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Author: Ashley Waller

Final Essay

Ashley Waller

Final Essay

December 17, 2020

ENG2400

Life Of Pi

 

According to the definition of deontology ethics, “is one of those kinds of normative theories regarding which choices are required, forbidden, or permitted.” In Life of Pi, published in 2001 by Yann Martel, he depicts questions of morality with the primitive imperative of survival. While trapped in the ocean, Pi’s life-threatening encounters challenge the dignity of his values and beliefs. His pluralistic faith reveals that morality is less about religion in particular, and more about maintaining one’s integrity, humanity, and self-respect. When Pi finds himself in a desperate struggle between faith and reason, while facing imminent extinction, Martel considers acts that are good and unethical actions. The transformation of Pi from a benevolent human being into a bestial survivor, as well as his final salvation, shows that, due to the circumstances, morality is indeed malleable, and that a moral code itself is a fluid entity that is maintained according to free will and interpretation in the mind of the individual.

Empathy can be defined as “the ability to understand and share the feelings of another.” In the narratives that pose philosophical concerns and questions about what is human, Yan Martel lends animals a central role. They focus on common subjects, despite belonging to various genres, and both involve the process of their primary character encounters in which their point of view shifts as their sense of empathy changes. Pi starts as a vegetarian in Life of Pi, who retains firm convictions of love for animals and other things on earth, but is compelled by circumstance to abandon this existence while residing in a boat inhabited by other humans for 227 days at sea. 

Pi fights for life following the sinking of the Tsimtsum against almost unlikely odds. In the middle of the Pacific for 227 days, Pi is stranded on a small lifeboat, with a tiger for company. His ordeal, however, entails not only escaping hunger, but also shielding himself from the sun, sharks, excessive wetness, dehydration, hurricanes, and Richard Parker, of course. When he has to slaughter and consume fish and turtles, Pi is quickly forced to abandon his lifelong pacifism and vegetarianism.

“Life of Pi” is a brilliantly filmed movie that resides right in between the fantasy and action realms. It was thought for years to be not suitable to be adapted for a movie, adapted from the Yann Mantel novel of the same name, about a young Indian girl trapped adrift on a raft with a tiger, hyena, orangutan, and zebra. In Ang Lee, who wanted to film digitally and shoot 3D, Pi eventually met his intrepid producer, and the result was a vivid, amazing visual experience that looked nothing like anything that had come before it. The viewer hears about how Pi got its name in the early scenes. Pi was mocked over his full name, Piscine, so he changed his name to avoid the teasing. We have a wide-angle shot in this scene where Pi is out in front of the class asking his classmates to name him Pi. This shot is successful as it allows the viewer to see and appreciate Pi as we can respond from the point of view of his class members as we are watching him. The illumination is also dark and dreary in this picture, which means that school is not a fun and exciting spot. When he is trapped in the lifeboat, this coincides with the colors, as the world is vividly lit, indicating that they are two different locations.

His mother plays the traditional role in the household, as Pi came from an Indian background, who plays a housewife and has no input in what choices are being made in the family business or other family problems. In the end, Pi claims, “My mother fought against an adult man.” He was cruel and muscular’ (Martel 172) and Orange Juice was killed by the hyena in which the hyena is the chef and Orange Juice was the mother in the case of the animals in the lifeboat. This illustrates that the characters of both Orange Juice and Pi’s mother are cool and compassionate and both are mothers who will do anything to save their boy. Pi’s mother plays the role of a housewife and does all the cooking, washing, and care of the children, while the father does the job for “men” only, such as business work and family decision-making. Orange Juice plays the role of a mother who in contrast to a male hyena, lives with her children and is a lesser species. Also, Richard Parker, the tiger stuck on the mother of the lifeboat who was shot dead while attempting to protect him from a hunter, is in the plot. While all three of them died, all three of the mothers have common features that reflect courage by attempting to defend their son. As he switches the tale with the substitution of the hyena, zebra, and orangutan by a baker, sailor, and Pi’s girlfriend, he compares the orangutan to the mother of Pi, demonstrating that both women have identical characteristics. In the book, the lives of women are confined to all that needs to be achieved at home, and their lives do not move through their homes. They didn’t discuss any other female characters in the text other than Orange Juice, the mother of Pi, and the mother of the tiger, which shows that there are only a few female characters that matter and make a difference to the Life of Pi.

 

Midterm Essay

Ashley Waller

ENG 2400

Midterm Essay

October 24, 2020

                                                                                                        “Like Water for Chocolate”

 

The most youthful girl in her family, the talented chef Tita is forbidden to wed her love, Pedro. Since custom directs that Tita must think about her mom, Pedro marries her more established sister, Rosaura. The circumstance makes a lot of strain on the family, and Tita’s ground-breaking feelings start to surface in fantastical manners through her cooking. As the years finish, surprising conditions test the suffering affection for Pedro and Tita. While the plot of the film version of “Like Water or Chocolate,” directed by Alfonso Arau in 1993, is very similar to Laura Esquivel text version published in 1989, the film lost an integral part of the book, the sensual aspect of the cooking and love, making this translation traditional, according to Linda Cahir’s definition. To prove this, I will first compare the scenes between Tita and Pedro and the sign that is displayed at the beginning of the film. Second, I will explore Tita’s cooking because it deals with her emotions. Lastly, I will discuss what the film loses and gains by leaving out scenes.

Close to the start of the novel Rosaura and Pedro are to be married. This bombshell Tita especially as she adores Pedro. While she is making the cake for the wedding she starts to cry into the cake hitter. Since she was feeling yearning and misfortune, those feelings moved into the cake. Consequently, when the visitors at the wedding started to eat the cake, they also started to feel yearning and misfortune, some even became ill. Nacha, another house cook, who ate the cake, felt such aching and loss of her darling that she passed on. In chapter one, the author states “Sometimes she would cry for no reason at all, like when Nacha chopped onions, but since they both knew the cause of those tears, they didn’t pay them much mind. They made them a source of entertainment so that during her childhood Tita didn’t distinguish between tears of laughter and tears of sorrow. For her laughter was a form of crying. Likewise, for Tita, the joy of living was wrapped up in the delights of food.” Plentiful crying is an outflow of a full heart and is related to the influence and extravagance of female feelings. Tita’s tears have heavenly force, even before she is conceived. From the belly, she cries while her mom hacks onions and makes her start giving birth. Her tears proceed until the floor is overwhelmed. As she experiences childhood in the kitchen, she as often as possible cries, particularly while hacking onions. This makes her and Nacha chuckle, making Tita consider tears to be giggling as indeed the very same. Mom Elena, the novel’s wanton enemy, prohibits crying. Tita doesn’t cry frequently as a grown-up, as Mama Elena restricts it. This may clarify why Tita’s glad tears run down the steps of John’s home when Chencha stays with her.

According to Linda Cahir’s definition of literal translation is a nearby interpretation of the book with minor detail changes in however the chief sees fit. The shots in the film relate near the entertaining inclination the book gives us, giving us a high point on the visitors and long shots, demonstrating to us on the whole how everybody was crying. That night Nacha bites the dust and breaks Tita’s world. Later on, Pedro gives Tita roses, and she chooses to make quail in rose. The enthusiasm trickled from her to the dish and made Gertrudis the more established sister consider wicked considerations. The smell stirring from her ranges to an officer Juan, who was Gertrudis dream, the second is depicted mystically: “A pink clod floated toward him, wrapped itself around him…naked as she was, luminous, glowing with energy… without slowing his gallop, so as not to waste a moment, he leaned over, put his arm around her waist, and lifted her onto the horse in front of him, face to face” (pg 55-56). The film draws an incredible equal here, the image is foggy a little as though it is a fantasy, and without precedent for the film, which is faintly lit and inadequately lit, the image is splendid, with a streaming development of the two as they vanish. One of the most huge minutes in the book is when Tita conveys Rosauras child Roberto, the thing she cherished the most. In the film notwithstanding, the entire period of dealing with Roberto in the kitchen and taking care of him is brief, which is exceptionally befuddling for later scenes. As mother Elena faculties that Pedro and Tita may take part in an extramarital entanglement going on, she sends them to one of her family members in the United States.

Throughout the book and film, Tita seems to have character development. When preparing the food Mama Elena and they find out that Roberto died, she stands up for herself and yells at Mama Elena saying it is her fault. This is the first sign that Tita wants to get away from her family but more specifically, Mama Elena. Mama Elena is blocking Tita from being redeemed by not letting her marry because she has to be the one to take care of her.  When Mama Elena dies, in a way Tita is free.  

 

Midterm Draft

The most youthful girl in her family, the talented chef Tita is forbidden to wed her love, Pedro. Since custom directs that Tita must think about her mom, Pedro marries her more established sister, Rosaura. The circumstance makes a lot of strain on the family, and Tita’s ground-breaking feelings start to surface in fantastical manners through her cooking. As the years finish, surprising conditions test the suffering affection for Pedro and Tita. While the plot of the film version of “Like Water or Chocolate,” directed by Alfonso Arau is very similar to Laura Esquivel text version, the film lost an integral part of the book, the sensual aspect of the cooking and love, making this translation traditional, according to Linda Cahir’s definition. To prove this, I will first compare the scenes between Tita and Pedro and the sign that is displayed at the beginning of the film. Second, I will explore Tita’s cooking because it deals with her emotions. Lastly, I will discuss what the film loses and gains by leaving out scenes.

Close to the start of the novel Rosaura and Pedro are to be married. This bombshell Tita especially as she adores Pedro. While she is making the cake for the wedding she starts to cry into the cake hitter. Since she was feeling yearning and misfortune, those feelings moved into the cake. Consequently, when the visitors at the wedding started to eat the cake, they also started to feel yearning and misfortune, some even became ill. Nacha, another house cook, who ate the cake, felt such aching and loss of her darling that she passed on.

The pictures in the film relate near the entertaining inclination the book gives us, giving us a high point on the visitors and long shots, demonstrating to us on the whole how everybody was crying. That night Nacha bites the dust and breaks Tita’s world. Later on, Pedro gives Tita roses, and she chooses to make quail in rose. The enthusiasm trickled from her to the dish and made Gertrudis the more established sister consider wicked considerations. The smell stirring from her ranges to an officer Juan, who was Gertrudis dream, the second is depicted mystically: “A pink clod floated toward him, wrapped itself around him…naked as she was, luminous, glowing with energy… without slowing his gallop, so as not to waste a moment, he leaned over, put his arm around her waist, and lifted her onto the horse in front of him, face to face” (pg 55-56). The film draws an incredible equal here, the image is foggy a little as though it is a fantasy, and without precedent for the film, which is faintly lit and inadequately lit, the image is splendid, with a streaming development of the two as they vanish. One of the most huge minutes in the book is when Tita conveys Rosauras child Roberto, the thing she cherished the most. In the film notwithstanding, the entire period of dealing with Roberto in the kitchen and taking care of him is brief, which is exceptionally befuddling for later scenes. As mother Elena faculties that Pedro and Tita may take part in an extramarital entanglement going on, she sends them to one of her family members in the United States.

Throughout the book and film, Tita seems to have character development. When preparing the food Mama Elena and they find out that Roberto died, she stands up for herself and yells at Mama Elena saying it is her fault. This is the first sign that Tita wants to get away from her family but more specifically, Mama Elena. Mama Elena is blocking Tita from being redeemed by not letting her marry because she has to be the one to take care of her.  When Mama Elena dies, in a way Tita is free.  

Coffeehouse #3

After watching and re-reading Woolrich’s work, there were two significant contrasts I saw so far was the manner by which point by point Jefferies’ adoration of life is in the film than the composed form and the guardian is a lady. The composed story doesn’t specify anything about his adoration life. We enter the story thinking nothing about Jefferie not to mention his adoration life. The story bounces straight into him being an unwelcome voyeur and portraying each home and neighbor in incredible detail. The film adaptation begins with him sitting close to his window and checking the external neighbors, giving us a see of each house at that point goes into profundity about his profession and love life among him and overseer afterwards on his alleged sweetheart. Which carries me to another distinction I saw the way that the parental figure is by all accounts an old woman in the film since she comes over day by day to get him dressed and kneads however in the story the guardian is a man. Additionally in the film we know Jefferie is a photographer and in the story we did not understand what his profession was. The film form is definitely more point by point than the composed however since we didn’t get excessively profound into the film its difficult to recognize the distinctions yet I have an inclination the old woman probably won’t be has faithful as Sam was in the story and furthermore feel like the film is a blend of an adoration/secret simply because of how much detail we think about the primary characters love life and I think once we become all the more further along in the film we will get familiar with their relationship in addition to the homicide puzzle. I’m getting a charge out of the film adaptation in view of the amount more subtleties being shared which makes it additionally intriguing to track.

Coffeehouse #2

My apartment building comes to a curve in the middle so when you are in my living room looking out the window you are able to see all the apartments, we are in the middle of all the apartments. Most of the time you are able to see, hear, and smell when our neighbour is outside the window smoking her cigarette, since our apartments are pretty close. Her and her son usually hang on the balcony every Saturday in the morning. They usually have a cup of coffee or eating breakfast. Sometimes we will join them because our balcony is right next to theirs. Our other neighbor on our floor, you can always tell when he gets home because the first thing he does is blast his rock music, most of the time he plays along with it because he now has a guitar. We have a lot of children in our apartment, so on nice days a lot of them will go to the front and play either football, baseball, or kickball. Others will run around or draw pictures on the sidewalk with chalk. Another view from our apartment are all the dogs that live here. We have a lot of dogs in our apartment building, us being included, you can always see or hear when the dogs are out because it sets off our dogs. Not a lot of things happen in our apartment building, we all know each other and help each other out. This story just made me think about how many other women left their town due to their health during that time, or even years prior to this story being released. A lot of women’s health was not acknowledged during this or any other time. The question I still have about “It Had to Be Murder” by Cornell Woolrich, is what happened to the wife after everyone found out that she left town due to her health.

Film-Lit Coffeehouse #1

This summer I was supposed to go to concerts and travel, but due to everything that is going on all of that has been postponed. However, one thing that made me feel good this summer was that I was still able to go to the beach (wearing a mask and social distancing of course). Other than that this summer was pretty uneventful. I spent a lot of time with my family, which was nice because between work and school I really do not get to see them. I also spent a lot of time with myself.

Out of the two stories “The Tell-Tale Heart,” and “The Yellow Wallpaper,” my favorite is “The Yellow Wallpaper.” Last semester I read “The Yellow Wallpaper,” in my Women’s studies class, so we were able to break down the story, and it was my favorite story we read that semester.  The reason why it was my favorite is because “The Yellow Wallpaper,” addresses many important issues such as sexism and mental illness.  It takes a close look into women’s mental health and the importance. The narrator is emotionally isolated from her husband and because of this she is isolated from others. The narrator spends most of her time staring at the hideous yellow wallpaper that is in her bedroom. Placing all her neurosis into discovering the mysteries behind the patterns, the narrator begins to lose her mind.  Women who are suffering from any sort of depression, such as postpartum, should be respected and should be allowed to make decisions regarding their health and lifestyle. John has told the narrator time and time again that she is in fact sick. This can be viewed as controlling because she cannot tell him otherwise for he is the one who is a physician and he knows better. John tells the narrator who she can and can not see. She wants to visit her family, but he does not allow it because her family does not have the same views as him, and for this she is only allowed to see his family.