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Conrad includes this unnecessary detail in a sly attempt to mock the “nobility” of the cause, suggesting that the imperialists are no more savage than those who they are attempting to educate.

The fact that a simple dispute over hens could transform into a “merciless” beating not only suggests the irony of the “crusade,” but also is used to indicate the strength that Africa holds over each individual. This strength is reminiscent of the Doctor’s final statements, in which he suggests that no one is able to return from Africa sane.
In this case, Fresleven, a “gentle” and “quiet” fellow was transformed into a creature more savage than those he was supposed to be “educating,” and is simply a mode through which Conrad mocks the “noble” cause of imperialism through the character of Marlow.

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Conrad establishes the ideal of imperialism during this passage, in which the occupants of the boat recall the heroic figure of the Director of Companies. The Director symbolizes the industries that support the imperialist vision. He stands stoically at the ship’s bow, facing the promise of the sea. His admirable appearance suggests that the purpose of the companies is heroic, not simply selfish, for financial gain.

Moreover, the captain is described as “trustworthiness personified.” The slick appearance of the company, like it’s Director, betrays the reality that the ideals they stand for might be destructive. The narrator trusts in the appearance of the operation. Conrad here suggests that a majority of people buy into the possibly false concept – that the true purpose of imperialism is for teaching those being conquered the ways of “civilization.”

“Brooding gloom” seems to be one of Conrad’s favorite phrases. It turns up three times in Heart of Darkness as well as in Conrad’s later book, Lord Jim.

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Gatsby is under the flawed impression that by surrounding himself with material goods, whether they be purchased friends, cars, or an expensive house, he will someday become fully integrated into the upper class. The “interesting people” may refer to the party goers, who lift Gatsby up through their admiration of his wealth and generosity, or to the variety of servants that also inhabit the vast mansion.

ACCEPTED COMMENT: Worth noting the commodification of ‘people’. Gatsby is terrible at relationships because he largely sees them as another commodity/ trapping of wealth. A cheap way of securing prestige is to affiliate oneself to prestigious persons. That Gatsby thinks this is enough to validate himself suggests a naivety that borders on callousness.

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Fitzgerald uses the “shadows” as representations of the immorality and dehumanization of the upper class, in an attempt to connote the lack of empathy of the “superior class.”

The “indefinite procession” of shadows suggests that gaining wealth does not make one stand out, as was the common belief, but that it simply clumped those who were trying to attain the American Dream through wealth into a group of shadows. Fitzgerald suggests that these shadows, or the wealthy, are no different from anyone else, except for the superficial facade that they are able to create with their material wealth. This facade is seen through Fitzgerald’s description of the “rouged” and “powder” and the “invisible glass.” These three components create the facade that the American Dream has come to mean. Fitzgerald gives this new meaning, suggesting that the material wealth, as displayed through Gastby’s ostentatious parties, is simply a means for the wealthy to maintain their throne on the podium of society.

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The depressing description of the Breedlove’s family and physical appearance draws attention to the pervading theme of double consciousness, suggesting that one of the most inhibiting factors denying African American’s the American Dream is simply themselves. Double consciousness suggests that the Breedlove family are not only viewing themselves through their own eyes, but also through the eyes of society, represented here by “every billboard, every movie, every glance.” Ironically, as depicted through the Great Gatsby, the old wealth had prevented those arising to new wealth through these means (hollywood) as becoming truly part of the upper class.

Earlier in the novel, Morrison also suggests, through Claudia’s decimation of the dolls, that the dolls represented what was “pretty” and “attractive” during that time period.

Shirley Temple is an example of both, providing an example for the “ideal” American Beauty.

Because of their double consciousness, the Breedlove’s willing accept the notion that they are lesser, something that Morrison and Fitzgerald criticize throughout their novels. Morrison achieves this through satire, while Fitzgerald depicts the new wealth attempting to imitate the “old wealth”

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Morrison clearly references the omnipresent theme of nature vs nurture as a critique of the arrangement of the social hierarchy. Morrison utilizes several characters in her attempted satire, depicting the common assumption that one is superior, or in the case of Soaphead’s family, that “white” blood creates a more intelligent race.
This is seen through Maureen Peal, and Geraldine, as they are contrasted by the Breedlove Family. One way in which Morrison alludes to the belief of the lower class believe they are inferior is through Pecola’s visitation to Soaphead.

Throughout the novel Morrison is attempting to satire the common belief of nature vs nurture, while criticizing the belief that African Americans are somehow naturally inferior to Anglo-Saxons.

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Morrison describes Pecola’s bleak activities through sharp contrast, by describing various items that Pecola is searching through. The “tire rims” serve a dual purpose, symbolizing society, and the immobility that has arisen. The wheel suggests that one should be able to move through society based upon personal accomplishments, while the fact that only the rim is present suggests that this is not a possibility.

The Rim is also harsh imagery, depicting the harshness of the real world contrasting with the innocence of childhood represented through the sunflower and other flowers throughout the novel.

Morrison’s mingling of such polar symbols suggests that although the two spectrum’s are so opposite, the line dividing them is blurred, unclear, and drawn with flawed logic.

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Morrison consistently uses bird and fowl imagery throughout the novel to represent freedom, and the ability to attain the American Dream.

Earlier in the passage, Morrison describes Pecola as “beating the air, a winged but grounded bird, intent on the blue void it could not reach–could not even see–but which filled the valleys of the mind,” (204). In this passage, Morrison is suggesting that the ability to fly represents freedom, and social mobility, and provides stark imagery of Pecola struggling hopelessly to reach this goal. Morrison claims that Pecola has wings, alluding to the fact that all people should be able to reach the American Dream and freedom, yet African Americans are unable to do so.

By later referring to Pecola’s motion as “birdlike,” Morrison is suggesting that Pecola was so desperate to attain her beauty, the “blue void”, that she drove herself insane and now the “gestures” have worn away. Morrison’s use of the word gesture is intended to emphasize that, once again, that being upper-class was simply a performance.

By comparing the birdlike motions to a performance, Morrison is alluding to the fact that being upper-class is simply an act, not something that those are born into, or that white people deserve more than others.

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The description of the unfriendly atmosphere in the Breedlove household contrasts with the “ideal” American Family as seen in the Dick and Jane readers. In this passage, the fact that the family friend would be “drunk” is significant, perhaps suggesting that the happiness is not real, but created through a facade. This relates to Claudia’s idea that the real American Dream should not be based upon the ideal family created by the Dick and Jane readers, but upon what each person desires for themselves.
This short description of false happiness also draws comparison to the video of Shirley Temple Dancing with Mr. BoJangles, as both are enjoying a time which many would deem unnatural for the time period, suggesting once again that this is a false concept of happiness. Being that this is from Pecola’s view point, this would seem very attractive, while Claudia would view this scene as distasteful.

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The variation of the previous inhabitants of the depressing building are significant, as they are all immigrants, or descendants of immigrants. This subtle similarity continues to suggest the feeling that the Breedloves do not belong, and once again relates to the contrast between the Breedloves and the families portrayed in Dick and Jane readers.

This novel was written during a time period in which anti-immigration sentiment was strong, as displayed through the Immigration act of 1924.
By comparing the Breedloves to immigrants, or those who are not native to land, Morrison contrasts Dick and Jane against the Breedloves, as the family in Dick and Jane is meant to appear natural and harmonious, while the Breedloves, and immigrants, are not natural, or rather introduced or forced.

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