Child Labor During The United States - 1512 Words

Statement of the problem: Many of the products that are used and consumed in the United States are made in other countries. One of the main reasons for multinational corporations to produce goods in countries other than the United States is the cost of production. It is far cheaper to produce goods such as blue jeans, paper goods, and plastic toys to name a few. In recent years the conditions in sweatshops in China, Japan, and elsewhere have garnered public outcry from Countries like the U.S. and most of Europe. The main contention, child labor in dangerous and horrid conditions. However one often overlooked example of child labor in sweatshop-like conditions exists were many people never thought. The chocolate we eat. â€Å"From 2013 to 2014 more than 1.1 million children in the Ivory Coast were engaged in the most common Worst Forms of Child Labor as recognized by the United Nations†¦ up from 791,181 children from 2008 to 2009† (Berman, 2015). The benefactors of this ch ild labor are huge multinational enterprises such as Nestle, Mars Inc., and The Hershey Co. The children subjected to the forced labor allegedly used to make Mars, Hershey’s and Nestle chocolate are victims of hazardous work such as that involving dangerous tools, transport of heavy loads and exposure to toxic substances and the compulsory labor of trafficked children (Berman, 2015). A report commissioned by the U.S. government in 2011 included testimony from a twelve-year old boy named Kuadio Kouako who wasShow MoreRelatedChild Labour : A History Essay1228 Words   |  5 PagesChild Labour in The United States Child Labour: A History America and The Industrial Revolution ‘Forms of child labor, including indentured servitude and child slavery, have existed throughout American history.’ (http://www.continuetolearn.uiowa.edu/laborctr/child_labor/about/us_history.html) During the years following the Civil War, (http://americanhistory.about.com/od/industrialrev/a/indrevoverview.htm) the American working class made an abrupt transition away from farm work and home choresRead MoreEssay about The Globalization of Child Labor1517 Words   |  7 Pagesbeneficial worldwide, but globalization can also effect countries and people negatively. Child labor was once an immense issue in the United States; however, we now have laws protecting children from dangerous working conditions. Unfortunately, children in countries like India and Africa are still falling victim to harsh working conditions. These developing nations have the same problem that the United States had years ago; children are working long hours with little pay and are working in very dangerousRead MoreChild Labor Essay809 Words   |  4 PagesChild labor has been an extremely serious issue since the early industrial revolution and it continues to be an issue today. The movement towards the industrial revolution increased demand for labor, especially cheap labor, which targeted young children as a means for performing work in the factories. Since it was an economically growing era for the United States, children in the 18th century worked long hours for low minimum wage under harsh conditions to help their families. Children were easilyRead MoreSecond Industrial Revolution1000 Words   |  4 PagesDarris Adkins Abstract In this brief paper, a description of two developments of industrialization that positively affected the United States and two developments that negatively affected the United States will be discussed. An analysis of whether or not industrialization was generally beneficial or detrimental to the lives of Americans and the history of the United States will be outlined. Second US Industrial Revolution, 1870 -1910 In this brief paper, a description of two developments of industrializationRead MoreChild Labor After the American Civil War699 Words   |  3 PagesIn the late 1700s and early 1800s, power-driven machines began to replace hand labor for the production of nearly all manufactured items. Factories began to pop up everywhere, first in England and then the United States was soon to follow in their footsteps. There were numerous factories and to meet the needs of the owners of these factories they had to get creative and find people of all walks of life to put to work. Sadly, their solution to the in demand workers was putting children, sometimesRead MoreThe Most Dangerous Industry Of The United States957 Words   |  4 Pagesemployed in the United falling just short of 20 percent of the workforce. Thirty years later in the 1900 census, two million children were working in mills, mines, fields, factories, stores, and on city streets across the United States. But with increasing number s of children being put into the workforce, the conditions in which they worked rapidly declined. Such rapidly declining conditions were due to â€Å"compulsory education laws, massive inflows of inexpensive immigrant labor, and technologicalRead MoreEssay about Child Labor: Nowhere Is Without1312 Words   |  6 Pagesworking. The interpretation of the words, â€Å"Child Labor,† has changed vastly over the centuries ago it began. Furthermore, the use of child labor around the world has persisted and grown from the centuries ago it began. Regrettably, child labor can be found everywhere in the world and in a multitude of industries, and these industries are responsible for the many varieties of child labor. Also, throughout history, children have been used as a source of labor, building economies and supporting governmentsRead MoreChild Labor Is A Violation Of Fundamental Human Rights1553 Words   |  7 Pages 405292 Child Labor Republic of France Position Paper Part 1 History and Background of Child Labor Child labor became most prevalent during the Industrial Revolution, which took place from 1760-1840, and has become prominent throughout our world since. Children would work around 19 hours a day, having approximately a one hour break, and work for almost no pay. In the 1900’s, statistics showed that over 200 million children were involved in the act of child labor worldwide, and 73 millionRead Moreâ€Å"When People In The United States Think Of ChildrenS Rights1722 Words   |  7 Pagesthe United States think of children s rights they usually think of children in third world countries who are victims of abusive child labor practices or insurmountable poverty† (Wilson 1). However, in reality it is not just in third world countries, it is also in the United States. From the American colonial period till the mid nineteenth century, child labor has been an important issue. It has taken many years to come to an agreement of the definition of child labor. One way to defin e child laborRead MoreChild Labor Laws In the 1800s1462 Words   |  6 PagesChild Labor Laws In The 1800s Child Labor, once known as the practice of employing young children in factories, now its used as a term for the employment of minors in general, especially in work that would interfere with their education or endanger their health. Throughout history and in all cultures children would work in the fields with their parents, or in the marketplace and young girls in the home until they were old enough to perform simple tasks. The use of child labor was not a problem

Archetypes In Homers The Odyssey - 1507 Words

Ancient Greeks’ work consists of monsters, creatures, gods, goddesses, fights, and battles. It shows that Ancient Greeks are very imaginative and creative. Three main archetypes that are used in Homer’s epic ,The Odyssey, each show a different aspect of Ancient Greek culture. The three archetypes are: the hero archetype, the monster archetypes, and the search for love. The hero archetype shows the Ancient Greeks’ love for thrill and adventure; Odysseus goes on many thrilling adventures while on his journey. The monster archetypes represents the Greeks’ love for horror; Odysseus’ men die horrible deaths due to the monsters and creatures. The search for love shows the Greeks’ passionate and emotional side; Odysseus travels through odd lands†¦show more content†¦Throughout his journey, he is challenged for his bravery and heroism. That heroism that Odysseus has â€Å"allows an individual to serve as the primary example of what society deems as valuable and moral,† (The Hero’s Journey†; section 1: The Hero and The Journey; paragraph two). Meaning Odysseus, being the hero, sets an important example for society. People in his society take in anything and everything he does because he his actions are viewed as important and moral. Surely you have watched a movie, or read a comic with an amazing superhero that saves his/her city from danger; well somewhere in that storyline, there was a little kid wishing that they had superpowers so they could save the world as well. That superhero was viewed as moral to their society because of what they did, like Odysseus. Odysseus was able to survive ten long years of a vicious battle and another ten long years fighting his way through many obstacles; most of which were monsters that the Ancient Greeks created, and believed in. Many monsters appeared on Odysseus’ journey in The Odyssey. Odysseus’ hero side definitely showed when he encountered tho se monsters because he never showed any signs of fear. It is a general reaction for normal humans to fear anything that is different from their typical, everyday life. Besides, â€Å"all things that are differ from societal normality should be seen as either offensive, or to be feared,† ( The Hero’s Journey- Julie Harris; â€Å"Monsters The Hero†- SectionShow MoreRelatedArchetypes In Homers The Odyssey1383 Words   |  6 Pageswere very imaginative and creative. There were three main archetypes that were used in Homer’s epic ,The Odyssey, which show different aspects of Ancient Greek culture. Those three archetypes were: the hero/father figure archetype, the monster archetypes, and the search for love. The hero archetype explained the Ancient Greeks’ love for thrill and adventure; Odysseus went on many thrilling adventures while on his journey. The monster archetypes represented the Greeks’ love of horror; Odysseus’ men haveRead Mor eExamples Of Archetypes In Homers Odyssey1292 Words   |  6 Pageshumans in modern times have archetypes. Archetypes are characters, actions, or situations that are repeated in all human life. Archetypes are found in myths, legends, dreams, films, music, literature and several other forms of entertainment. In fact, The Odyssey, a prominent piece of writing, contains many archetypes. The Odyssey is a 3,000-year-old epic written by Homer in Ancient Greece. It describes the adventures of Odysseus. As well as being found in The Odyssey, archetypes are evident throughoutRead MoreExamples Of Archetypes In The Odyssey890 Words   |  4 Pagesinformation can be gained from Homer’s epic,The Odyssey about ancient Greek civilizations and their what they valued morally. The Odyssey has a variety of different archetypes that are still relevant in modern times. The legend of Odyssey has been passed down from poet to poet for five hundred years until finally Homer wrote the Iliad and th e Odyssey down somewhere between eight hundred fifty and seven hundred fifty B.C. In Homer’s epic the Odyssey, there are three archetypes that provide insights to AncientRead MoreOdyssey Archetype Analysis850 Words   |  4 PagesArchetypes in â€Å"The Odyssey†and Greek culture Homer’s epic poem is one of the most prolific, intriguing adventure stories ever written. His exceptional use of archetypes adds anticipation and excitement throughout the entire poem. This story has a mix of adventure, suspense, love, and loss. All of these features are archetypes that are shown in Homer’s epic poem. Greek culture is also a big part of the archetypes in this poem as well. The 3 archetypes that I chose are some of the most frequently seenRead MoreExamples Of Archetypes In The Odyssey1002 Words   |  5 PagesHomer’s epic poem is one of the most prolific, intriguing adventure stories ever written. His exceptional use of archetypes adds anticipation and excitement throughout the entire poem. This story has a mix of adventure, suspense, love, and loss. All of these features are archetypes that are shown in Homer’s epic poem. Greek culture is a big part of the archetypes in this poem as well. The three archetypes that I chose are some of the most frequently seen archetypes in adventurous stories or poemsRead MoreOdysseus Archetype Analysis785 Words   |  4 Pagescourageous whirlpool Charybdis. They all attempted to kill the heroic Odysseus but failed to. The author of the epic poem, The Odyssey, is credited to Homer. Homer wrote his epic somewhere in eighth century BC. Some archetypes used in Homer’s epic heroic, monsters, and hospitality. The first archetype we will discuss is the heroic archetype. Homer first uses the hero archetype in his epic, when he brutally stabbed the eye of the great Polyphemus. Homer gives you a very well insight that Odysseus usesRead MoreFemale Archetypes in Odyssey1289 Words   |  6 PagesA Plotting Princess: Female Roles in The Odyssey and Antigonà ª Karen Rustad The fairy tale Snow White is a story about two women. One, the evil stepmother, schemes against her stepdaughter in order to assuage her envy and increase her power. She, of course, is thwarted by the end of the story. The other, Snow White, is a pure, innocent damsel entirely devoid of will. Nevertheless, by the end her prince saves her and she lives happily ever after. While Snow White is a European fairy tale, itsRead MoreExamples Of Archetypes In The Odyssey1291 Words   |  6 PagesArchetypes in The Odyssey All humans have ideals and patterns in common. Humans from a thousand years ago and humans in modern times have archetypes. Archetypes are characters, actions, or situations that are repeated in all human life. Archetypes are found in myths, legends, dreams, films, music, literature and several other forms of entertainment. In fact, The Odyssey, a prominent piece of writing, contains many archetypes. The Odyssey is a 3,000 year-old epic written by Homer in Ancient GreeceRead MoreThe Odyssey And Homer s Homeric1336 Words   |  6 Pagesadventure fantasy. We encounter new brace characters, and once in awhile we see those qualities and characteristics in another character. that s the case with the characters of Demeter and Penelope. Although placed in different stories like The Odyssey and Homer’s Hymn to Demeter, both characters share qualities that makes them similar to one another. Furthermore, both powerful female characters experience an impactful loss that turns their lif e upside down. Demeter, a goddess of fertility, must struggleRead More Elements of Homers Odyssey in the Coen Brothers Oh Brother Where Art Thou646 Words   |  3 PagesThe Coen Brothers’ â€Å"Oh Brother Where Art Thou?†, loosely based on Homer’s classic adventure The Odyssey, is a film amusingly filled with themes of symbolism similar to those found in Homer’s epic, while still maintaining a sense of originality and style that they have become so renowned for. An exciting and entertaining blend of high adventure, humour, and heartfelt emotion, at first glance, the film barely resembles Homer’s poem: only certain elements are obvious, such as the main character’s name

Music in Different Cultures free essay sample

Culture Popular Music in its Many Facets In its broadest sense, popular music is an umbrella term referring to a vast range of commercially mass-marketed musical genres contrasting with classical or art music and intended for mass consumption (e. G. , rock, rock and roll, hip-hop, grunge. Heavy metal, rhythm and blues, punk, soul, techno, funk, rap, house). This wide- ranging term encompasses a plethora of musical styles involving various rhythms, vocal styles, Instruments, and technologies. Characteristically, popular music Is a lobar cultural phenomenon and an accessible form of commercial music aimed at a worldwide audience. Traditionally, British and American forms of popular music have tended to dominate the industry. Corresponding to social, economic, and technological change, popular music Is intimately linked to the identity of musicians, performers, or artists, as well as audiences and fans.Popular music Is ubiquitous; from shopping malls and advertising to gymnasiums/fleetness classes and political campaigns, popular music is a common feature of peoples everyday lives and a significant aspect of consumer culture. For fans and enthusiasts, popular music can e a leisure-time pursuit occurring on evenings or weekends; alternatively, It can constitute a lifestyle, or way of life (e. G. , Deadheads-?a group of fans of the American band Grateful Dead who saw the band at as many gigs and festivals as possible from the sass onward).For many people, the consumption of popular music Is a significant means of Identification, affiliation, and belonging. Different forms of popular music can create pleasure and excitement for some and moral panic and dread for others; it is a much debated and important realm of cultural life with significant implications for our understanding of consumer culture. Providing a concrete and tangible definition of what constitutes popular music has been the subject of much academic debate. As Richard Middleton contends, attempting to define popular music is riddled with complexities (1990, 3).Studies of popular commonly analyzed as a text, to sociological, which tends to focus on the social uses of popular music and the dynamic and interactive relationship between popular music, culture, and society. Popular music is commonly understood as bein g Intrinsically linked to popular culture. Sociological studies of popular music audiences tend to use either questionnaire-based survey methods; ethnographic approaches, such as participant observation and in-depth interviewing; or a combination of the two.Through survey research, tastes in popular music are understood as being shaped by a persons gender, age, social class background, and race/ethnicity. To a certain extent, sociological approaches to studying popular music stem from cultural studies, an offshoot of sociology developed primarily in the sass at the Centre for Contemporary Cultural Studies (CSS) in Birmingham, England, led by Richard Haggard and later Stuart Hall. A number of notable popular music theorists worked at the CSS, including Dick Hebrides, lain Chambers, AngelaMicrobes, and Paul Willis. A major focus of the CSS was the study of youth culture and subcultures analysis; subsequently, popular music was perceived as central to adolescent resistance, understood as key to the development of sociology of y outh, and viewed as a crucial realm of youth consumption practices and identification. Thus, popular music research since the sass has tended to focus on teenagers and groups of youths that coalesce around particular music styles.Few academic studies of popular music existed pre-1970, and the subject received relatively little scholarly attention during the sass and sass, with the exception of aforementioned theorists that worked at institutions such as the CSS and key theorists such as Lawrence Grosser in the United States and Simon Firth in the United Kingdom. Since the sass, there has been a proliferation of survey research, theoretical material, and ethnographic work concerned with the production and consumption of popular music and particularly its reception in society.Thomas Edison invented sound recording in 1877 in the United States; as a result, the era of recorded music began. The emergence of many popular music genres during the twentieth century can be linked to technological advancements of the same period. The rise of recorded music together with more stringent copyright protection laws facilitated the development of the music business in capitalist society and more specifically the centralization of the American music publishing business and songwriters in an area of New York known as Tin Pan Alley in the late-nineteenth century.The Tin Pan Alley era initially specialized in ballads and novelty songs but later began to incorporate popular styles of the period, including ragtime, Jazz, and blues. Significant technological inno vations such as the widespread use of radio, the increasing quality and affordability of the gramophone, the introduction of the microphone in the sass, and the inception of amplification and electric recording paved the way for new musical styles to emerge, such as rhythm and blues and rock and roll, leading to surge in popularity of record buying, particularly in Britain and America but also on global scale.Theodore Adorn, a critical theorist and leading member of the Frankfurt school in Germany, coined the term culture industry in his critique of mass culture that made specific reference to popular music. The majority of Adorns account is based on his views of popular music produced in the Tin Pan Alley era and repetitive, and unequivocally contrasts with serious music: A clear Judgment concerning the relation of serious to popular music can be arrived at only by strict attention to the fundamental characteristic of popular music: standardization.The whole structure of popular music is standardized even where the attempt is made to circumvent standardization. (1941 , 302) Thus, in Adorns view, popular music fails to negate the dominant social order, encompass an oppositional stance, or express critical thought. Instead, popular music is rigid and mechanical. This is unlike serious music, which is non-standardized, and [every] detail derives its musical sense from the concrete totality of the piece (1941 , 303-305). For Adorn, popular music is not only standardized, but also it standardizes responses and reactions on behalf of the listener.It promotes habituated impulses and leaves t he listener devoid of spontaneity. Moreover, popular music entails pseudo- individualizing, referring to the idea that cultural products intended for mass consumption, such as hit songs, are undifferentiated in their musical frameworks. The listener is merely given an illusion of choice in regard to the types of popular music they can appreciate and listen to. Adorn contends that the standardization of popular songs leads to compliant consumers because songs are heard in accordance with other standardized popular songs.Essentially, popular songs do their listening for them. Simultaneously, pseudo-individualizing propagates compliant consumers because the audience is made to forget that this is the case, the listener misled into thinking that what they listen to is new and is not listened to for them, or pre- digested (1941 , 308). The effects of standardization and pseudo-individualizing on the listener are, according to Adorn, escapism and diversion: Listeners are distracted from the demands of reality by entertainm ent which does not demand attention either (310).During the twentieth century, a vast number of musical genres and styles emerged, particularly during the postwar period. Critics of Adorns work have commented on his tendency to ignore the rise of rock and roll and ensuing popular music genres that could be considered to negate the dominant social order and offer non-standardized musical frameworks (Firth 1983). The first solid-body electric guitars were mass produced in the sass, such as the Less Paul Gibson and the Fender Esquire.The electric guitar was a crucial instrument in the development of rock and roll in the sass and subsequent genres such as rock and its various offshoots in the sass and sass (e. G. , progressive rock, psychedelic rock, blues rock). The electric guitars sound was increasingly distorted and modified and led to genres such as heavy metal and punk, which entailed a do-it-yourself (DID) ethos and emphasized that anyone could pick up an instrument, regardless of skill, and become a pop star.In the sass and sass, sampling technologies and digitization led to the emergence of genres such as rap and hip-hop and electronic dance mus ic (EDM) genres, such as house, techno, and trance to name a few. The organization of the popular music business entails a number of major and independent labels. As of 2010, there are four major record labels that dominate the industry and popular music output internationally: Warner Music Group, Electric Musical Industries Ltd. MI Group), Sony Music, and Universal Music Group. Popular music is an international multimillion dollar industry that has been dominated by the ore recently, Japan and Europe. Sociologists of popular music have made several attempts to theorize the production of popular music and the organization of the music industry. Richard Peterson (1976) proposes a production of culture perspective in his analysis of the development and organization of the music business during the postwar period.Peterson and David Berger suggest that the period 1948 through 1973 is characterized by cyclical phases of concentration in the music industry and outbursts of competition and diversity driven by consumer demand. In a later study, Peterson (1990) identifies six factors that constrain or assist he production of popular music: organizational structure, industry structure, occupational careers, markets, technology, and law or regulation. Howard Becker coined the term art world to refer to the social organization of people involved in the sphere of art production, commission, promotion, and sale.This term has been appropriated into popular music studies by theorists such as Firth (1996), who contends that three art worlds exist within the music industry: the art music world, the folk music world, and the commercial music world. Historically, popular music has been consumed in a multitude of ways. The consumption of popular music may entail purchasing recorded music on vinyl, cassette tape, or compact disc (CD); listening to the radio; watching music videos on television channels, such as MET; home tape/CD recording; and more recently, downloading music from the Internet.Simultaneously, people ma y read the music press, go clubbing, or see bands perform live at gigs and concerts. The popular music press, including Melody Maker and the New Musical Express (NAME) in the United Kingdom and Rolling Stone in the United States, has played a major role in the popular music charts, propelling bands and artists to major chart success and influencing young people with regard to the latest music and fashion trends. During the postwar period, popular music has been viewed as central to teenage consumption and identity formation.From moods to rockers, punks to clubbers, the consumption of popular music is widespread and has become increasingly diverse as popular music genres have evolved. Sociological readings of popular music have tended to focus on the social uses of popular music, particularly in relation to the collective action of people forming music scenes and using music as a means of identification and expression of a sense of self. In the sass, subcultures theorists, such as Paul Willis, gave attention to popular music consumption as a signifier of a groups style, outlook, and focus.Willis advocated a structural homology evaluation concerned with how far, in their structure and content, particular items parallel and reflect the structure, style, typical concerns, attitudes and feelings of the social group (Willis 1978, 191). Thus, for Willis and other subcultures theorists, it was argu ed that a fit was evident between specific fashions and styles-?in respect to popular music and clothing-? and a groups identity and coloratura values and beliefs.A crucial concern for subcultures analysts was the issue of Juvenile deviance and resistance and the various ways British working- class youth cultures used music and associated fashion styles and cultural practices to express themselves (see Hall and Jefferson 1976). Hebrides seminal study of punk culture in Britain focused primarily on these issues and exemplified the homology between the consumption of popular music and particular social groups. Popular boys of the sass and punks of the late sass were understood as representative of this view.The consumption of popular music was recognized as being symbolic of a persons social class background, gender, and race and ethnicity. It was viewed as a highly significant realm of culture, defining assemblages of individuals bound by their affiliation to a particular musical style and coupled with style, dress and appearance, recreational drug experiences, and cultural practices. Subcultures theory has incited numerous criticisms since its inception during the sass.Some of these include its focus on groups of young males and neglect of girls and their relationship with youth subcultures, its inherent rigidity and fixedness, and the apparent absorption of so-called underground subcultures into the mains tream. Sarah Thornton attempts to rework the term into her analysis of dance music cultures in Britain by using the phrase club cultures and discussing the significance of subcultures capital in the EDM world. In contrast to subcultures approaches, the use of the term scene featured in many popular music studies of the sass onward endeavoring to redefine popular music communities.Will Straw uses the term to describe that cultural space in which a range of musical practices coexist, interacting with each other within a variety of processes of differentiation, and according to widely varying trajectories of change and cross-fertilization (1991 , 373). A music scene is created as coalitions and alliances coalesce around musical styles, convey a sense of purpose, and form boundaries signifying who is in and out and therefore forming and maintaining social groups (373).The term scene denotes an increasing sense of fluidity in music cultures, and Andy Bennett provides an interpretation of urban dance music communities in Britain that takes into account the necessity for less rigid accounts of groups of popular music fans. Bennett coins the term neo-tribes to describe groups of young dance music fans. He suggests that the club setting can be viewed as one of the many forms of temporal engagement through which neo-tribal associations are formed because it provides a space for expressions of togetherness based on articulations of fun, relaxation, and pleasure.Clubbing appears to be regarded less as a singularly definable activity and more as a series of fragmented, temporal experiences as clubbers move between different dance floors and engage with different crowds. References Researching popular music requires numerous theoretical and methodological approaches due to its fast-changing and progressive nature. The focus on youth cultures in studies of popular music is now being questioned as academics have begun to recognize the longevity of popular music genres and aging popular music fan base.Similarly, concerns with popular music consumption as representative of cultural values and a form of political resistance have been challenged by research that concentrates on the significance of popular music in our everyday lives to influence moods and offer routine (e. G. , De Nora 2000). The rise of disc Jockey (DC) culture and subsequent blurring of the production and consumption of popular USIA in accordance with technological developments have led to an increase in studies of clubbers and EDM fans, which contest the privileging of rock music and live gigs in traditional popular music research.Defining popular music is highly problematic, and there has been a blurring of popular forms of music and classical in groups such as the Three Tenors. Certainly, it is vital to note that what constitutes popular music is subjective and often culturally and historically dependent. Major contemporary concern within popular music research and the popular music industry is the impact of the Internet on producing and consuming popular music. On one hand, some perceive the Internet as a threat to the music business involving dramatic financial losses due to piracy and peer-to-peer file sharing.

Love Conquers All Wuthering Heights Vs Great free essay sample

Love Conquers All: Wuthering Heights Vs. Great Expectations Essay, Research Paper Love Conquers All Throughout the old ages writers have written many great narratives. Wuthering Highs, written by Emily Bronte, and Great Expectations by Charles Dickens are two illustrations of great narratives. Both of these narratives can be set off and paralleled to the other. The scene, clip epoch, and lover? s relationships are the elements of comparing and distinction. The scenes, in which the two narratives take topographic point, act upon the people and the state of affairss that occur. In Bronte? s Wuthering Heights, the little town of Liverpool is the scene. The Earnshaw household is non every bit good off as the Linton? s. This is compared to the little town off the ocean where Pip and Estella live. Pip? s household is instead hapless, and Estella lives in a big house with a affluent aunt. The lives of the lover? s in both narratives revolved around the other spouse? s life. We will write a custom essay sample on Love Conquers All Wuthering Heights Vs Great or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Estella moves off to Paris, but so meets Pip once more in New York. He once more pursues her and she marries another adult male. Catherine loves her adoptive brother, but marries Edgar alternatively. The two meet once more at her house and Edgar gets angry because he senses the love between the two. The different scene? s of the lover? s first familiarity is the contrasting component. Pip meets Estella on a warm summer twenty-four hours while playing in the garden. Summer is a clip of felicity, which drew Estella to turn fond of Pip. Summer is besides a clip of love affair, which flourishes in the terminal. Heathcliff meets Catherine on a cold winter dark after her household takes him in. Winter is a clip of heartache and glumness, and hence Catherine does non care for Heathcliff at foremost. Winter is besides a clip of decease, because the foliages die and most animate beings are hole uping. This parallels with the result of Catherine and Heathcliff? s relationship ; she dies. The clip epoch of the lover # 8217 ; s plays a function on the result of the narratives. Wuthering Highs, in a Victorian epoch, is set in a clip where adult females purely marry, have kids, and maintain the family in order. This makes adult females uncomfortable with themselves in doing determinations that regard their hereafter. Catherine was afraid to move on her true nature, so she married Edgar. Although she loved Heathcliff, she made the determination to bewray him. ? I? ve no more concern to get married Edgar Linton than I have to be in Eden. It would degrade me to get married Heathcliff now ; so he shall neer cognize how I love him ; because he is more myself than I am. Whatever our psyches are made of, they are the same ; and Linton? s is every bit different as a moon ray from lightning, or hoar from fire. ? Although the two books were written a few old ages apart, the societies are wholly different. In Great Expectations, Estella grew up under her aunt? s attention. She had aspiration and an instruction. She made determinations that better her. Estella moves to Paris to travel to college and so to New York to work. She sees Pip as a? hapless? adult male, and marries another adult male. Catherine, from Wuthering Heights, is from a instead hapless household. The Linton household educates and refines her. Her polish complicates her raltionship with Heathcliff and leads to her matrimony to the upper category Edgar Linton. Catherine unfortunately lives in the clip when adult females married for money and social-status, but were besides forced to be homemakers every bit good. The two twosomes, Pip and Estella and Catherine and Heathcliff, come together in the terminal. Both battle and learn from errors. Estella loves Pip, but she is afraid that he will ache her, as her aunt was hurt. Estella is afraid because all of her life she is taught to non fall in love. When she does, she becomes afraid and flees because she does non cognize how to manage her new emotions. After she marries Drummel, she realizes her error and they divorce. Fate brings Pip and Estella together at her house on the ocean and they neer portion once more. ? I took her manus in mine, and we went out of the destroyed topographic point? and I saw no shadow of another farewell from her. ? Catherine and Heathcliff are in love, but Catherine? s determination to get married Edgar thrusts Heathcliff off. He returns to see her, and to happen that she still loves him. He tells her of his programs to kill himself, but does non follow through with his program in fright of aching her. When Catherine dies, Heathcliff is devastated. He urgently wants to be with her. After Mr. Lockwood reports his shade brush, Heathcliff rushes to name her ( Catherine ) shade into the house so that he could experience her presence. Soon after Heathcliff # 8217 ; s decease, people report seeing their ( Catherine and Heathcliff ) ghosts rolling around the Moors. This shows that love conquers all, even decease. Although these two narratives are written by different writers, the elements in the narratives are rather similar. The scene and clip epoch play a portion on the lives of the characters. Besides, the twosomes are reunited in the terminal, one in life, and one in decease. The statement to sum up the two narratives is: Love conquers all.