Alias in Philippine Province Essay Example for Free

Alias in Philippine Province Essay Aklan oldest province Angono, Rizal town of artists Antipolo City picnic area Apalit, Pampanga tapayan capital Baclayon Church, Bohol oldest stone church Bacolod City city of smiles Bacolor, Pampanga countrys capital in 1762-1763 Baguio City summer capital Balabac Island, Palawan land of Philippine mouse deer Baliuag, Bulacan the first town to have election Banaue Rice Terraces stairways to the sky Barasoain Church headquarters of the Malolos Congress Basey, Samar town of mat festival Batanes smallest province; northernmost province Bataan last stronghold during Japanese occupation Biak na Bato, San Miguel, Bulacan site of the Biak na Bato republic Binondo known for Chinatown district Bocaue, Bulacan firecrackers capital Bohol land of chocolate hills Boracay Island worlds finest beach resort Bulacan land of heroes and beautiful women Bukidnon pineapple country Calamba, Laguna birthplace of Jose Rizal Calamian Islands land of Calamian deer Calauit Island, Palawan animal sanctuary Camiguin land of volcanoes Capiz seafood capital Catanduanes land of howling winds Cebu City premiere city in the south Central Luzon rice bowl Corregidor Island island fortress; the rock Crisologo Street, Vigan kamestizoan district Davao City- worlds largest city; durian capital Davao Oriental easternmost province Divisoria bargain capital Donsol, Sorsogon sanctuary of whale sharks Gapan, Nueva Ecija newest city General Santos City most competitive city; tuna capital Guiginto, Bulacan cutflower capital Guimaras mango capital Hundred Islands, Pangasinan actually composed of 400 islets Iligan City land of waterfalls Intramuros, Manila walled city Kabayan, Benguet land of mummies Kalibo, Aklan land of ati-atihan Kawit, Cavite first independent town Laguna resort province Laguna de Bay largest lake Lanao del Sur center of Islam Las Pinas City land of the bamboo organ Lipa, Batangas coffee capital Lubao, Pampanga the birthplace of Diosdado Macapagal Lucban, Quezon Pahiyas town Luzon worlds 17th largest island Magallanes, Agusan del Norte site of the oldest tree Makati City financial center Malolos, Bulacan site of the First Philippine Republic Manila capital city Maria Cristina Falls, Iligan City mother of industry Marikina City shoe capital Mexico, Pampanga formerly known as Masicu Meycauayan, Bulacan jewelry capital Miag-ao Church, Iloilo fortress church Mindanao worlds 19th largest island Mindoro land of the tamaraws Mount Apo highest peak Mount Arayat legendary home of Mariang Sinukuan Mount Mayon a volcano with nearly perfect cone Nayong Pilipino Philippines in miniature. (The theme park was opened in 1972 and closed on June 25, 2002. ) Negros Occidental sugar capital; sports capital Pagsanjan Falls Philippines el dorado Palawan the last frontier; largest province; westernmost province Pampanga culinary capital of Luzon Paete, Laguna town of wood carvers Paoay Church, Ilocos Norte earthquake baroque Paombong, Bulacan vinegar capital Philippine Deep worlds second deepest spot Philippines pearl of the orient Rio Grande de Cagayan longest river Romblon marble country San Agustin Church, Intramuros oldest church in Luzon San Fernando, Pampanga lantern capital of the world San Juanico Bridge longest suspension bridge San Sebastian Church the only steel church in Asia Siargao Island perfect waves island Spratleys the islands claimed by six countries Sta. Maria, Bulacan egg nest of the Philippines Sta. Maria Church, Ilocos Sur outstanding example of Spanish baroque architecture Subic Freeport American town Taal Volcano worlds smallest volcano Tagaytay City the next summer capital Tangub City Christmas symbol capital Tawi-Tawi southernmost province Trinidad Valley land of strawberry and vegetables Tubbataha Marine Park worlds richest bio-geographic area   Unisan, Quezon oldest town University of San Carlos, Cebu City oldest university Vigan, Ilocos Sur Spanish colonial town Zamboanga Sibugay newest province

Lewis Carrolls Alice’s Adventures in Wonderland Essay -- Alice Wonder

Lewis Carroll's Alice’s Adventures in Wonderland Philosophy – a subject that had driven people insane for as long as humans know their history. All the time people try to find a meaning, and later controvert it. For example, critics view a novel by Lewis Carroll Alice’s Adventures in Wonderland, as a quest for maturity story, Carroll’s view on Victorian Society and even existential meaning on life. All of those interpretations come from philosophical â€Å"drive† of the critics. The truth is that anyone can point a finger at the book and come up with their own â€Å"deep† meaning of the story, but if one looks at facts, well known, and obvious things – it is clear that the story is simply a children tale intended for entertainment and nothing more. Of course there is no sure way to prove that Carroll did not intend any deeper meaning into the story, after all, he was a mathematician and a man of great knowledge of children (19th Century Literature Criticism 105), but lets take a look at the most obvious fact – the time, place and audience of the original story of Alice in Wonderland. Here are the words of Lewis Carroll as he recalls that day: Full many a year has slipped away, since that â€Å"golden afternoon† that gave thee birth, but I can call it up almost as clearly as if it were yesterday – the cloudless blue above, the watery mirror below, the boat drifting idly on its way, the tinkle of the drops that fell from the oars, as they waved so sleepily to and fro, and (the one bright gleam of life in all the slumberous scene) the three eager faces, hungry for news of fairyland, and who would not he say ‘nay’ to: from whose lips ‘Tell us a story, please,’ had all the stern immuta bility of Fate! The â€Å"three eager faces† Carro... ...per and deeper for an idea. Works Cited: Carroll, Lewis. Alice’s Adventures In Wonderland & Through The Looking-Glass Signet Classic New York, NY 1960. Cohen, Morton. Lewis Carroll: A Biography Alfred A. Knopf New York, NY 1996. England in Literature: MacBeth Edition: Teacher’s Supplement Chapter 8, â€Å"Alice in Wonderland† 144-146. Scott Foresman & Co. 1973. Gattegno, Jean. Lewis Carroll: Fragments of a Looking-Glass â€Å"Alice† and â€Å"A Carroll Chronology† 4-27. Thomas Y. Crowell Co. 1973 New York, NY. Hudson, Derek. Lewis Carroll â€Å"Alice† 124-149. Folcroft Library Editions 1976. Kelly, Richard. Lewis Carroll â€Å"Alice† 78-97. U of Tenn. Twayne Publishers, G. K. Hall & Co. Boston, Mass 1977. Nineteenth-Century Literature Criticism, Vol. 2 â€Å"Lewis Carroll (1832-1898)† 105-121. Rackin, Donald. Alice’s Journey to the End of Night 132-143 MLA 1966.

Lorna Simpson: Manipulation of Spectatorship

Lorna Simpson is a highly recognized African-American artist who has expressed her creativity and skill through photography, and more recently, movies. She did her graduation in the School of Visual Arts in New York and her post graduation at the University of California in San Diego (ArtFacts.net, 2007). Her work is somewhat abstract and has a very subtle meaning. She usually uses literary elements such as metaphor, biography, portraiture and narrative fin her work. Many of her works deal with concepts of ‘blackness’ and ‘feminism’ (Armendi, 2001). Lorna Simpson became popular in the mid-1980s with her large scale black and white photographic works of art that combined photo and text in a novel manner. What is most characteristic about her work is that she always makes the spectator think, self-reflect, and finally arrive at the meaning of the work. This gives the viewer the thrill of having solved a puzzle. In the words of Marianne Kurylo-Litvak, â€Å"Simpson manipulates spectatorship by utilizing the Brechtian method of distanciation that relies on audience participation through speculative detachment†. (Kurylo-Litvak, 1998) General Style: Laura Simpson uses a technique commonly known as photo text, which combines figurative or nonfigurative photos and text. Usually, in the works of Lorna Simpson, the figures have their backs turned towards the viewer. Even when it is not so, they do not make eye contact with the viewer. Her female figures are simply dressed and do not follow evoke any open feelings as most figures in photography do.   But the author in a manipulative manner uses these obscure figures as a screen to portray the discrimination in our society of the black woman. She presents them with a sort of curious detachment that can be seen in investigative films. Sometimes, she uses pieces of texts along with the mural-size huge black and white images that give only partial meaning to her work. The rest of the meaning has to be pieced together by the thinking viewer. More recently, in her work that is being exhibited at Sean Kelly, one finds that Simpson has also given up the use of the human figure. Instead, she presents empty, urban and natural settings. The emptiness of these works seems to express human loss and desire in a very effective and powerful manner (Heartney, 1995). One finds that most of the works of Lorna Simpson focus on sadness. The texts seem to talk about the emptiness and loneliness in urban life. The totally unknown places in the photographs seem to symbolize the emptiness of relationshions in urban settings. The lack of color and polish in the black and white photographs creates a sense of mystery and helps to dig out faded memories within the viewer. Simpson often removes the background or the faces of her subjects so that she can remove any kind of identity to the image (Morgan, 1990). The power of the artist in bending the viewer to her angle is clear in the way she uses the black female body in her works. There is nothing much revealed about the model in the photographs. Even faces are hidden and this underlines in a subtle manner, the way black women have been seen across the ages – as de-faced bodies. Again, Simpson uses fragmented bodies to indicate vulnerability and domination. The viewer can see only some part of the body such as the back of the head,   or back of the body or an arm or a knee. This shows that the black women has never been fully portrayed to the extend that a viewer can understand her (Lorna Simpson for the sake of the viewer). Analysis of Specific Works: There is â€Å"The Car† showing a narrow street that is stretching beyond and arch-covered pathway. Somehow the included text makes it clear to the viewer that the narrator must be sitting within the auto that is parked clearnly in the foreground. The words â€Å"small cramped room within a room† together with other text suggests that maybe these random thoughts are coming to the author just before sex in the car (Heartney, 1995). There is   a series of black-and-white photographs titled â€Å"9 Props,† each of which focuses on a single object in an empty room – a solitary vase, cup or goblet. The text in each photograph refers to figures that are missing around these solitary objects. This allows the reader to understand that these images refer to earlier photographs by James Van Der Zee. Simpson, in a very fine and yet powerful manner indicates that the black middle class continues to be invisible. Lorna Simpson's photograph Waterbearer was reproduced in 1987.   A black woman with shabby hair is seen fro the back, pouring water from a jug and a plastic bottle, one in each hand. The text included in the photograph says: â€Å"She saw him disappear by the river They asked her to tell what happened Only to discount her memory†. While the figure of the woman is calm and lacks emotion, the language shows the emotional disturbance that this woman may be carrying. Here, Lorna Simpson allows the reader to consider the history of the black people and how the history can reveal subconsciously hidden memories. (Hooks, 1993). In 1989 Lorna Simpson made Guarded Conditions. It depicts a   braided black woman in working shoes. She is shown in three images with minor changes in her body position. This is then repeated in a serial manner. The work seems to indicate the model’s changing notions of her own identity (Marshall, 1989). The position of the feet and hair are slightly rearranged in these images and in the middle row of photographs, the right hand alternately embraces, then caresses the left arm. Along with the photo, there is a rhythm of the words â€Å"sex attacks skin attacks,† which titles the prints. Guarded Conditions has been intellectually interpreted by various artists (Copeland, 2005). In a December 1989 review, an art critic found a link between a newspaper article reporting the brutal beating and rape of a black woman by two white securing guards and the work â€Å"Guarded Conditions†. Three years later, a curator wrote that this picture portrays â€Å"a double-sided metonym of racial sufferance†(Copeland, 2005). In his view, the isolated body of the woman invokes â€Å"slave auctions, hospital examination rooms, and criminal line-ups,† while the duplication â€Å"of the turned-back figures †¦ calls up images of those women who stand guard against the evils of the world on the steps of black fundamentalist churches on Sunday mornings† (Copeland, 2005) Stack of Diaries, 1993, portrays a black and white photo of a stack of diary books; in the foreground tehre is a multileveled metal stand that holds stacked glass panels, with black-lettered text-fragments rendered in subtly distinct styles (bold script, italics, etc.) pressed into the glass. The different styles seem to imply the presence of different voices. The viewer is encouraged through these phrases to explore why the writer of the diaries has so much confusion in identities. In Twenty Questions   (A Sampler), Simpson shows a woman's back, her features hidden and masked by a lush har that is long enough to cover her neck revealing only the vulnerable shoulders and the upper back which is covered by a simple calico chemise. The questions included in the photo are: â€Å"Is she pretty as a picture† â€Å"Or clear as crystal† :Or pure as a lily† â€Å"Or Black as coal† â€Å"Or sharp as a razor†. Though the subject does not face the viewer, the viewer is forced to look at her judgmentally and the text is specifically aimed at encouraging the viewer to dig up recorded history and   past experiences in his brain to come up with an answer (Lorna Simpson by Okwui). Conclusion: Overall,   one finds that Simpson’s photo-text constructions are like puzzles inviting interested viewers to solve. There are clues provided by the text. Maybe the author was stifled in trying to express the subtle thoughts through text form. By including both picture and text in the imagery, Lorna Simpson grasps the viewers attention for a while, allows him to reflect on all possible meanings in the context of history and contemporary society and give unique interpretations that might also be based on his own personal experience. Her new works attract the viewer to dig out meanings that are hidden between symbolic pictures and fragments of text. Some people may accuse the author of allowing too much freedom to the viewer in interpretation. However, it cannot be denied that her works invite the viewer to examine closely, think deeply and finally give directions to arrive at conclusions that orient the viewer towards her own opinion. This is the effective manipulation of spectatorship as found in Lorna Simpson’s work of art Bibliography: Online Sources: Marshall, Peter (2007). More Work and Selected Links† ‘Guarded Conditions' (1989). http://photography.about.com/cs/photographersaz/a/aa021604_2.htm ArtFacts.net (2007). Lorna Simpson.http://www.artfacts.net/index.php/pageType/artistInfo/artist/2932 Print Journals: Copeland, Huey (2005). â€Å"Bye, Bye Black Girl†: Lorna Simpson's figurative retreat. Art Journal, Summer, 2005. http://www.findarticles.com/p/articles/mi_m0425/is_2_64/ai_n15338133 Heartney, Eleanor (1995). Figuring absence – Lorna Simpson, photography, Sean Kelly gallery, New York, New York. Art in America, December 1995. http://www.findarticles.com/p/articles/mi_m1248/is_n12_v83/ai_17860708 Marianne Kurylo-Litvak, The Art of Lorna Simpson: Challenging Preconceived Notions with Invisibility Imagery, thesis, Queens College, City University, 1998, 17. Decter, Joshua (1994). Lorna Simpson – Josh Baer Gallery, New York, New York. ArtForum, January 1994. http://www.findarticles.com/p/articles/mi_m0268/is_n5_v32/ai_15143646 Hooks, Bell (1993).Lorna Simpson: Waterbearer – photograph. ArtForum. September 1993. http://www.findarticles.com/p/articles/mi_m0268/is_n1_v32/ai_14580117 Morgan, Joan (1990). Lorna Simpson: words of art – photographer uses technique known as photo text. Essence, December 1990. http://www.findarticles.com/p/articles/mi_m1264/is_n8_v21/ai_9132098 Books: Smith, Roberta (1990). Review/Art; Linking Words and Images Explosively. The New York Times. July 20, 1990. Armendi, De Nicole (2001). Lorna Simpson’s Public Sex Series: The Voyeuristic Presence and the Embodied Figure’s Absence. ATHANOR XIX. Rivelli’s Books. http://www.fsu.edu/~arh/events/athanor/athxix/AthanorXIX_armendi.pdf Lorna simpson by okwui Lorna simpson by for the sake of the viewer. Files used: Simpson-resourcepacket (Lorna Simpson by okwui) AthenorXIX_armendi Art_Journal_Summer_2005 Lorna Simpson for the sake of the viewer ;

Characteristics of a Tragic Hero in Oedipus the King by...

Through Aristotle’s specific definition of a tragic hero, it can be concluded that Oedipus is a tragic hero. Oedipus The King was written by a well-known tragic dramatist named Sophocles. This story is considered to be one of the greatest tragedies of all time. In fact, the Marjorie Barstow of the Classical Weekly says that it â€Å"fulfills the function of a tragedy, and arouses fear and pity in the highest degree† (Barstow). It is also very controversial because of the relationship that Oedipus has with his mother, although it was unknown at the time that they were related. The qualifications of a tragic hero, according to Aristotle, include coming from a royal family and falling from power due to actions that only the protagonist can take responsibility for. The main character must also have a tragic flaw, which is defined as a â€Å"weakness in character† (Gioia). There have been many protagonists in other plays that represent a tragic hero, but none exempli fy Aristotle’s tragic hero traits quite as well as Oedipus does because of many reasons including his royal history, his tragic flaw, his hamartia, and his his fall from power. Being part of a royal family was the first qualification of being a tragic hero, according to Aristotle. Oedipus was originally born into a royal family. He was the son of Lauis and Jocasta, who were the king and queen of Thebes. After he was born, a prophet told his father that Oedipus would eventually rise up and kill his father. No wanting to takeShow MoreRelatedOedipus : The King Of Thebes And Tragic Hero Essay728 Words   |  3 PagesOedipus: The King of Thebes and Tragic Hero Ancient Greek Literature encompasses an assortment of poetry and drama to include the great masterpieces of tragedy. In Classic Literature, tragedies were commonly known for their elaboration of a protagonist fitting the classification of a tragic hero. This type of a tragic hero often collectively described as a character of noble birth, facing an adversity of some nature and a fate of great suffering. The characteristics of what encompassed a tragic heroRead MoreOedipus the Tragic Hero1390 Words   |  6 PagesOedipus; The Tragic Hero In the Fourth Century BC, a famous philosopher named Aristotle wrote about the qualities that a tragic hero must possess. Ever since that time, there have been many examples of tragic heroes in literature. None of those characters, however, display the tragic hero traits quite as well as Oedipus, the main character from the play Oedipus Rex by Sophocles. Oedipus is, without a doubt, the absolute quintessence of a tragic hero. 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Throughout the book, Oedipus is leading himself to his own destruction when trying to find the killer of the late King Laios. So when a journal article I found published by The John Hopkins University Press stated that a â€Å"tragic hero is a manRead MoreOedipus And His Tragic Traits. In Sophocles Play Oedipus1017 Words   |  5 PagesOedipus and His Tragic Traits In Sophocles play Oedipus the King, Sophocles depicts the horrible fate of Oedipus, a pompous, arrogant young ruler. The story begins in the Greek town of Thebes. A plague has descended upon the Thebians causing death and famine throughout the land. Oedipus, being the heroic king, takes full responsibility to find out the cause of their aliments. While working to discover the source of the plague, Oedipus stumbles upon the tragic truth of his heritage and the horrifyingRead MoreEssay on Oedipus: The Reign of a Tragic Hero1266 Words   |  6 Pagesto truly understand a tragic play and the history it comes with? The history behind the character of Oedipus, in the play Oedipus the King, is very complicated. His intricate past dealing with prophecies, family members, and murder is the main focus of the story. There are many characteristics that complete Aristotle’s definition of a tragic hero; these being the presence of hamartia and peripeteia, a sense of self-awareness, the au dience’s pity for the character, and the hero is of noble birth. Read More The Tragic Hero: Creon or Antigone? Essay1293 Words   |  6 PagesAntigone and Creon can both be thought of as the tragic hero of the play. Though Antigone does show some of these characteristics of a tragic hero, Creon demonstrates the attributes more clearly and concisely. Creon is the King of Thebes, as well as the uncle of Antigone. Creon took the throne after a tragic quarrel between his two nephews, Eteocles and Polyneices. Despite his harsh governing and his crude ideals, he is not good or bad. 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The tragic hero is clearly defined by Aristotle as being a person of admirable character, yet completely human with noticeable flaws. Moreover, this individual is not exempt from suffering. In Sophocles’ tragicRead MoreAntigone by Sophocles1059 Words   |  5 Pages In the book Antigone, Creon and Antigone can be considered as the tragic heroes of the play. Antigone is considered the tragic hero because of the characteristics she shows such as her ambition to defeat Creon, Creon shows more of the characteristics clearly. Creon is the king of Thebes. He is also Antigones uncle. Creon became king after a fight between Eteocles and Polyneices. One may see Creon as a harsh and controlling ruler, but he is not good nor bad because he shows signs of both like when