Naipaul Does Not Deserve his Nobel Prize Essay - 899 Words

What makes an individual worthy of a Nobel Prize in a category as broad as literature? Is it an immense knowledge of writing procedures that other authors have not begun to attempt to use? Or is an appropriate representation of the authors subject that is solely objective, and lacks all personal opinions? If that was the case, several Prizes should be taken away from some authors and handed to other more deserving writers. V. S. Naipaul, who received a Nobel Prize in Literature for Miguel Street, falls into the former category. Naipaul may have filled the technical requirements for a Nobel Prize for his mastery of several difficult techniques, yet his writing neglects to explain the merits of Trinidad while highlighting the negatives†¦show more content†¦What did Nobel actually mean by ideal? In fact, the history of the Literature Prize appears as a series of attempts to interpret an imprecisely worded will. A comparison with Porgy and Bess has been suggested. (C. Pierre) The parallel has at least the merit of reminding us that the whole world is one. In that hospitable mood we might also remember Mark Twains tales of life on the Mississippi. But Miguel Street, in Trinidad, is not really very much like Catfish Row, nor are reminders of nineteenth-century Missouri prevalent. What is true and, if you will, significant about Mr. Naipauls book is that it presents a world of its own excellently. Vivid characters with tenuous means of support populate the place. They sing the latest Calypso songs and interest themselves in cricket matches and collect junk and talk about migrating across the narrow sea to Venezuela. If their attitude toward morals is informal it is shown openly, not covertly. Their standards of courage are high. They speculate endlessly on the tremendous trifles and mysteries that have troubled mans thinking throughout his tenure on our strange planet. A room with a view of a m ango tree may contain a boisterously quarrelsome family or a recluse devoted to carpentry or scholarship. The popular beverage is rum, though the gay blades who enjoy it most turn to the ostentatious patronage of a milk bar during an interval when joy through strength becomes fashionable. It had so manyShow MoreRelatedIndian English Novel17483 Words   |  70 Pagesrather contemporary touch with the coming of Mulk Raj Anand, Raja Rao and R.K.Narayan. The social disparity of India which was aptly described by Mulk Raj Anand in his Coolie, the imaginary village life with its entire unedited realities in R.K. Narayan`s Malgudi Days and last but not the least the aura of Gandhism depicted by Raja Rao in his remarkable novel Kanthapura portrayed a whole new India. The need of the `foreigners` depicting India amidst their write ups was not needed as Indians wanted

The Boy at the Window Free Essays

The Boy at the Window is a poignant poem written by Richard Wilber. According to a statement made by Wilber, it was inspired by his five year old son being concerned about the possible danger his newly completed snowman was in due to a pending storm. Poetry is often recognized for its ability to evoke strong feelings in the reader and the beautifully innocent nature of Boy at the Window exemplifies this magnificently with skillful use of personification and beautiful use of metaphors. We will write a custom essay sample on The Boy at the Window or any similar topic only for you Order Now The story starts with painting a bleak and very serious over tone, seemingly from the overly dramatic perspective of a young boy as told by an omniscient outside perspective. The dire aspect of the snowman’s situation being a wholly terrifying experience to him, as seen in lines three and four of the first stanza, â€Å"The small boy weeps to hear the wind prepare/ A night of gnashings and enormous moan. † It is apparent that, to this boy, this is a huge menacing storm blowing in and threatening his snowman. It is further defined in the use of personification to describe the prediction of the storms violence, gnashing and moaning, both human qualities with tendencies of use in both pain and anger. Gnashing specifically paints an intense image of something being grinded between two forces until destroyed is extremely impacting. The line following in the poem is a description of the snowman’s facial aspects as seen by this young man, showing a desperation and betrayal as compared to the biblical story of a God- forsaken Adam looking into Eden for the last time. It adds a touching depth to the fear that this young man is in grips of and it is representative of the emotional transfer to the snowman in a young boys mind. The second stanza is written from the snowman’s perspective, which as a statement in its self shows personification. I find that the fact that the snowman experiences feelings in a very heartfelt way, showing a warmth of humanity and empathy. These traits come into a clear light in the 13 and 14th lines of the poem: He melts enough to drop from one soft eye/a trickle of the purest rain, a tear. This shows the depth of humanity portrayed in the snow man and the tasteful use of it within the story. The writing in the poem is elegant and beautiful, using a rhyme scheme and the occasional assonance to keep the flow while not maintaining a strict adherence to a set pattern, throughout the poem there are moments of striking imagery and powerful emotionally gripping perspectives which adds to the innocence of the child’s perspective and the humanity shown in the snowman; it is, in short, great writing. Great poetry is able to evoke strong feelings in the reader, making them think beyond the words on a page and take the images painted with the writers craft into their imagination and heart. The book says, â€Å"it is more accurate to say that poetry is an evocative response to ordinary life experience (Clungston, 2010)†. I think watching empathy grow in a child’s eyes and the personification of a snowman combine to paints a beautiful picture of the innocence of youth and the amazing experiences of watching someone slowly mature and grow before your very eyes. Reference Clugston, R. W. (2010). Journey into literature. San Diego, California: Bridgepoint Education,Inc retrieved XX/XX/XXfrom https://content. ashford. edu/books/AUENG125. 10. 2/sections/sec9. 2 Wilbur, Richard (1952), Boy at the Window, Things of this World, Houghton Mifflin Harcourt Publishing Company How to cite The Boy at the Window, Papers

Leni Riefenstahl free essay sample

Fatefully, it was this injury that introduced her to mountain films as she came across an advertising poster for Berg des Schicksals (Mountain of Destiny) a mountain film directed by Dr Arnold Fanck on her way to the doctor. Riefenstahl was very intrigued by the film and was so impressed that she returned each night for a week to see Fanck’s Mountain of Destiny. She was â€Å"spell bound† by the â€Å"vivid, lifelike images of majestic mountains† and as she watched, her own â€Å"mountain film destiny† was revealed. The themes of the struggle to survive and natural beauty featured in such mountain films would later appear as a major influence in Riefenstahl’s own work as a director both from the technical and artistic point of view. Only 18 months after the day she became aware of mountain films and her new career, Riefenstahl appeared in her first film directed by Dr Arnold Fanck. Fanck was to become more than her lover and director, he was to become her mentor and one of the main influences on her directorial career which was to be the pinnacle of her success. Working on Fanck’s films as an actress allowed her to learn various aspects of filmmaking such as the roles of the director, cinematographer and technician. Furthermore, Fanck enjoyed experimenting with certain methods using the camera and editing techniques in new and innovative ways. From Riefenstahl’s film career we know that she too was fond of experimenting and may have been inspired by Fanck. As he encouraged her when mentoring â€Å"to avoid the accepted, routine ways of seeing and to find new points of view†. She later experimented with filters, telephoto lenses, tracking as well as underwater filming and slow motion in her coming films highlighting the influence of Fanck who encouraged her experimentation. When editing his films such as Der beilige Berg, Fanck allowed Riefenstahl to assist in the very important process of montage, a technique Fanck used avidly in his films and something Riefenstahl would later also use frequently. As she studied the technique through its inventor Sergei Eisenstein who used montage, lighting and editing in his film, Battleship Potemkin (1925) making him also an important influence. Riefenstahl describes how involved she was in learning about filmmaking with Fanck, stating, â€Å"Day and night, at every free moment, I’m in the printing lab learning to develop and copy. I’m learning editing and how to assemble the many, many short scenes. † If there was any doubt about Fanck’s influence on Riefenstahl as she rose to prominence one does not need to look any further than the first of Fanck’s films Riefenstahl saw, as much of the imagery in Mountain of Destiny is reflected in all of the films throughout Riefenstahl’s career as a director. The wealth of knowledge gained from Fanck was then translated into Riefenstahl’s first film as director, producer, star and writer, Das Blaue Licht (The Blue Light). Her first directorial debut was to be a decisive influence on her career path. While she had, according to Rainer Rother, â€Å"become an interesting phenomenon under [Fanck’s] direction† she was nothing more â€Å"compared with the true stars of silent film†. This all changed when she became the director of The Blue Light in 1932. The film at its completion met international adulation and while reviews were mixed none could fault Riefenstahl on technical mastery. One such review commented that the â€Å"film effects [were] approaching fine paintings† as her work reflected German expressionistic art in her use of shadows reminiscent of other films during her period such as Dr Caligari. As the film opened in Germany and around the world it became obvious that Riefenstahl had achieved overall success, beyond all expectations. In America, specifically New York it was called â€Å"flawless† and â€Å"a highly fascinating fantasy†. The Blue Light was even awarded a silver medal at the first Venice Biennale that year. Riefenstahl still saw herself primarily as an actress, but after her new found success, expected to continue filmmaking as a career. If The Blue Light had not influenced her career path she would not have reached her prominence with her films such as Triumph of the Will and Olympia to come. Riefenstahl did not only gain wider international fame, she also gained the admiration and support of Adolf Hitler. According to Audrey Salkeld, â€Å"Hitler was already an admirer of hers, having been won over by her first dance of fluttering veils in her first movie. From then on, he had followed her career with interest, The Blue Light in particular catching his imagination. † Indeed the success of The Blue Light was one of the determining influences on Riefenstahl’s rise to prominence as she states, â€Å"This film was pivotal in my life, not so much because it was my first successful effort as a producer and director, but because Hitler was so fascinated by this film that he insisted I make a documentary about the Party rally in Nuremberg. The result was Triumph of the Will. † To further reiterate the importance and influence of The Blue Light on Riefenstahl an image of her as Junta took pride of place on her bedroom wall until she died in 2003. Being an avid admirer of Riefenstahl, when Hitler received a letter from her asking to meet, he accepted without hesitation. During this meeting Hitler allegedly stated â€Å"you must make my films†. This later materialised into Riefenstahl directing Victory of the Faith (1934) and then Triumph of the Will (1935), which won many awards and critical acclaim all over the world, later being called â€Å"a masterpiece of romanticized propaganda†. From Triumph of the Will’s success Riefenstahl went on to film Olympia which was another all round success. It is important to note that Hitler’s rise to prominence parallels Riefenstahl as he did influence her acceptance of filming Triumph of the Will as she initially refused, Triumph of the will ultimately becoming her most prominent film. Despite criticisms after the war, Riefenstahl is still classified â€Å"as the greatest female filmmaker of the 20th century† in accordance with the success of her films primarily Triumph of the Will. Riefenstahl’s cinematic talents may not have been realised if The Blue Light had not initially been a success leading onto the pinnacle of her prominence, Triumph of the Will and Olympia. ) â€Å"The significance of a personality depends on the impact he/she had on the period in which he/she lived How accurate is this statement in relation to the personality you have studied? Leni Riefenstahl is primarily significant due to directing the most â€Å"imposing propaganda films in support of the National Socialist (Nazi) Party†. D uring the period when she was most successful as a director, Riefenstahl would argue she had little impact on the mindset of her fellow German’s, stating that already 90% were in favour of Hitler before the release of her films deemed propaganda. It is only after World War II that people saw her role as significant in perpetuating Nazi ideals. A news item in the press when she travelled to American stated â€Å"There is no place in Hollywood for Leni Riefenstahl† in reference to her Nazi association. Leni Riefenstahl led a long and illustrious career under the Nazi regime, despite its sexist nature, establishing international acclaim and pioneering technical advances in lighting, creative editing and camera movement. This however is only a small section of what contributed to her significance, as her achievements as a director were overshadowed by her relationship with the Third Reich. Until her death Leni Riefenstahl defended her naivety to the Third Reich’s activities, however she could never escape the controversy even in death. The controversy surrounding her â€Å"is what people will remember about her† according to Irene Runge. However Jurgen Trimborn refutes this saying that She may have been an unscrupulous careerist, but she was also a brilliant artist. History will forgive her,† and her talent will be remembered. Both opposing views agree that the significance of a person is not only based on the impact they had on the period in which they lived, as it is also their lasting impact, their legacy that gives them their significance. In 1932 Leni Riefenstahl heard rising political figure, Adolf Hitler speak at a Nazi Party rally at Sportsplatz. Immediately she was taken in by his charisma describing the overwhelming event as â€Å"an almost apocalyptic vision [that she] was never able to forget†. Acting out of â€Å"inner-compulsion† Riefenstahl decided to write to Hitler asking to meet and in May 1932, they did. This single act would lead to her greatest success and her ultimate demise. As Hitler was an eager follower of Riefenstahl’s, he insisted that when his party came to power she would produce films for him. True to his word, Adolf Hitler provided Riefenstahl with an unlimited budget to film the annual Nazi Party rally at Nuremberg in 1934. This produced what is deemed â€Å"the greatest propaganda film ever made†; Triumph of the Will. Art as a popular consciousness must be â€Å"usurped for the transmission of whatever ideology is being promoted. Art in other words, is perceived as a form of power especially through film. † The power Riefenstahl had in Germany during the Nazi regime was increased due to Hitler’s totalitarian government; therefore her impact was intensely scrutinized when the nature of Hitler’s government was revealed. Triumph of the Will was to have a major impact on perpetuating the ‘Fuhrer Myth’ that Hitler’s totalitarian regime realised was important in maintain power under any circumstances. As is supported by Jessica Evans who states that Triumph of the Will was â€Å"an inestimable propaganda tool in building the myth of Hitler-as-savior†. From the opening scenes of Triumph of the Will Hitler is portrayed as an almighty being descending from the clouds and mist to earth, the saviour of his people in their time of need. Through Riefenstahl’s clever use of extended aerial shots of the old city of Nuremberg and the small storm troopers below the audience is reminded of the past historical heritage of the area and the fact that the glory of the past will repeat itself in Hitler who descends from the clouds. During the film Hitler is always elevated, however Riefenstahl uses telephoto lenses for close-up shots of Hitler and then to a soldier or worker in the crowed to symbolise the peoples intimate connection with their Fuhrer. It is the portrayal of Hitler in her film that has caused the most publicity despite the fact the film was recognized as a masterful, epic and innovative work of filmmaking, winning many awards such as the gold medal in Venice in 1935 and at the World Exhibition in Paris in 1937, surpassing all of her previous films; Victory of Faith and The Blue Light. However that which â€Å"sealed her reputation as the greatest female filmmaker of the 20th century,† also destroyed her career at the end of World War II as she was condemned as a Nazi support and the Triumph of the Will was fated to fall from its status as art to mere Nazi propaganda. She was heralded before the advent of the War, but after she was condemned. Famous Hollywood director, Frank Capra states that while Triumph of the Will â€Å"fired no gun, dropped no bombs. †It was used as a psychological weapon, capable of destroying â€Å"the will to resist, it was just as fatal. The storm surrounding Riefenstahl’s controversial relationship with the Nazi party is considered by Robert Sklar, an American historian as â€Å"the most significant controversy in the hundred year history of cinema: the question of a filmmakers responsibility for the crimes committed in the name of political ideologies their work has glorified. † Highlighting her controversial significance today as we grapple with our development in the way we look at the past. Leni Riefenstahl’s significance is emphasised in the film Triumph of the Will. Disregarding the controversy that followed it after World War II and the fact it was commissioned by Hitler, would it have been enough to give Riefenstahl the status of a significant figure? It would most likely not have. The controversy however, forced everyone to re-evaluate the film as propaganda and to look more closely at Riefenstahl’s ulterior motives having had a relationship with a man deemed in history as ‘evil’. This is what propelled Riefenstahl into the realm of a significant figure in history. The infamous reputation she gained from moving among the Nazi hierarchy has remained a heated topic of debate till this day and despites her unrelenting refusal of her impact; it has still contributed to her significance. The allied forces certainly thought she had a drastic impact on her period through the Nazi Party; otherwise they would not have imprisoned her and put her on trial. Even after she was acquitted she still carried the stigma of her association as a Nazi sympathiser, fame born through infamy. After World War II Leni Riefenstahl never produced another film, however she maintained an artistic outlet in the photography of the Nuba and aquatic life. Despite her best attempts to put the past behind her, her work after World War II has even been criticised as representing fascist ideals such as the beauty of human physicality and survival of the fittest. This controversy combined with her career as a successful filmmaker has given Leni Riefenstahl her significance. Riefenstahl reveals that â€Å"I have lived many lives† that have combined great fame and great disgrace, the combination of these lives has ensured her enduring significance. While Triumph of the Will perpetuated her significance due to its controversy and Riefenstahl’s applied technical genius, her pioneering in filmmaking during a time where Kinder, Kirche und Kuche (Children, Church and Cooking) was all that was expected of women is also a reason why she is significant. Women in Germany during the Nazi regime were forced to stay home, many women in prominent positions as doctors, civil servants, lawyers and teachers were sacked. By 1939 there were only a few left in professional jobs. In a society dominated by sexism Riefenstahl was able to maintain and even improve her position in society adding to her significance. The Nazi party also frowned upon women wearing make- up and trousers as well as not tying up hair into a bun or plaits. All of which Riefenstahl did not abide by, being photographed numerously even with Hitler without adhering to these regulations. Riefenstahl thrived in the sexist environment while the majority of women did not, creating technical masterpieces under the fascist government. As a woman in a predominantly male position, not to mention being in a sexist society she is seen as an inspiration in that aspect by modern day women due to the fact that â€Å"In 2011, women comprised [only] 18% of all directors, executive producers, producers, writers, cinematographers, and editors working on the top 250 domestic grossing films†. The impact she had on her period must have been significant as her position could not be ignored, even Goebbels’s was feeling threatened as â€Å"he had difficulty accepting that a woman could excel in this field†. Furthermore women of that period who were once in powerful positions themselves must have seen her as an idol. Olympia (1938) and Triumph of the Will (1935) as well as The Blue Light (1932) highlighted her technical ability despite being in a male oriented profession and in a fascist state that saw women as nothing more than child bearers. The Blue Light was Riefenstahl’s directorial debut and highlights many of her pioneering ambitions through her use of different camera angles, lighting and creative editing. To set the scene for her mystical fairytale she experimented with techniques involving various colour filters and a special type of film for the camera. This allowed her to film scene set at night during the day using different shades of grey and black. To achieve the mood and images she wanted, she simply adjusted the filters. Before her pioneering of this technique, night scenes could only be filmed under bright lights which ruined any other effects the director was hoping to achieve. From her first film she made a significant impact on the international cinematic world winning awards such as a silver medal at the first Venice Biennale. One of the many adulating reviews stated that it was â€Å"beautiful in the extreme† and signalled the start of future triumphs. The mystical setting of the clouds and mist of the opening scenes of Triumph of the Will were achieved by using the same techniques as in The Blue Light with filters and lighting playing an important role. In the making of Triumph of the Will she approached the method of filming very differently to other films of that period that â€Å"were static productions, with the camera in one position simply recording the action. † She understood that it was important to move the cameras and the action. To achieve the movement of her cameras to achieve different angles a small lift was built on one of the swastika flag poles so the camera could give an expanding panorama of the rally unfolding below. Riefenstahl also constructed rail tracks in certain sections of the stadium as well as special filming stands and cranes to achievement moving camera shots. To take away the monotony of Hitler’s political speeches she dug around his speaking platform for a circular track allowing the camera to move around him as he spoke. These innovative techniques that she pioneered and her philosophy of movement contributed to her significance as a whole. The use of tracking was also used in her following film Olympia â€Å"regarded by many as one of the greatest documentary films ever made and a magnificent work of cinematography. † In filming Olympia Riefenstahl due to past success in experimenting used a multitude of new techniques and effects. Riefenstahl in order to capture the long jumpers and pole-vultures with the backdrop of the sky insisted on having a series of pits dug in the stadium. Telephoto lens that she had used in Triumph of the Will to capture intimate moments between Hitler and his people were also used in Olympia. This gave an intense close-up of the runner’s face to capture the emotion and deep focus awaiting the start of the race. A catapult was also created to allow the camera to move with the runners along the racetrack. The scene dedicated to diving is one of the most famous scenes purely for the inventive techniques and effects. The grace accompanying the sport of diving was capture by using cameras with three different speeds and the first underwater camera of its type was used to take the audience beneath the surface. Brief segments of the diving in reverse were also used to capture the artistic beauty. Olympia is also along with Triumph of the Will considered one of her most successful films winning a gold medal in Paris, the award for best film in the world in Venice, the Olympic award by the IOC and when the controversy had died slightly in 1956 was classed as one of the world’s best ten films. The winning of these awards surely highlights the impact she had on the cinematic world during her period of great success and afterwards. Riefenstahl has even now had a large impact on the cinematic world as techniques such as underwater filming, tracking and montage are still used today to filming sporting events such as the Olympics.