Justification for Eddie as a Loveable Character in A View From The Brid

When Alfieri makes his final speech, he says that he 'will love him' (Eddie) more than his 'sensible clients', referring to the usual longshoremen and their relations mentioned at the beginning of the play. However, it is unlikely that Alfieri means 'love' as in 'loveable', due to the fact that Alfieri says before that this love is because of the fact that Eddie 'allowed himself to be fully known'. This could be referring to the fact that everyone around Eddie can see his love for Catherine e.g. at the end, Beatrice tells Eddie that he 'wants something else' other than Marco's apology (i.e. Catherine), and Alfieri mentions that ?she can?t marry you, can she Eddie is also described by Alfieri as ?not purely good?, emphasizing the fact that Alfieri does not see Eddie as loveable. The ?love? referred to could be that Alfieri respects Eddie for allowing the people around him to know his feelings. However, Eddie can?t see the true nature of his own love for his niece, and he cannot admit that his relationship with her goes far beyond father/daughter love. Eddie may not be loveable in the normal sense of the word, but at the beginning of the play, we can still see him as a likeable man ? an ?average?, flawed person. He cares for Catherine as a daughter, and tells her near the end that he ?only wanted the best? for her (Only Eddie is ?the best?, and nothing else will do?). However, he also acts like a young lover near the beginning of the play when we see Eddie and Catherine together for the first time, the stage directions say that Eddie is ?pleased, and therefore shy about it? when Catherine greets him. He is also overprotective of her, a combined result of the ?wrong kind of love? and the fatherly love he has for her, just before M... ...nitched to the immigration? they spit on him in the street? The whole neighbourhood was cryin?.? However, after Eddie has finally broken the code in a desperate attempt to get Rodolpho out of the house, we lose sympathy for him, in the same way that Red Hook?s Italian community loses respect for him after his betrayal of his cousins becomes clear to them. However, Eddie is still a pitiable character. Despite his failure to understand his own love for his niece, he is a normal working man who doesn?t really see why it is wrong to love her so much, and deludes himself, trying to convince himself that what he is doing is right. He may not be the typical ?hero? type of many other writers? playscripts ? unlike a hero, he is not perfect, and has many faults, being unable to see or correct them ? but we can still identify with him and his feelings as a normal working man.

Software Testing and Voluminous Social Websites

Social sharing has become the pinnacle of daily life for millions of people from California to Calcutta with voluminous social websites popping up like candy. None, however, have made the quickest impact on the social regime than Pinterest, the social sharing platform that takes imagery sharing to the next level. Allowing users to share their favorite things through image ‘pinning’ to a customizable user pin board, Pinterest avoids the idle chatter of Twitter and Facebook and allows users to simply talk in pictures, make comments on each other’s pictures, and now even share your pins through your Facebook timeline.You can call this image bookmarking, photo sharing, or even something similarly conceived back in 2005 (Wists); webmasters are calling it ‘optimization heaven’. From the Hawkeye backyard of West Des Moines, Iowa, Ben Silbermann developed this image sharing ideology in December of ’09 as a closed beta test, picking up where the Wists c oncept, developed by David Galbraith, left off. In the short beta testing phase, many of the kinks and user interactions were ironed out, allowing Pinterest to open their doors on an invitation-through-email basis only in March of 2010. Today, this image sharing siesta now outranks some pretty popular competitio

The Colonial Implications in Jane Eyre and Great Expectations

It should not be possible to read nineteenth-century British literature, without remembering that imperialism, understood as Englands social mission, was a crucial part of the cultural representation of England to the English. (Spivak, 1985, p, 12) Can these claims of Spivak be applied to Charles Dickens Great Expectations and Charlotte Brontes Jane Eyre and to what extent do these novelists draw from the colonial discourse in their representation of the `non- Western world? The Victorian novel has performed an important service in Eurocentric epistemologies and colonial ideologies in formulating the colonial discourse and establishing the alterity of `self and the `Other. Both Great Expectations and Jane Eyre, like most†¦show more content†¦Her racial impurity, to which her madness is attributed, is significantly placed alongside her possession of colonial wealth and fortunes, which enabled her to marry a white Englishman. In Jane Eyre, this meeting of people and diverse cultures (as represented by the marital union of Rochester and Bertha) is negotiated and guided by colonial and commercial interests, and does not result in an amalgamation of races and cultures. Instead, these racial and cultural differences are used to extend and strengthen colonial edifices and to denote the alterity of self and the Other. Thus, in Jane Eyre, the savage Other of the colonial discourse is represented by a Creole, a figure that has been brought into being by t he hierarchizing and dominating processes of commercial colonization. Jane Eyre also reflects how the formation of the Western female subject is made possible by the existence of the native object\ other. The portrayal of the character of Bertha Mason is premised upon this notion of `Othering. Bronte tends to rely on the Manichean allegory of the colonial discourse in representing the character of Bertha Mason. Furthermore, her character, which is determined by the identity politics of the West, corresponds to the stereotypical representations of native women as `demonized other which abound in the literature of the Colonial period. Rochester, in his narrative, refers to Bertha as a hideous