Solitude vivifies; isolation kills. Through out life in this crazy mind ridden world, people find themselves isolated. Isolation rears its ugly head in various forms and can often be unexpected. Whether it be personal gain unachieved, or conflicts of love or hate, people deal with this sort of abandonment. Self created or felt from another persons doing, this separation of ones being must be dealt with.
There is an apparent level of control over the workers in ‘Metropolis’, most notably evident in the opening scene. The emotionless men sway in the same direction like machines, appearing as if in they are in jail while various cuts are made to show the machinery moving in a fast-paced motion. At the time of the production, WWI had ended nine years previously bringing much scepticism regarding the use of machinery, as the cost of life of the War was on an industrial scale. Therefore the imagery of the machinery in concurrence with the lifeless workers represents a correlation between the two, as the workers are merely machine-like. The mournful soundtrack creates a dismal and despairing atmosphere, with its low pitch shaping the overall gloomy feel of the setting.
‘Marks of weakness, marks of woe’ Blake uses marks as an abstract noun to describe the sadness of the people that he meets and also as a concrete noun to describe the physical cuts and scars. This is also commented on in Jon Crook’s critical reading of London where he states that the word shifts from a verb to a noun and that by making marks Blake discovers worlds, in London he has discovered a world of misery marked in the faces that he passes. The second stanza has a semantic field of sadness and pain, the repetition of ‘in every’ is an effective way to show that this sadness is affecting everyone in the city of London at the time. It shows the emotion in ‘cry of every man’ and ‘infants cry of fear’ that they are all going through the same pain. It also symbolises the lack of freedom when he says ‘in every ban.’ The last line in the second stanza is ambiguous ‘The mind-forg’d manacles I hear’ is a metaphorical phrase that reinforces the feeling of being trapped in London, the word manacles has connotations of slavery and that the people of London are enslaving themselves.
The narrator makes this observation about Sonny when he sees him after he’s released from prison. Prison, for Sonny, was a hellish experience, as was his addiction to heroin. Both experiences have altered Sonny, but he remains, at heart, the same person he’s always been. The narrator notes, somewhat mournfully, that he never actually knew his baby brother, even though he can see traces of him buried beneath the darkness of prison life and drug addiction. It’s a painful realization, one that he is forced to confront now that Sonny has become, to some degree, his responsibility.
For instance, since he does not get discipline by his mother, he does not know any better. In Wolff’s memoir, Toby often feels like a fraud, he frequently feels alone, and does not understand who he truly is. The acts that Toby accomplishes does not change him, he often feels like a phony. Throughout Toby’s life from a young teen to a young adult, he lies to
The protagonist and narrator of the novel, Bromden, undergoes a metamorphosis, as it were, under McMurphy’s regime. As M. Gilbert Porter rightly points out, “Bromden is very sensitive to the sound and significance of laughter, for example, or to its absence. For twenty years he has been confined in a ward where “the air is pressed in by the walls, too tight for laughing”…”. Through the use of humour, we find Mack subverting and questioning the authority. The protagonist Bromden’s initial inability to laugh or to even talk comes from the machine-like existence he is forced to live under Ms.Ratched’s supervision.
Asef Rahman English 10H 10/15/2012 Ethan Frome: a lonely man indeed The novel, Ethan Frome, by Edith Wharton, is a story about Ethan, a man torn between the moral obligations to his wife, Zeena, and his need for a person to love. The author’s use of foreshadowing, metaphors, imagery and motifs vividly convey the overall message that man cannot simply live alone and needs somebody in his life. He has Zeena but he does not converse with her at all. The fact that Starkfield was a depressing place to live did not help his life either. Although Ethan’s overall nature was damaged by the smash up, his time spent in Starkfield had caused his overall melancholy demeanor and left him feeling isolated.
This Atlanta prison was known for being a tough penitentiary to survive in but even in the harsh conditions Capone still managed to do what he did best, control the world around him. He managed to bribe the security and win over the other inmates. His prison cell had fancy furniture and classy rugs, he kept in touch with the outside world and was still able to run his business. He was soon forced to leave the comfort of his home like cell in Atlanta and was sent to Alcatraz. He could not win over anyone or anything in this sealed prison.
5, 1998, p. 13 BOJS. “Prisoner Census, 2001” Bureau of Justice Statistics,< www.bojs.gov> (2002) Brakel , Samuel J., “Privatization and Corrections,” Reason Foundation Policy Insight No. 107, 1989; Camp, S.D. “Evaluation of the Tart Demonstation Project: Performance of a Private-Sector Prison and the BOP” Federal Bureau of Prisons, October 2005. Campbell, Charles "The Intolerable Hulks."
The uncertain quality and impermanence of the hostel creates both a metaphoric and a literal barrier for the migrants to find that sense of belonging. The juxtaposition of “No one kept count of all the comings and goings” implies a sense of confusion and instability. This is an emphasis on the face that nothing is permanent and the migrants are forced to lead uncertain lives, left wondering “who would be coming next”. The constant changes that happened everyday in the hostel prevent migrants from discovering a sense of place, leaving them lost and confused about their sense of self. The hostel provides a prison-like life and social group to which the migrants belong.