They were required to dress appropriately by covering certain parts of the body during certain events. However, couples of ladies found some ways to bring on these global fashion trends to get around the social standards. The women of Singapore were not only consumers of fashion. Many of them were working for the garment industry at that period. Until mass produced garments and synthetic fabrics became the norm in the sass, women preferred tailor made clothes and even made their own, constantly seeking inspiration from broader cultural trends.
Singapore women became increasingly cosmopolitan from the sass onwards. With the opening up of society through industrialization and education, women were increasingly exposed to Western ideas of modernization. They no longer limited themselves to traditional ethnic garments and looked to fashion centers in Europe and Asia for inspiration. Tight-fitting western garments became famous and their silhouette carried over to traditional garments, adding a modern air to the representation of ethnic identity. Women mixed and matched traditional and western garments and accessories to achieve a modern look.
Malay women that dwell in Singapore however, are more modest. They refused to wear tight fitted clothing. Whereas Indian women in Singapore prefer sari that is more reserved and retain their culture. Singapore youth culture in the 196(Yes was largely influenced by British and later American popular culture via the media. Youth culture was distinguished by its fashion preferences and corresponding leisure activities. In the early 1 sass, youth of Singapore spent most of their weekend afternoons at tea parties dancing to rock and roll, and rhythm and blues music.
Local radio stations played popular music also several local brands, following British bands, were formed. Wealthy teenagers went to concerts by foreign bands such as Cliff Richards and the Shadows (1961) and the Rolling Stones (1963). When dance music became popular in the early sass, young people began to patronize discotheques. Similarly, Singapore youth fashion in the sass became increasingly westernizes, with brightly colored clothes with floral or psychedelic prints, unisex fashion and constantly changing hemlines.
For the first time, shops like The Look ND Trend Boutique were opened by and for young people. Overall, women in Singapore were heavily inspired and influenced by the westerns and since the society were in the era of industrialization and education, many women were opened up to Western ideas of modernization. They were not dwelling at the past but they look ahead to fashion centers in Asia and Europe for ideas and muses. They were constantly exposed to different kinds of insights ranging from music, life style and occasions and that stimulate the women in Singapore to change and move forward.
PostModern Victorian A S Byatt
A. S. Byatt s Possession
If I had read A. S. Byatts fresh Possession without holding had British Literature, a batch of the novels significance, analogies, and literary enigma would hold been lost to me. The full book seems one large mention back to something we ve learned or read this May term. The first few lines of chapter one are poetry attributed to Randolph Henry Ash, which Byatt wrote herself. Already in those few lines I hear reverberations of category, lines written in flowery Pre-raphaelite tradition. The snake at its root, the fruit of gold. At the old universes rim, /In the Hesperidean grove, the fruit /Glowed aureate on ageless boughs, and at that place /The firedrake Ladon crisped his jewelled ( sic ) crest. Because of category, I was able to pick up on this poesy tradition right off. This narrative within a narrative is strengthened by Byatts ability to compose Victorians accurately. Until I read some of the reappraisals, I thought Byatts Victorian characters were existent historical literary figures, when really they are fabricated, and their diaries, letters, and poesy are written by Byatt.
The action of the book takes topographic point in two periods. The two chief characters, Roland and Maud, are literary bookmans populating in the 1980s. Their love narrative is shared and played out by the journals, poesy, and correspondence of two poets and lovers from the 1860s-Randolph Henry Ash and Christabel LaMotte. Although the book is modern fiction, much of it is a Victorian novel every bit good. Possession is characteristic of Byatts love for intertextuality and imbedded texts. Possession is besides an illustration of several literary genres, all written into one book. At assorted times it gives grounds of poesy, mythology, a love affair novel, a detective narrative, a fairy narrative, diaries and journals, and scholarly Hagiographas.
There are several subjects in Possession that tie this book to earlier texts that we have read. Individual versus group individuality, feminism, gender and the nexus between present and past are subjects that Byatt trades with in her novel. Interestingly, Byatt expresses many of these subjects utilizing symbolic colour imagination, a technique that makes her composing reminiscent of Pre-Raphaelite manner.
Harmonizing to Byatt, the battle of the person to detect and so populate out her ain individuality, an individuality etched out merely with tremendous attempt and findingis a major subject running through many of her novels, particularly this 1. The rubric itself brings out the first inquiries of identity-Possession. Who possesses whom? Does he possess her, or does she possess him? Are they having and possessing their literary history, or does it possess them?
Individual individuality is lost in the manner the book is written. Many times, the reader can non state one twosome from the other-who is reading Ashs poesy, snoging, running off on a honeymoon of kinds, and doing love? Is it Roland and Maud, or is she all of a sudden composing about Christabel and Ash once more? Throughout the book, Byatt frequently makes these switches in characters between scenes without stating the reader. The consequence is that the narrative is basically no different for each twosome life in different clip periods. The same love narrative that defines Christabel and Ash in the 1860s besides describes Roland and Maud in the 1980s.
In Victorian tradition, it was the adult male who ownedthe adult female, his married woman. Yet in this modern Victorian work, that becomes twisted. When Ash attempts to claimChristabel on page 308 by keeping her and doing love to her, the act of ownership is switched about. He is seeking figuratively to hold on her, and she was liquid traveling through his grasping fingers, as though she was moving ridges of the sea lifting all unit of ammunition him.He tries to take her all in, to cognize her, and her muliebrity eludes him, as personality ever will. Byatts message seems to be that a personality can non be taken or possessed by person else, that individualism ever remains, even in Victorian state of affairss of female subjugation and domination by males. This interwovenness and connexion between the two twosomes through subjects and state of affairss, serves besides to link the yesteryear to the present, the Victorian to the Post-modern.
Feminism is an of import facet in each clip period of the novel. Maud is a modern women’s rightist, trying to equilibrate her individuality as a adult female with her individuality as an academic bookman, and Christabel was seeking to get the better of her muliebrity by life as a hermit with another adult female before she met R. H. Ash. Similarly, Maud is a withdrawn individual, wary of work forces, and distrustful. Christabel is making what many adult females of her clip were making, that is, fighting for masculine freedom in a universe that was really limited for a adult female. Maud is making what many adult females today are trying to make, that is, seeking to accommodate and accept her muliebrity in an academic, typically male, environment. Byatt played up this feminist position of literature and society by taking to establish Christabels poesy ( which Byatt wrote ) on the strongly feminist poesy of Emily Dickinson, instead than on the softer voice of Christina Rossetti.
Another character, Rolands old girlfriend Val, is anything but a feminist portraiture. She seems to function as a balance and takes on a typical, subservient, Victorian adult females function, even though she is a modern adult female. She takes a occupation as a typist, even though she is a university bookman, invariably berates her occupation and herself as humble,and her thesis essay entitled Male Ventriloquism: The Women of Randolph Henry Ash is discredited and attributed to a male author. Val and the decrepit Victorian house where she and Roland portion an flat represent oppressive Victorian society, while Roland and Maud are populating the more liberated version.
Sexuality is another issue that connects the two clip periods. On page 6, there is a transition on R.H. Ashs poem stand foring Proserpina, an ideal Grecian adult female, as gold-skinned in the somberness? grain aureate? [ and ] edge with aureate links.This is an illustration of idealised birthrate and gender in Victorian adult females. It represents gender as something that can be conquered and possessed, like gold or grain. The suppression of gender in the Victorian epoch is a subject throughout the book, in both clip periods, as is the sexual freedom that both twosomes finally reach. The hints of gender in Victorian society have to be searched for and exposed in Possession. There are intimations of sapphism, expressed by LaMottes retreat from society and puting up house with another adult female. Ash and LaMottes love matter is hidden, in their ain twenty-four hours and to the modern bookmans, who have to delve through diaries, poesy, and letters left by the two Victorian lovers to bring out it. Even Mauds hair is symbolic, and ties her to Victorian society. She wears it covered with a scarf, symbolic of pent-up Victorian gender.
The apposition and nexus between the yesteryear and the present is a really important facet of Byatts novel. The storyline supports switching from the 1860s to the present, and the characters are really similar. It is frequently hard to state which twosome Byatt is composing approximately in any given state of affairs, because their love affairs are so similar. The manner this romantic narrative tantrums both twosomes and clip periods seems to propose that non so much has changed, and love affair from one clip to another is non so different as we thought. The characters mix the old and the new ; Maud wears a broach one time belonging to Christabel, and another Ash bookman, Mortimer Cropper, carries Ashs pocket ticker. In the terminal of the novel, the last love missive written by Christabel enables Maud to eventually bask the value of love in the present, and give her trust to Roland. The cyclical clip frame of the novel provides an interesting contrast to the normal, smothering, additive clip frame of typical literature and mundane life.
The manner Byatt expresses many of these subjects through her symbolic usage of colour is important. Byatt pigments with words, doing her reminiscent of the Pre-raphaelites. She gives colour descriptions for her characters, painting the adult females such as LaMotte and Christabel in gold and green description, while individuals whose characters are level and ne’er well-developed, such as Paola the secretary, are described in colorless footings. Paola has long, colorless hair edge in a gum elastic setimmense mothlike spectacless, and dust-covered Grey tabletsfor fingertips. Her deficiency of colour sets her off from the beginning as a really level character.
Fate And Justice In The Odyssey
Despite being gods, the deities in the Odyssey do not consistently demonstrate their superiority over mortals. They exhibit anger and impulsive behavior similar to any ordinary individual. However, their abilities surpass those of mere humans, and their actions can have immense consequences on societies. Although they strive to administer just punishments to the deserving and behave in a manner befitting of godhood, they still depend on primal emotions and are susceptible to manipulation, which often leads to catastrophic outcomes.
The gods appear to trust in mortals’ ability to control their destiny, believing that they are primarily responsible for shaping their own fate. The gods’ role is mainly to punish wrongdoers or assist individuals who may have a greater purpose but have veered from their intended path. While they have the power to manipulate mortals’ destiny, they exercise this intervention selectively. It is only when a mortal’s involvement is crucial to a particular situation’s future that the gods choose to interfere. Nevertheless, they notably serve as a justice system, offering both punishment and reward.
In spite of blinding the Cyclops and punishing the Phaecians for helping him, Poseidon also punished Odysseus by sending him to Calypso’s island for ten years. However, Athena stepped in and pleaded with Zeus to let Odysseus return home safely. Without Athena’s help, Odysseus would not have been able to successfully finish his difficult journey back home.
Odysseus’s experience reveals the absence of a consistent moral code among the gods. The deities act based on their personal desires and administer punishments to those they deem deserving, even if these penalties contradict each other. When one god believes that a mortal should face consequences while another disagrees, they oppose each other to assert their own will. Furthermore, the gods share similar fundamental emotions as humans do. They can become enraged (as exemplified by Poseidon’s anger towards Odysseus), display favoritism (like Athena does with Odysseus), and also experience jealousy akin to any ordinary mortal.
It is a well-known fact in Greek mythology that Zeus loved mortal women, and even his wife Hera was aware of this. Zeus would try to conceal and transform himself in order to keep Hera from discovering his affairs, but she always managed to find out. Despite being a goddess, Hera was extremely envious of these women, many of whom had children with Zeus, and she would find ways to harm or punish them and occasionally even their offspring. This jealousy exhibited by Hera towards these women once again demonstrates that, despite being gods, they still behave in ways similar to humans, disregarding the desires of other gods to fulfill their own. The gods act without considering the consequences of their actions, resulting in a lack of any moral code or rules they abide by. No individual is immune to the rage of the gods, as even if one god favors you, it does not prevent the others from punishing you if they so desire.