In Henry Jenkins’ Never Trust a Snake, the author analyzes WWF Wresting and its connection with American culture and sports as a melodramatic form of entertainment that coincides with Marxist views of the bourgeoisie versus the proletariat. First, Jenkins speaks about gender roles and emotions and comes to find that the WWF provides a way in which men can express their emotions without being vulnerable, as they would be if they were to show their true emotions in real life. Additionally, he suggests that the WWF is more than just a spectacle but rather a detailed account that allows for the working class citizens, the proletariat, to live vicariously through a story in which they will triumph over the upper class, the bourgeoisie. According to Jenkins, the characters and their roles in the WWF are specifically designed to express certain clashes common to all, such as good vs. evil and authority vs. compliance. Each character represents a unique idea and “the most successful wrestlers are those who provoke immediate emotional commitments (either positive or negative) and are open to constant rearticulation” (300).
Ender’s army quickly rises the ranks to be number one at battle school. Ender mercilessly destroys the other armies through his use of cunning and strategy. As I mentioned earlier, dragons in the Eastern Hemisphere can also symbolize change, and this aptly sums up what Ender’s army did to the battle games. Through Ender’s ingenious strategies and new ideas, he quickly gains fame and jealously, forcing him to become like the dragon himself; heartless and terrible, something that causes deep distress, particularly after he kills Bonzo. Ender also ponders his change when he purposely isolates his team member Bean, as a means to strengthen him later on.
Wrestling is a violent game, specially for kids, because in hardcore matched they use all kind of weapon like steel chairs, ladder, table, light tube, barbed wire, fire and many more things to beat their opponent. “In the rematch, I also got busted open doing a hard way f or Paul. I ended up getting 18 stitches” (pg#70, terry Funk; More Than Just Hardcore). This quotation explains that how violent the wrestling game is, where they have to beat their opponent until they start bleeding, and they all ended up getting stitches all our their body. In conclusion, Terry Funk can not be a good role model for kids, because he would encourage kids to act like him, which is not a good thing to
Because this method of dealing with confrontations seemed to work and in a way demand respect, the Barrios began to develop a “Code of the Street" attitude in which they valued their toughness as a means to get respect over the economic progress that they saw as impossible. (Elijah Anderson, 1999). By standing up physically to their oppressors, the Mexican community gained a sense of control and self worth in their lives. As this subculture grew within the Chicano community, toughness became the way of proving your manhood and gaining respect instead of economic success. The Chicano community did not have many “successful” role models, except their parents who were exploited in their jobs for long hours and little pay.
Boxing is not just dangerous, and it represents the worst qualities of humankind. Boxing is vicious, boxing is barbaric, and boxing is legalised murder. The violence that happens in the boxing ring is completely savage the damage boxers conflict on each other cannot be any more dangerous than fighting the streets witch might be the case with some of the boxers they might lose a fight and target someone random they find on the street or a family member or friend who’s to say they won’t fight the same outside the ring as they do inside.
The speaker also narrates the violence surrounding the Miners’ actions with detailed aggressiveness even if he is not present to see it which is his way of expelling the frustration he has towards the brothers. This occurs when the narrator explains the psychological process of a teacher when one of the brothers masturbates in her class: ‘She felt she could beat him to death with all the bones in her body, her bones knocking against his until one or the other turned to dust and fluid marrow’ (p.72). This passage is an instance of catharsis because Ken expresses his own desires of revenge throughout it. Every Miner’s action then described is more appalling than the precedent, which makes the reader and the speaker’s wait for the brothers having what they
Westley then goes up against Fezzik. He tried to wrestle the giant but he was to strong. Westley's good agility aloud him to jump onto Fezzik's back and knocked him out by choking him. Lastly Westley goes up against Vizzini for the ultimate prize, Buttercup. It was a dangerous game.
This was abuse of controlling power demonstrated through racial segregation. This was best exhibited in the scene where a guard says ‘you’re a bunch of shit eaters’ after making Geel Piet eat some off of his boot. The guard is made look extremely powerful compared to the inferior Geel Piet. In the novel Perry the fight organiser has the power to pick who fights who.
The story’s main character is totally the opposite of the beautiful woman he meets later on. The tattooer, Seikichi is an artist who puts a mask on the body of a person to make him handsome and/or beautiful, and that mask lasts forever, because it’s a tattoo. Seikichi is an aggressive artist. The author shows his determination by citing, “His pleasure lay in the agony men felt as he drove his needles into them, torturing their swollen, blood-red flesh” (page 68). This shows the extreme pleasure of the artist which is capable of inflicting pain upon others.
Us Against Them In wars, in cruelty, and even in sports there is a force that allows humans to fight, to abuse, and to compete. We separate ourselves from our opponents; we dehumanize them in order to justify our actions against them. The examples of this are many, they are driven by fear, and they only hurt those involved. In Matt Ridley’s book The Rational Optimist, he shows that humans prosper when they do not separate themselves from each other. In John Steinbeck’s book, The Grapes of Wrath, he shows the cruelties people are capable of when they do separate themselves from others and District 9, a film directed by Neill Blomkamp, makes clear what can happen when people dehumanize another species.