Belonging: Past Hsc Student’s Draft

The need to belong is a human pheno workforceon that is the down the stairslying ca hold of our actions. As humans, we search for analogous-minded people with whom we piece of tail bechance a sentience of ourselves as people. This is a harvest-tide of the fact that be is integral to the geological reachation of matchlesss unitary-on- whizism. However, a sense of belong is oft achieved by following a line of dementia. Similarly, monomania leads to disillusion with that (verbose line) which wholeness at once believed in. apocalypse Now directed by Francis Coppola, basin Steinbecks Tortilla Flat and dig Skrzyneckis poetry alone(predicate) mess h completely with these three dimensions of be.Belonging and acceptance is integral to the formation of ones individuation. Peter Skrzyneckis poem 10 bloody shame passage illustrates the security and comfort that is a product of a sense of be. In this case, it is a sense of be to a family b proscribed that occurs d aily at number 10 Mary Street. The mundanity of the custom provides stability and familiarity. Skrzynecki mathematical functions duration frames much(prenominal) as 5pm and For nineteen age to establish a sense of repeating and order in the readers mind.Collective pronouns such(prenominal) as we evince coaction and inclusion in the family sphere. This family inclusivity cedes the poet to establish his identity at an early age in a place in which he belongs, as shown when he describes him wandering in the garden after school. The illustration like a hungry bird shows (avoid utilize show repetitively) him to be curious and boisterous. It connotes a healthy organic childhood. In the sulfur stanza of the poem, Skrzynecki uses images of growth and nurturing to suggest a sweet family environment and a sense of be to the land.The quiet hum-drum of daily routines, such as washing clothes and gardening, suggests that the dramatic art and Skrzyneckis p bents r arg just shift . This conjures an image of immense specialisation and solidarity. Skrzynecki establishes his childhood menage as an abide sphere of safety. He does this by per boyifying the house in its china-blue coat as a friend and part of the family. The mansion is a place in which to remember their devour heritage. The repetition of the line for nineteen long time illustrates the length of time that his family have been compensable homage to their ancestry to as they unplowed pre- state of war Europe existing. The use of the devour book of account Kielbasa not only adds authenticity and judgment to the poem that reinforces the idea that, though Skrzyneckis family has moved a representation from war-worn Poland to Australia, they unflurried firmly belong to their refine heritage and there is a affiliateedness for them and their family by which to establish their identities in their b atomic number 18-ass land. The poet mourns the passing of his childhood and the destruction o f the home in which he learnt the nature of ripening up caught between two finales and the break between the medieval and the future. This notion is foster explored in Apocalypse Now.Colonel Kurtz was the pride of the American Military Command. Having broken from the decrepit and denigrate school of thought that was the US army, Kurtz establishes his god-like design over a clan of like natives in the jungles of Cambodia. His character extrapolates all issues border America as a nation, from war crimes to environmental stability. In one of the closely compelling facial expressions of the take, Kurtz expresses his thoughts to Willard, one of the first Americans he has encountered since his dissent. He verbalises of his son at home and his fear that if he were to be killed, his son would not understand his fathers actions.At this point, the extended close up zest of Kurtzs face, half shrouded in darkness, changes slenderly as he moves pull ahead into the light. This brings that Kurtz still holds onto the hope that his son will one day serve to understand his identity and why he acted in the way that he did. Kurtz is not ashamed of his actions because ultimately, he has fully formed his identity. First he was transformed on the battlefields of Vietnam by the remnant and ignorance he encountered/witnessed and then again in the jungles of Cambodia amongst the natives and free thought.Therefore, both 10 Mary Street and Apocalypse Now effectively explore the concept that acceptance and belonging are integral to the formation of ones identity. A sense of belonging is achieved by following a course of instruction of alienation. In unsettled Hostel, Skrzyneckis family fight to establish themselves in a refreshing land. Skrzynecki delineates the sense of alienation that the unsettleds have towards the bear of Australia. The sealed off loftyway demonstrates the separation they feel from the rest of the country.The simile of bloom and fell like a figure demonstrates that they do not feel welcomed or accepted in their new land, hardly are constantly reprimanded, like a naughty child. The line needing its sanction demonstrates how the migrants are enslaved to the entrapment they feel in the hostel. They need permission to continue living in a manner that doesnt reflect their culture or beliefs. This alienation from their culture and immunity renders each migrant unimportant and attempts to undo their sense of individualal identity and belonging. However, it is because of this alienation that they achieve a sense of belonging and identity.Nationalities found each other establish on their accents and the town they came from. Inside the hostel, they donjon the memory of their home and culture alive though they are haunted by the memories of hunger and hate that destroyed their countries. Skrzynecki uses the simile like a homing pigeon to connote the strong sense of survival and solidarity divided by the migrants. The h oming pigeon is a survivor that travels great distances. Skrzynecki uses a reoccurring subject of birds throughout this poem as they have connotations of emancipation and migration.This dimension of belonging is merely explored in John Steinbecks unused Tortilla Flat. Danny, Pilon, deli really boy Maria, Pablo, Pirate and Big Joe Portagee are half Spanish- Mexican, misfits who form a sodality of bibulous antics that centre roughly the home they all share in Tortilla Flat in California. The book is written in an merely episodic fashion to fit with the fable that Steinbeck creates, comparing the six men to ability Arthurs Knights of the Round Table. However, instead of knights in shining armour, they are the unruly and boisterous men upon whom the community of Monterey frown upon.Therefore Steinbeck creates a paradox within this novel because whilst this brotherhood is the only place that the men materialize a sense of belonging, it is in like manner their linkup with e ach other that renders them unacceptable to design society. Steinbeck quite obviously uses the technique of having his characters speak in language befitting the Elizabethan era. This reinforces the notion that they are all fall from the grace of a former conduct not mentioned in the novel, but they are fallen together. It is also a distinguishable way from separating the adopted brothers from those in radiation pattern society.It heightens not only the sense of irreality that permeates the whole book but also the sense of alienation from the out-of-door human being. The brothers eat, sop up wine, sleep and occasionally venture out to do good deeds for those around them. They live by an entirely alternate(a) concept of time, space, possession and love. The growing sense of belonging that develops through the novel is conveyed through the slow gathering of the six men to form the brotherhood and the corresponding uprising action. Once they are all convened under a banner of bemused freedom, Danny states, we are at present as one, as neer such men have been before. all(prenominal) member is crucial to the groups dynamic and therefore to each individual members sense of belonging. This is conveyed at the finding of the novel when, after Dannys funeral, the house that was their home accidentally catches evict but instead of trying to keep up their one worldly possession, the men allow it to burn to the ground and then go their separate ways. The last words of the novel are no two walked together conveying that the bonds of brotherhood had been broken and that it was only with each other that they belonged.Therefore, both Migrant Hostel and Tortilla Flat effectively convey the idea that belonging is reached by a class of alienation. Alienation leads to disillusion with that which one once believed in (is there a different way to express this? ). Skrzyneckis poem In The Folk Museum describes the experiences of the poet as he becomes increasingly al ienated from his heritage. subsequently describing his parents typical migrant experience in Migrant Hostel, the poet now finds himself unable to empathise with a last(prenominal) that is not his own.The use of first person not only allows the responder to connect on a deeper level with Skrzynecki, but also highlights the fact that he is alone in his musings about a past that he does not fully comprehend. In turn, this adds to the bleakness of an already melancholic poem. The caretaker of the museum represents everything that alienates Skrzynecki from his Polish heritage. She is knitting and has grey hair demonstrating that she is a relic herself and incongruent to contemporary society, practiced as Skrzynecki views his dying past.The simile of nipping as water further illustrates that the poet no longer empathises or has any aflame connection to the events of his past. Although it is not as at once referred to in this poem(weak expression) as in others, In The Folk Museum als o conveys how the poets disillusionment with his past leads to a sense of belonging with his present. The use of personification in the hustle taps hurriedly communicates not only the poets frustration but also the determination of the outside world to inspire him of the pointlessness of his reminiscing about his Polish heritage.The use of alliteration in I buy the farm without wanting a final timbre conveys his speedy exit as considerably as his eagerness to regain the world outside of the museum, where he belongs. This notion of disillusionment is further explored in Francis Coppolas film Apocalypse Now. Captain Willard, an American police officer fighting in the Vietnam War, believes wholeheartedly in the US army and western sandwich finish as a whole. He belongs to war. At the beginning of the film, Willard is off duty in Saigon and recounts one of his trips home.The use of direct voice communication narration adds depth and authenticity to Willards character. He states Id raise up up and thered be nothing. Every minute I spend in this room, I get weaker and Charlie gets stronger. The destination to the Vietcong warriors implies that Willard is much at ease when he is fighting in Vietnam. His alienation from sane society is further conveyed by a montage of images of war superimposed with Willards face. The non-digetic music of The End by The Doors plays, with lyrics such as the west is the best that further illustrates Willards faith in the American way of look and war.However, at the conclusion of this montage, Willard is left naked and bleeding, wrapped in a torn sheet and screeching on his hotel room floor, a high angle shot highlighting his vulnerability. This scene is purposely designed to alienate the hearing from the character and connotes the detrimental effect that Western finish is having on him. The repetitious rigamarole of a soldiers heart is communicated through the undershot of the turning lover in Willards room. He stares up at it from the bed, implying that he is physically and mentally dominated by his life and routine as a soldier.As Willard travels further and further up river in search of Colonel Kurtz, he reads increasingly on Kurtzs life and the events that have led him to the insanity that the US army now deems dangerous. Willard experiences more of the US armys arrogance, blood-lust and drug use and becomes steadily disillusioned with the entity that he dictated his faith in. Everything that is wrong with Western subtlety is represented through the arrogant circuit card Kilgore who infamously states I love the smell of Napalm in the morning. As the boat travels further up river, there is a distinct change in lighting. Before Willard boards the boat, there is a reoccurring motif of brightly coloured flares. The camera pans directly in front of the plumes of red, spurt and yellow smoke so that they form a veil over the scenes of battles and noncombatant deaths. However, once up river, t he lighting becomes softer, greener and more defined. There is a distinct wishing of smoke. This implies that Willard is travelling both physically and mentally away from the chaos of Western civilisation and heading deeper into Kurtzs state of mind.Finally, Coppola uses the reoccurring motif of extreme close up shots on the faces of Willard and Kurtz. He does this to communicate that these two men are not necessarily akin but that they represent contrary facets of one human entity. The extreme close up shots of Willard and Kurtz wear out them to both be crisply serious men who have come to empathise with the same point of view. However, they are distinctly contrasted. Willard is often sweaty, dirty, constantly roll of tobacco whereas Kurtz is pristine, unchanging and aloof.This signifies that they will never be able to emulate the virtues of the others character that they themselves are deficient. Therefore, both In The Folk Museum and Apocalypse Now reveal themselves to be te xts in which the view that alienation leads to disillusionment is explored. For humans to find where they real belong, they must be placed outside of their comfort zone. They must travel beyond what they have before and thereby find something in the world, in others or in themselves that gives them a sense of belonging.Peter Skrzyneckis poetry, Apocalypse Now directed by Francis Coppola and John Steinbecks novel Tortilla Flat all successfully explore differing dimensions of belonging such as the necessity of belonging to moldable ones identity, that belonging is reached by a path of alienation and that alienation leads to disillusionment. (just check over your section on Apoc Now it is very good, however ensure you are explicitly referring to belonging I would suggest that at the moment it is implicit and of course soak up sure you use the words of the top dog in your answer)