The Reluctant fundamentalist shows us that nostalgia is a poison In Mohsin Hamid’s The Reluctant Fundamentalist, apparently is shown the other aspect, despite the beneficial side as a salve, but the far lethal side of nostalgia. The astonishing issue---the September 11, undoubtedly turns the USA’s theme from “openness” to “nostalgia”, and as a dire turning-point to be in the story, triggers subsequent changes. The same as America, Erica, who is assumed to be a symbolic character reflects the USA, also gets lost into the endless reminiscence of the bygone affections with Chris, finally destroy her. Nevertheless, these remind Changez of his relatives, who are addicted to nostalgia as well. Strikingly, Hamid sets these enormously realistic and secular scenes to the readers in order to substantiate the havoc of odious recalling back, which is with blindness and narrow-vision, septic grudge and mutiny, like a chronic but fatal poison.
Changez’ continual determination shows us that he is never accepted by those around him. Hence he must continually prove himself in order to feel accepted even though he is an outcast. Before the events of 9/11 the narrator states that Changez “was never an American, but I was instantly a New Yorker.” Initially Changez feels comfortable in New York, a very multicultural place, yet as a result of September 11, New York loses its identity and independence and becomes a part of America again, and with it Changez loses his sense of belonging. Furthermore, through one of Changez’ epiphanies it is made clear that he is in no way similar to his American colleagues. “I felt at that moment much closer to the Filipino driver than to him.” It is through this epiphany the author demonstrates that Changez has never really been adopted as an American.
Lastly, his last dilemma is he has a hard time deciding wether or not he is going to help Daisy when she finds out about Tom. Those are only a few of the dilemmas that Nick faced. I came up with a self improvement plan though to help Nick out with his every day struggles that he faces in his new town. I think that Nick has been over-stressing himself. What Nick needs to realize though is that all of the peer pressure that is going on should not bother him, he shouldn't let it ruin his focus on his work.
All in all, his romanticized feelings towards the west compared to the growing phoniness of the east help to create the image of the dream of America moving from a state of bright development to a point of tainted existence. The generation of Americans during the nineteen twenties, after the end of WWI went through a period of cynicism and confusion. The fact that Nick doesn’t entirely communicate the point of his assertion at the end of the novel parallels the feelings that many young Americans had during this period. His seemingly unfinished remarks within the final chapter of the novel leave the readers in a state of slight confusion that effectively conveys Fitzgerald’s enduring attitude that is found throughout the story. The pieces of the story that were left unstated represent, in a way, the loss of American strength of mind because during
Conflicting perspectives are created to present differing opinions. How have conflicting perspectives been explored in Julius Caesar and The Social Network? Conflicting perspectives are the differing opinions of two or more persons that can result in arguments or other disagreements. This is evident in William Shakespeare's Julius Caesar through use of metaphor, irony and the character Brutus. The use of conflicting perspectives is just as effective in showing differing opinions in the film The Social Network directed by Peter Fincher through the technique of parallelism and the character Sean parker.
a)"The idea of America" is referred to as the fleeing to America. Baba wants to go to America because Afghanistan now is in trouble and Baba does not want Amir to see thing that should not be seen by a small boy. b) Yes, there is a huge difference between the way immigrants view America and the 'real' America. Baba thought that America will be safe for him and Amir and it would be really easy to adjust there, but actually Baba dint want to go to America as he missed his old Kabul life which made him proud of what he was in Kabul. Baba just came to America for the sake of Amir for he thought he gave a gift to Amir when they were in America and for Baba it would be something that he would have to suffer for Amir.
Through these conflicting perspectives, the textual form of Julius Caesar creates greater interaction with the audience. The conversation between Cassius and Brutus in Act 1 Scene ii is important for the construction of the two characters of both individuals and Caesar himself. The structure of the conversation is in itself revealing of the characters of Brutus and Cassius; Cassius constructs a long argument, using evidence which he can only claim to have happened, to convince Brutus of Caesar’s unworthiness. It is possible that the events Cassius describes are lies and this would serve to reinforce his characterisation as manipulative, though it is equally possible that they are truths – this in itself highlights the complexities of human nature. Brutus says very little and listens through the entirety of Cassius’ monologue with no comment on it at all, and this provides the audience with the perspective that Brutus is judicious.
Therefore the reconstruction of early America demands a great amount of imagination for the interpretation of the era’s anthropology, archeology, and oral tradition-later recorded by Europeans. Richter uses his first chapter ‘Imagining a Distant World’ as a double entendre. He is describing the motivation that drove tens of thousands to leave Europe in search of a storied new land, while simultaneously admitting that he too is using his imagination to reconstruct an image of early America. Richter sites Carl Becker’s “Every Man His Own Historian”, which was published in American History Review, to support his admitted use of imagination in the reconstruction of events through the eyes of those who were facing
The topic of conventionality contra personal instincts is quite expressive in both works. In Daisy Miller it is performed by the character of Frederick Winterbourne, an American living in Europe, Chopin explores this theme by Edna Pontellier, the main protagonist in The Awakening. Both Edna and Frederick are victims of the world of rules and expectations; they are both affected by their personal needs to escape, to liberate themselves of the bonds that repress them totally. The portrayal of this topic in these two books is different, though. The protagonists’ experience is different, they both face the conventionality, but their urge to express their personality emerges from different circumstances.
In many ways my reflections here spring from a dissatisfaction with the inadequacies (both epistemological and world historical) of the ways in which some critics of orientalism have located modernity. First, some background. The independence movements of the Middle East and North Africa--especially the Algerian revolution--provoked a debate about orientalist knowledge in which the interventions of Jean-Paul Sartre and Frantz Fanon were crucial. For Fanon, the anti-colonial struggle was also a cultural struggle with liberation as its goal. The publication of Edward Said's Orientalism (1978) recast the terms of the debate.