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“Kew Gardens” by Virginia Woolf
“Kew Gardens” by Virginia Woolf
From the oval-shaped flower-bed there rose perhaps a hundred stalks spreading into heart-shaped or tongue-shaped leaves half way up and unfurling at the tip red or blue or yellow petals marked with spots of colour raised upon the surface; and from the red, blue or yellow gloom of the throat emerged a straight bar, rough with gold dust and slightly clubbed at the end. The petals were voluminous enough to be stirred by the summer breeze, and when they moved, the red, blue and yellow lights passed one over the other, staining an inch of the brown earth beneath with a spot of the most intricate colour. The light fell either upon the smooth, grey back of a pebble, or, the shell of a snail with its brown, circular veins, or falling into a raindrop, it expanded with such intensity of red, blue and yellow the thin walls of water that one expected them to burst and disappear. Instead, the drop was left in a second silver grey once more, and the light now settled upon the flesh of a leaf, revealing the branching thread of fibre beneath the surface, and again it moved on and spread its illumination in the vast green spaces beneath the dome of the heart-shaped and tongue-shaped leaves. Then the breeze stirred rather more briskly overhead and the colour was flashed into the air above, into the eyes of the men and women who walk in Kew Gardens in July.
The figures of these men and women straggled past the flower-bed with a curiously irregular movement not unlike that of the white and blue butterflies who crossed the turf in zig-zag flights from bed to bed. The man was about six inches in front of the woman, strolling carelessly, while she bore on with greater purpose, only turning her head now and then to see that the children were not too far behind. The man kept this distance in front of the woman purposely, though perhaps unconsciously, for he wished to go on with his thoughts.
“Fifteen years ago I came here with Lily,” he thought. “We sat somewhere over there by a lake and I begged her to marry me all through the hot afternoon. How the dragonfly kept circling round us: how clearly I see the dragonfly and her shoe with the square silver buckle at the toe. All the time I spoke I saw her shoe and when it moved impatiently I knew without looking up what she was going to say: the whole of her seemed to be in her shoe. And my love, my desire, were in the dragonfly; for some reason I thought that if it settled there, on that leaf, the broad one with the red flower in the middle of it, if the dragonfly settled on the leaf she would say ‘Yes’ at once. But the dragonfly went round and round: it never settled anywhere of course not, happily not, or I shouldn’t be walking here with Eleanor and the children. Tell me, Eleanor. D’you ever think of the past?”
“Why do you ask, Simon?”
“Because I’ve been thinking of the past. I’ve been thinking of Lily, the woman I might have married…. Well, why are you silent? Do you mind my thinking of the past?”
“Why should I mind, Simon? Doesn’t one always think of the past, in a garden with men and women lying under the trees? Aren’t they one’s past, all that remains of it, those men and women, those ghosts lying under the trees,… one’s happiness, one’s reality?”
“For me, a square silver shoe buckle and a dragonfly”
“For me, a kiss. Imagine six little girls sitting before their easels twenty years ago, down by the side of a lake, painting the water-lilies, the first red water-lilies I’d ever seen. And suddenly a kiss, there on the back of my neck. And my hand shook all the afternoon so that I couldn’t paint. I took out my watch and marked the hour when I would allow myself to think of the kiss for five minutes only it was so precious the kiss of an old grey-haired woman with a wart on her nose, the mother of all my kisses all my life. Come, Caroline, come, Hubert.”
They walked on the past the flower-bed, now walking four abreast, and soon diminished in size among the trees and looked half transparent as the sunlight and shade swam over their backs in large trembling irregular patches.
In the oval flower bed the snail, whose shell had been stained red, blue, and yellow for the space of two minutes or so, now appeared to be moving very slightly in its shell, and next began to labour over the crumbs of loose earth which broke away and rolled down as it passed over them. It appeared to have a definite goal in front of it, differing in this respect from the singular high stepping angular green insect who attempted to cross in front of it, and waited for a second with its antenna trembling as if in deliberation, and then stepped off as rapidly and strangely in the opposite direction. Brown cliffs with deep green lakes in the hollows, flat, blade-like trees that waved from root to tip, round boulders of grey stone, vast crumpled surfaces of a thin crackling texture all these objects lay across the snail’s progress between one stalk and another to his goal. Before he had decided whether to circumvent the arched tent of a dead leaf or to breast it there came past the bed the feet of other human beings.
This time they were both men. The younger of the two wore an expression of perhaps unnatural calm; he raised his eyes and fixed them very steadily in front of him while his companion spoke, and directly his companion had done speaking he looked on the ground again and sometimes opened his lips only after a long pause and sometimes did not open them at all. The elder man had a curiously uneven and shaky method of walking, jerking his hand forward and throwing up his head abruptly, rather in the manner of an impatient carriage horse tired of waiting outside a house; but in the man these gestures were irresolute and pointless. He talked almost incessantly; he smiled to himself and again began to talk, as if the smile had been an answer. He was talking about spirits, the spirits of the dead, who, according to him, were even now telling him all sorts of odd things about their experiences in Heaven.
“Heaven was known to the ancients as Thessaly, William, and now, with this war, the spirit matter is rolling between the hills like thunder.” He paused, seemed to listen, smiled, jerked his head and continued:
“You have a small electric battery and a piece of rubber to insulate the wire isolate? insulate? well, we’ll skip the details, no good going into details that wouldn’t be understood and in short the little machine stands in any convenient position by the head of the bed, we will say, on a neat mahogany stand. All arrangements being properly fixed by workmen under my direction, the widow applies her ear and summons the spirit by sign as agreed. Women! Widows! Women in black”
Here he seemed to have caught sight of a woman’s dress in the distance, which in the shade looked a purple black. He took off his hat, placed his hand upon his heart, and hurried towards her muttering and gesticulating feverishly. But William caught him by the sleeve and touched a flower with the tip of his walking-stick in order to divert the old man’s attention. After looking at it for a moment in some confusion the old man bent his ear to it and seemed to answer a voice speaking from it, for he began talking about the forests of Uruguay which he had visited hundreds of years ago in company with the most beautiful young woman in Europe. He could be heard murmuring about forests of Uruguay blanketed with the wax petals of tropical roses, nightingales, sea beaches, mermaids, and women drowned at sea, as he suffered himself to be moved on by William, upon whose face the look of stoical patience grew slowly deeper and deeper.
Following his steps so closely as to be slightly puzzled by his gestures came two elderly women of the lower middle class, one stout and ponderous, the other rosy cheeked and nimble. Like most people of their station they were frankly fascinated by any signs of eccentricity betokening a disordered brain, especially in the well-to-do; but they were too far off to be certain whether the gestures were merely eccentric or genuinely mad. After they had scrutinised the old man’s back in silence for a moment and given each other a queer, sly look, they went on energetically piecing together their very complicated dialogue:
“Nell, Bert, Lot, Cess, Phil, Pa, he says, I says, she says, I says, I says, I says”
“My Bert, Sis, Bill, Grandad, the old man, sugar,
Sugar, flour, kippers, greens, Sugar, sugar, sugar.” The ponderous woman looked through the pattern of falling words at the flowers standing cool, firm, and upright in the earth, with a curious expression. She saw them as a sleeper waking from a heavy sleep sees a brass candlestick reflecting the light in an unfamiliar way, and closes his eyes and opens them, and seeing the brass candlestick again, finally starts broad awake and stares at the candlestick with all his powers. So the heavy woman came to a standstill opposite the oval-shaped flower bed, and ceased even to pretend to listen to what the other woman was saying. She stood there letting the words fall over her, swaying the top part of her body slowly backwards and forwards, looking at the flowers. Then she suggested that they should find a seat and have their tea. The snail had now considered every possible method of reaching his goal without going round the dead leaf or climbing over it. Let alone the effort needed for climbing a leaf, he was doubtful whether the thin texture which vibrated with such an alarming crackle when touched even by the tip of his horns would bear his weight; and this determined him finally to creep beneath it, for there was a point where the leaf curved high enough from the ground to admit him. He had just inserted his head in the opening and was taking stock of the high brown roof and was getting used to the cool brown light when two other people came past outside on the turf. This time they were both young, a young man and a young woman. They were both in the prime of youth, or even in that season which precedes the prime of youth, the season before the smooth pink folds of the flower have burst their gummy case, when the wings of the butterfly, though fully grown, are motionless in the sun.
“Lucky it isn’t Friday,” he observed.
“Why? D’you believe in luck?”
“They make you pay sixpence on Friday.”
“What’s sixpence anyway? Isn’t it worth sixpence?”
“What’s ‘it’what do you mean by ‘it’?”
“O, anythingI mean you know what I mean.”
Long pauses came between each of these remarks; they were uttered in toneless and monotonous voices. The couple stood still on the edge of the flower bed, and together pressed the end of her parasol deep down into the soft earth. The action and the fact that his hand rested on the top of hers expressed their feelings in a strange way, as these short insignificant words also expressed something, words with short wings for their heavy body of meaning, inadequate to carry them far and thus alighting awkwardly upon the very common objects that surrounded them, and were to their inexperienced touch so massive; but who knows (so they thought as they pressed the parasol into the earth) what precipices aren’t concealed in them, or what slopes of ice don’t shine in the sun on the other side? Who knows? Who has ever seen this before? Even when she wondered what sort of tea they gave you at Kew, he felt that something loomed up behind her words, and stood vast and solid behind them; and the mist very slowly rose and uncovered. O, Heavens, what were those shapes? Little white tables, and waitresses who looked first at her and then at him; and there was a bill that he would pay with a real two shilling piece, and it was real, all real, he assured himself, fingering the coin in his pocket, real to everyone except to him and to her; even to him it began to seem real; and then but it was too exciting to stand and think any longer, and he pulled the parasol out of the earth with a jerk and was impatient to find the place where one had tea with other people, like other people.
“Come along, Trissie; it’s time we had our tea.”
“Wherever does one have one’s tea?” she asked with the oddest thrill of excitement in her voice, looking vaguely round and letting herself be drawn on down the grass path, trailing her parasol, turning her head this way and that way, forgetting her tea, wishing to go down there and then down there, remembering orchids and cranes among wild flowers, a Chinese pagoda and a crimson crested bird; but he bore her on.
Thus one couple after another with much the same irregular and aimless movement passed the flower-bed and were enveloped in layer after layer of green blue vapour, in which at first their bodies had substance and a dash of colour, but later both substance and colour dissolved in the green-blue atmosphere. How hot it was! So hot that even the thrush chose to hop, like a mechanical bird, in the shadow of the flowers, with long pauses between one movement and the next; instead of rambling vaguely the white butterflies danced one above another, making with their white shifting flakes the outline of a shattered marble column above the tallest flowers; the glass roofs of the palm house shone as if a whole market full of shiny green umbrellas had opened in the sun; and in the drone of the aeroplane the voice of the summer sky murmured its fierce soul. Yellow and black, pink and snow white, shapes of all these colours, men, women, and children were spotted for a second upon the horizon, and then, seeing the breadth of yellow that lay upon the grass, they wavered and sought shade beneath the trees, dissolving like drops of water in the yellow and green atmosphere, staining it faintly with red and blue. It seemed as if all gross and heavy bodies had sunk down in the heat motionless and lay huddled upon the ground, but their voices went wavering from them as if they were flames lolling from the thick waxen bodies of candles. Voices. Yes, voices. Wordless voices, breaking the silence suddenly with such depth of contentment, such passion of desire, or, in the voices of children, such freshness of surprise; breaking the silence? But there was no silence; all the time the motor omnibuses were turning their wheels and changing their gear; like a vast nest of Chinese boxes all of wrought steel turning ceaselessly one within another the city murmured; on the top of which the voices cried aloud and the petals of myriads of flowers flashed their colours into the air.
How Sound, Cinematography and Mise en Scene have produced Masculinity in the film Brokeback Mountain
Film Studies
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How Sound, Cinematography and Mise en Scene have produced Masculinity in the film ‘Brokeback Mountain’
The 2005 film by Ang Lee, known as ‘Brokeback Mountain’ is one that is keen on matters that concern sexuality. Mostly, it focuses on the sexuality of the homosexual males who attempt to explore their masculinity. The film has introduced a new form of genre, which focuses on the relationship that exists between the two protagonists. The cinematography used mostly in the film is referred to as lush paranomaric vistas (Bronski, 2008). The mentioned aesthetics is used as part of the modern cinematography methods. It should be known that the mountain mentioned in the film symbolizes the protagonists’ masculinity. The word mountain is, in fact, a metaphor, which symbolizes the relationship that the two leading men have. This shows that landscape can be used as a method of expressing masculinity as has been used in the film. The two protagonists explore their sexuality as the mountain environment provides them with an opportunity. Furthermore, the mountain area is described as being primal in nature (Bronski, 2008).
It is quite evident that the film ‘Brokeback Mountain’ created a lot of controversy because it focused on homosexuality. In fact, many people seem to believe that this film is one of the few to attempt to reach perfection. The cinematography displayed in the film is flawless as witnessed in various scenes. For example, perfect cinematography is witnessed when the sheep were seen on a green slope running up and about, and long shots were being taken at the same time. Also, intelligent mise en scene can be witnessed when the sexuality portrayed by Anne Hathaway dies slowly (Gilbey, 2006). Thereafter, one can view her sexuality from her exceptionally long nails as well as her blond coif. The film had a spare script, which in this case, was another vital aspect of its mise en scene. The film’s cast acted their roles well and the most outstanding character being Heath Ledger. He is portrayed as a man who utters words that he cannot be able to control in turn; most times he is tampered down (Williams, 2008).
In other movies that have been directed by Lee, focus had been on women who were oppressed in the societies they lived in. In this film, he chose to focus upon homosexual men, who are victimized in society. The latter are often denied an opportunity to express their masculinity, but Lee made a perfect attempt in demonstrating this. The cinematography made sure that when a non -gay person watches the film, they will not be prejudice against those who are gay. Most people who have watched the film claim that it is a tearjerker, because one feels compassion for the protagonists (Gilbey, 2006). The extremely purposeful and powerful mise en scene shows how Ennis and Jack demonstrate their masculinity, when they engage in acts of seduction. Each of the various scenes, where foreplay and seduction take place is in an almost slow motion. This ensures that the person watching the film becomes fascinated by the mysterious love story.
It is clearly evident from the film that males can also express their masculinity and sexuality, just as women do. In the first scene, a long shot is taken to show how the two protagonists meet each other. In this scene, bogy language is expressed well and one notices that Jack is the one who seduces Ennis. He does this by holding himself suggestively as he waits for a response from Ennis. In the coming scenes, close up shots have been used to show how Ennis reacts after being seduced. It is evident that Ennis is trying to hide his true character by not responding to the advancements made by Jack (Williams, 2008). The shot that comes after shows how Jake views Ennis from his mirror, which suggests that he is still trying to seduce him. In the last shot, Jake is seen trying to shave, while at the same, time talking to Wood and Ennis. Jake seems to appreciate male masculinity as shown by the film’s cinematography. For example, when Ennis strips to bathe, Jake tries extremely hard not to look at him, and this shown from the shots taken in the scene. While the two are warming up at the fire, the sound heard at the background is quite romantic. Moreover, the atmosphere created by the fire seems to increase the attraction they have towards each other.
The use of sound to show how it affects masculinity in the film was well put together. It all starts when Ennis and Jake get drunk and they fall asleep in different places. Jake sleeps comfortably in his tent, while Ennis is left to sleep out in the cold. Thereafter, Jake invites Ennis to his tent, and this is where the action starts to unfold. The scenes that take place in the tent make one to clearly use their sense of hearing. The two wrestle in what can be described as a way of making love, as Ennis makes an attempt to avoid Jakes advances. This scene continues for a quite a long time, until Ennis finally gives in to Jakes advances (Bronski, 2008). Sound is extremely vital in this love making scenes as it helps one to understand what is taking place, as the men are panting and grunting heavily. Also, the visual focus is quite commendable as one can see the sexual positions, which the two men are in. For example, Jake is the one facing down while, on the other hand, Ennis is standing. The camera focuses on the positions of the men, rather their facial expressions, while having what seems to be sex (Williams, 2008). At the same time, the movement of the camera is either going downwards or upwards, without focusing much on the men’s faces. The scene ends abruptly after hearing a loud grunting sound coming from inside the tent.
The film’s ending is one that is quite memorable as well as beautiful, due to the long shots. Firstly, during the night, there is a truck on the road, which has both symbolic and literal meanings. The latter represents the goings and comings of Ennis, who has had a rough time finding about his masculinity and sexuality issues. Furthermore, Lee has used tight close ups, which have not assisted in making his real intentions about the film known. It seems that Lee is trying to foist the various characters in order for one to identify with them. Other memorable moments where the shots portrayed the men’s masculinity are many. They include; the time a dog ate one of the sheep that was being herded, as well as the image of the boys herding sheep.
Lee has ensured that the issue of gay closets is addressed in the film ‘Brokeback Mountain’. There are many people who are afraid to explore their sexuality because they fear that they will be condemned by society. The Mise en Scene has helped explain why gay closets are reluctant to be known. Therefore, the film has played a vital role in making sure males explore their masculinity, despite them being rejected by society. In fact, most people claim that when one is gay they lose their masculinity, but this claim has been refuted by Lee (Williams, 2008). It is possible to be gay and still retains one’s masculinity. Most of the activities undertaken by Ennis and Jake are those considered to be done by ‘macho’ men. In this case, Lee seeks to ensure that people know that gay people are normal just like everyone else. Other scenes show that Ennis is a devoted father figure to his young son, and his sexual preference does not affect the relationship that the son and father have (Bronski, 2008).
In conclusion, ‘Brokeback Mountain’ deserves recognition for the message its send to its viewers, as well as the excellent use of cinematic styles of production. It is evident that Lee wanted the issue of masculinity, especially among homosexuals, to be known. Also, his use of Sound, Cinematography and Mise en Scene has been acclaimed globally. The performance of the actors was also exceptional, and it contributed towards the success of the film. More films should be filmed in the same manner as Lee did, also to address issues facing society.
References
Bronski, M. (2008). ‘From the Celluloid Closet to Brokeback Mountain: The Changing Nature of Queer Film Criticism’, Cineaste, 33, 2, 22-26.
Gilbey, R. (2006). ‘Brokeback Mountain’, Sight and Sound, 16, 1, 50-51.
Williams, Linda. (2008). Screening Sex. New York: Duke University Press.
How Risk Affects Corporate Financial Strategy
How Risk Affects Corporate Financial Strategy
Financial strategy is a practice that a corporate or a business implements to pursue its objectives. The corporate delegates the top leadership with the task of formulating a financial strategy. An adequate financial plan helps in the smooth running of the business and the achievement of both short-term and long-term goals. In order to experience success, it is important for businesses to manage different types of risks (Shechtman, 2004). The notable risks that affect the financial strategy adopted by an organization include credit, reinvestment, political, and default risk.
A corporate may opt to borrow extra credit from banks or other financial bodies. The credit borrowed has to be repaid after an agreed period. An corporate faces serious consequences it fails pays its obligated debts. To reduce the businesses credit risk, it is advisable that the business checks the prospective lenders, or seeks credit guarantees besides any other strategies.Interest rates of financial institutions and firms that own important interest bearing assets vary from time to time. The business should also analyze the risks because higher risks will mean higher interest rates (Reuvid, 2005). These firms often focus on the strategies of reducing the amount of interest rate risks to increase the number of firms and individuals taking loans. Before any business firm takes a loan, it is relevant for it to analyze the interest rates and ensure that it is favorable for the business.Proper financial strategies are a major asset for a business in order to borrow loans at low interest rates. Businesses incur political risks in two major ways. First, if a business is running in a foreign country, political instability may occur. In this case, the government may chase away international investors and take away the business assets. The second risk is political regulation environment such that the government may hinder the existence of other businesses. A valid example is the sale of pork in Muslim dominated countries.Although there may be a few potential buyers, the government does not allow the sale of such a commodity. Default risk is a situation where a company is unable to make the required payments on the debts obligated. When businesses face to default risks corporate strategies get compromised in all forms of credit extensions. To reduce the impact of default risk, businesses should ensure that the lenders often charge return rates that directly correspond to the debtors’ level of default risk. Reinvestment risk is the chance that a business or a corporate has to be able to reinvest cash flow from an investment at a rate that is equal to the investments current rate of return (Reuvid, 2005). Reinvestment risk occurs when the ability of businesses to reinvest coupons payments falls since the probability of losing the coupons in the first place is high. A business should put in place financial strategies that enable it to invest in bond investing since investing in bonds does not entail the generation of cash flow (Shechtman, 2004). A business that invests where there is a lot of cash flow exposes itself to risks. Reduction of reinvestment risks occurs by investing in non-callable securities that keep the issuing companies from calling away extremely high coupons investment when the market rates are not favorable and fails.
Reference
Reuvid, J. (2005). Managing business risk a practical guide to protecting your business (2nd ed.). London: Kogan Page.
Shechtman, M. R. (2004). Working without a net: how to survive & thrive in today’s high risk business world. Englewood Cliffs, N.J.: Prentice Hall.