that Ellen and Austin’s marriage is for reasons other then romantic love. Austin’s selection of Ellen as his wife enables him to fulfill his Pygmalion fantasies, however the prospect of marrying would not have come about at all without the instruction of his mother. The marriage may thus be seen as, as equally fulfilling for ‘old’ Mrs. Roxburg as it is for Austin. Ellen, in complying with the Pygmalion concept, marries as it is her only means by which to achieve social mobility. Her acceptance of Austin’s ‘extraordinaryâ €™ proposal is prompted by her father’s death (a complex relationship in itself) as her resulting social position leaves her with little alternative choice. Their relationship is thus grounded on a precarious combination of unequal power, gratitude, unfamiliarity, duty and ‘a bungling attempt to  prove their love’. It is in the initial stage of the novel that the impacts of such a relationship are introduced. Ellen constantly struggles to camouflage her working class roots and beneath that, her spiritual and instinctual self. This creates conflict and confusion in her understanding of her self and her relationships with other characters. Ellen plays a ‘many faceted role’, which is made possible through the layers of social practices imposed during her initiation into the upper class. Although Austin provides her with the opportunity, it is her relationship with ‘old’ Mrs. Roxburg that begins the construction of the new young Mrs. Roxburg. Ellen becomes Austin and his mother’s molded and manipulated ‘work of art’ and it is during this time that she realises the importance of appearances within the upper class. Ellen also becomes aware of the innocence and ignorance of her working class self, and hence White foregrounds the notion of the class system as divided by a thin veneer of respectability. This notion of a superficial ‘fringe’ as the determinant of position within society is further criticised through the construction of Austin’s brother Garnet. White’s portrayal of Garnet and the insights Ellen gains from her relationship with him, reveal the potential for corruption and immorality within the upper class. Garnet, although banished from respectable society in Britain, is able to resume his authoritarian role, transposing his familiar existence of privilege and power to an Australian society. White’s ironic portrayal of Garnet as a stereotype of the upper class is critical in its exposure of the double standards apparent in a stratified social structure. Garnet is expected to uphold social ideals by setting moral examples for those ‘lesser’ than him, yet he, in every respect, defies the concept of ‘Christian morality’ through his advantageous and corrupt nature. White’s depiction of Garnet’s relationship with the servant girl Holly reveals how a man of his position is able to manipulate the lives of those around him, with little concern for the consequences. The character of Holly is marginalised within the text however this may be read as furthering White’s ironic portrayal of the upper class, as the minimal description of the girl’s fate is representative of just how little Garnet’s actions effect  his life. Although the portrayal of Holly also criticises dominant ideologies on gender, the extent of double standards towards male and female sexuality is fully exposed in the construction of the relationship between Ellen and Garnet. Their relationship is strongly contrasted to the sterile and repressive nature of Ellen and Austin’s relationship. Within her marriage Ellen is unable to explore her sexuality as when she ‘had†¦once responded with a natural ardour†¦discovered on her husband’s face an expression of having tasted something bitter’. Her relationship with Garnet thus proves to be complex in its meaning. It first represents Ellen and Garnet as parallel characters in their sensualist desires that must be censured in light of social morality. Whilst simultaneously juxtaposing the perception of sexuality in males and females within phallocentrically informed societies. Garnet’s sexuality is defined as a source of virile power. It is condoned and somewhat celebrated within the text. In strong contrast, Ellen’s sexuality is represented as dangerous and immoral. She suffers guilt after the experience, and in resuming her relations with Austin, continues to ‘refrain†¦from tearing†¦off†¦the mask which evidently she was expected to wear.† In the Roxburg’s confusing relationship of supposed love and stifled interactions, Ellen must repress her sensual desires in order to conform to social expectations of a ‘lady’, and thoughtful wife. Thus Garnet is the ‘tool which she used to measure the depths she was tempted to explore’. Their encounter unleashes Ellen’s repressed sensual nature and sexual desire, which prompts and foreshadows her journey to self-realisation. White depicts Ellen as a complex character whose complexity is enhanced by her experiences within the upper class of society. By focusing on Ellen’s social relationships, White is able to construct her character to the point where her descent may be as interesting and many leveled as her ascent. As a working class girl, Ellen existed with a few layers of constructed self. As she is initiated into the upper class she is constructed by external forces (‘old’ Mrs Roxburg and Austin) and internal forces (her new ‘knowledgable’ self, exemplified within her journal). This construction of self, imposes layers upon layers of ‘culture’ and false or rendered identity. In ellen’s  journey to self realisation she is stripped of her constructed or social self. The initial stages of the novel develop these layers so that the second part may remove them. Social relationships are thus used to develop and measure both her ascent and her descent. Parallels are thus drawn between the Roxbourg’s and the Aborigines, as they are characters whose relationships with Ellen denote periods of marked and rapid change. This notion of allining the two experiences is introduced when Ellen is ‘dragged to her feet’ by the group of Aboriginal women. Omniscient narration allows the parallel to be drawn through the line, ‘Ellen Gluyas had not encountered a more unlikely situation since forced as a bride to face the drawing rooms at Cheltenham.’ This line is significant also in the use of naming. It is the first of an interchanging of identity, which represents both the confusion Ellen undergoes and also the shedding of her ‘cultivated’ layers. Within the Aboriginal society Ellen is pushed and pulled to suit those around her. This may be read as representative of her treatment by civilised society, on a more basic and primitive level, symbolising manipulation through social relationships. Ellen’s relationship with the aborigines mark the beginning of her descent, as she is returned to the most basic and subsistence level of humanity. However to exist within the community she still must assume certain roles, such as slave and nurturer, savage and ‘work of art’. Ellen becomes the Aborigines ‘work of art’, just the way she did for Austin. And the ordeal she suffers exemplifies physically, the psychological effects of her ‘work of art’ rolein her marriage. Her role as nurturer and savage, reveal her instinctual and primitive self . Ellen is allowed to explore this side of her nature as she is freed from the constraints of civilised society. White constructs relationships between Ellen and the Aboriginal children, through Ellen’s role as nurturer. These relationships are important in revealing the contrasts of good and bad within human nature, and White explores the notion that good and bad exist collectively within people, and that nothing is truly good or truly bad. This is first introduced through the portrayal of Garnet who, despite being vilified within the text, encompasses vital characteristics in the development of Ellen’s journey. The  first relationship Ellen has with an aboriginal child, blatantly exposes her evil side, whilst nurses the sickly child. There is stark contrast of good and bad in Ellen’s thoughts and speech. She first refers to it as disgusting an then wishes it to ‘sleep, sleep†¦sleep-my darling’. Later she wishes the child dead. Her relationship with other Aboriginal children, within the text are equally confusing. There are moments of idyllic contentmen t with the children, and then they become solemn and determined or even violent. They become for Ellen a means by which she may be comforted, however there there is never any developed example of love. In the context of Ellen’s journey, the children are also ‘tool’s, by which she may explore her nurturer side, denied through her fruitless marriage with Austin. White’s construction of the character Jack Chance, Ellen’s convict hero, provides a heightened example of good shrouded in evil. Jack is a murderer, and a criminal, whilst he is Ellen’s protector. In contrast to Garnet, Jack is unable to escape the consequences of his actions, and has suffered the brutalities of the upper classes’ corruption. His character thus evokes sympathy despite his immoral past. The union of Ellen and Jack is complex as it reveals the contradiction and multiplicity within the individuals’ true self. Jack is presented as both a murderer and protector, whilst Ellen’s heightened awareness of self, is only made possible through the darker and more primitive side of her nature. The positive portrayal of their Eden-like existence valorises the multiplicity and contradictions within themselves and their relationship. It is both a spiritual and sexual union in which Ellen appears her most natural self. It is with Jack that she makes the final transition to full enlightenment and self-realisation, symbolized by the sheding of her fringe of leaves. Their relationship remains confusing though. Ellen replaces the fringe of leaves to distance herself from Jack. Although ‘she loved him’, social relationships remain complex for Ellen, and Jack is of course another tool in Ellen’s journey. Through him she may rekindle her sensuality and extend her self knowledge. He is her means to return to civilization, and thus their idyllic relationship is temporary. White implies that their union is not possible within civilised society. Their natural existence of unrepressed desires and sensuality may not be transposed onto a world of appearances and constructed social fronts, such  that Ellen returns to civilization alone. Throughout the novel Ellen’s social relationships trace and reflect the stages of her journey. On returning to civilisation there surfaces a new confusion as Ellen realizes that ‘self-knowledge might remain a source of embarrassment even danger.’ She is forced to repress all of her new knowledge to fit back into a society of superficiality and unjustified stratification. White constructs Ellen’s journey to criticise the nature of society and to expose the tribulations of those ‘less’ than the upper class white male. Through the construction of confusing and complex relationships, White is able to delve deeper into the multitude of perceptions and understandings of his characters. Few characters reflect a one sided and purely good or bad person, thus White reveals that morality and ‘goodness’ is often blurred. In the context of class, by employing omniscient narration, social relationships are constructed to reveal the superficialities and uneven power distributions within society. Through his critical depiction of class White enforces that such divisions are but thin veneers, and criticizes them as a false basis to build social relationships. Through Ellen’s journey, more heightened experiences take precedence over her somewhat tedious social existence. Juxtaposed to her inner thoughts and spiritual awareness, her social front is predominantly a piteous reflection of her true self. White explores such contrasts in order to invoke a critical reflection of society in all contexts.