Lindsey McIntosh – författare

Essay from the year 2014 in the subject Didactics for the subject English - Literature, Works, grade: 1st, University of Strathclyde, course: English Literature, language: English, abstract: The ambition of this short literary essay is two-fold. Firstly, it aims to briefly explore some of the literary sources used to shape and create Herman Melville's 1851 novel, Moby Dick. A multitude of literary sources could be suggested to influence Melville's work but the principle works focused upon in this discussion are William Shakespeare's tragic play Macbeth and John Milton's epic poem 'Paradise Lost'. By drawing upon linguistic and symbolic parallels present between Moby Dick and these two works, the essay aims to show how Melville alludes to classical sources to create a refreshingly modern piece of work. The second goal of the essay is to explore in greater detail Melville's use of language in 'Moby Dick.' Several critics have noted in past discussion that Moby Dick's triumph lies embedded in its sophisticated verse, with Richard Brodhead crediting a large portion of the novel's greatness to be owed to the author's powerful command on the English language. With this view in mind, the essay examines some of Melville's own linguistic accomplishments in order to decide whether "e;more persistently than anything else - more persistently than it is the heroic, or philosophic, or whatever - Moby-Dick is a book in love with language"e; (Brodhead, 1986).

Essay from the year 2013 in the subject Didactics for the subject English - Discussion and Essays, grade: 73, University of Strathclyde, course: English Literature, language: English, abstract: At the turn of the 20th century, a crisis in Enlightenment humanism had began to emerge; from the ashes of a dying romantic era, a cultural revolution known as the modernist movement arose as 'a progressive force promising to liberate humankind from ignorance and irrationality' (Taket and White, p. 869). Weary from the weak, unchanging patterns of Victorian writing, a collection of writers sought to break away from pre-existing dead-end methods of creating literature by exploring new styles which were expressed in their prose and poetic works. Placing a greater emphasis upon experimentation, modernist writers took a great interest in purposely disorientating their readership with fragmentation and elements of the absurd. A conscious experimentation with language to express both its powers and limitations became apparent components in a vast body of modern literature. Whilst the previous era embodied a strong connection to nature in the belief this relationship was crucial for man s development as an individual, modern writers displayed little interest towards the natural world. Instead, an established vein of modern thought developed that progress as an individual was dependent upon directing the eye inward.

Essay from the year 2014 in the subject Cultural Studies - Miscellaneous, grade: 75 (A), University of Strathclyde, language: English, abstract: When the American director John Hughes chose to open the credits of his 1985 film "e;The Breakfast Club"e; with following lyrics taken from David Bowie's 1971 single "e;Changes"e;, his intention in doing so was to challenge the commonplace notions of youth plaguing 1980s teen-culture in America. "e;And these children that you spit on as they try to change their worlds, Are immune to your consultations they re quite aware of what they re going through "e;The film s troubled teenage protagonists, exaggerated caricatures of rebellious youth who spend an entire Saturday detention within a school library in atonement for their individual delinquencies, begin their journey defined in the simplest terms and the most convenient definitions lavished upon them by their adult authorities. Bowie s lyrics were applied to "e;The Breakfast Club"e; by Hughes in order to glamorize the notion of us versus them and youth isolation within the cultural landscape of 1980s America. However, these lyrics can also be aptly applied to the much-discussed issue of youth culture within the British post-war landscape. Although Changes was not released until the early 1970s, its lyrics effectively capture the tone of the previous two decades in Britain; decades in the throes of social and political change, with a newly formed youth group who were becoming increasingly aware of that fact. Following the arrival of rock n roll in the late 1950s, British youths underwent a period of self-realisation in the 1960s as music, particularly rock n roll, drove a wedge between teenagers and the parent culture , effectively isolating them into their own unique cultural island. The primary ambition of this essay, therefore, will be to assess the change implemented by music during these post-war decades and whether it is possible to utilize music as a tool for effectively understanding youth culture and sub-cultures. Although each decade could be argued to embody its own distinct mood , effectively captured and echoed in its musical output, this essay will hone its energies primarily towards studying the late 1950s and early 1960s, in which a fizzy electrical storm of a radiant post-war atmosphere was reflected and charged by its music. [...]

Bachelor Thesis from the year 2014 in the subject Art - Photography and Film, grade: A, University of Strathclyde, language: English, abstract: The principle objective of this essay will be to explore and explicate the relationship between art and death within two films by Alfred Hitchcock: Rope (1948) and Vertigo (1958). Discussing Hitchcock's filmography in 'Saying it With Pictures', Erik S. Lunde and Douglas A. Noverr credit the influence of art to be of paramount importance to the director's visual form, remarking that 'a great interest in the fine arts strengthened the cinematic vision displayed in countless brilliantly conceived photographic images in his films' (Loukides and Fuller 1993, p.97). Both critics trace an admiration for the classical arts to have flourished in the director's youth as he immersed himself in painting classes during his time at the University of London (Ibid). Later in life, art would assume a strong place within both Hitchcock s personal and professional personas; within his private sphere Hitchcock accumulated interest in original works of art, collecting pieces by artists such as Paul Klee, Auguste Rodin and Salvador Dali. Professionally, a fascination with the visual arts would infiltrate his body of work, with portraits, paintings and sculptures featuring predominantly within the majority of his films. [...] As part of centenary celebrations of the filmmaker s work, a unique visual exhibition was unveiled to commemorate the intimate relationship between art and Hitchcock films. Opening in 2000, an exhibition titled Hitchcock and Art: Fatal Coincidences opened in the Montreal Museum of Fine Arts. Captioned as a celebration of Hitchcock s personal creative expression (Moral 2002, p.171), Fatal Coincidences was designed by Guy Cogeval and Dominique Paini to feature over two hundred artworks spanning across the previous two centuries, depicting familiar scenes of art echoed within Hitchcock s own body of work. Whilst the exhibition has excelled in establishing the painterly parallels present between the real world of art and the surreal world of Hitchcock, the ambition of this work will be to open up discussion of Hitchcock s artistic influences further. It proposes that art serves not merely as a background prop which accompanies the favoured theme of death quintessential to Hitchcockian narrative, but rather that art becomes embalmed with macabre properties which subconsciously enrich the audience s perception of the director s intentions. [...]

Essay from the year 2014 in the subject History - Miscellaneous, grade: 68, University of Strathclyde, course: History, language: English, abstract: The inter- and post-war years in Palestine occupied some of the most turbulent decades of conflict in the history of the Middle East. Following the dissolution of the Ottoman Empire at the end of the First World War, the League of Nations entrusted the mandated territory of Palestine to the United Kingdom at the San Remo Conference of 1920. For twenty-eight years, responsibility for the Palestinian people and their land would fall subject to British control. However, this penetration of western control would bring a de-stabilizing effect upon the land and a multitude of factors later intertwined to cause dissipation of the mandate. The decision to withdraw from Palestine was officially reached on the November 29th, 1947 by a two-thirds majority vote at the United Nations General Assembly. However, despite discussions for this retreat taking place months prior, its execution would by no means form a simple process. Rather, the repercussions of this decision led not only to the Arab-Israeli War in 1948, but also dramatically altered the demographic landscape of Palestine itself. The ambition of this essay will not be to identify a single supreme factor which influenced the British to relinquish control of the mandate. Nor will it attempt to cover every element that contributed towards the decision for partition, as to do so would both dilute and complicate the study of the essay. However, it will propose to examine several integral factors of both short- and long-term positions in order to develop a clearer understanding of what lead to Britain s decision to withdraw from Palestine on May 14th 1948 and the repercussions cast behind the creation of Israel.

Essay from the year 2014 in the subject History - Miscellaneous, grade: 68, University of Strathclyde, course: History, language: English, abstract: Exploring the origins of Arab nationalism is a challenging project. To assess this particular subject is to enter a huge arena of discussion; the multifaceted nature of the word 'nationalism' itself - which as Z. Lockman notes 'always means different things to people in different contexts' - presents difficulties when engaging the subject from a variety of different historical perspectives. The objective of this essay will be to assess several aspects surrounding the genesis of Arab Nationalism in the Middle East from various political, cultural and intellectual dimensions in order to gather a basic understanding as to when and why this movement occurred. Complications emerge in such a study when one considers that the genesis of this movement was by no means a single and stable birth of ideas overnight, but rather a fragmented series of awakenings, occurring across the Arab heartlands at different times and for slightly varying reasons from surrounding neighbours. For example, Egypt presents an interesting case. J. Jankowski notes the nationalist movement of the Egyptians to pre-date collective Arab nationalism by roughly a generation and recognises the Egyptian variant of nationalism to be a distinct and separate phenomenon which gathered strength from the 1870s onward. The area s historical and cultural distinctiveness from that of her neighbours meant she appeared to work against rather than for Arab orientation and instead focused upon her own individual ideals in promoting Egypt for the Egyptians. As separate instances of territorial nationalism such as the case of Egypt illuminate, no definitive answers to the question of what caused nationalism to occur may accurately represent the Arab community as an entirety. However, by assessing general factors which bound the Arab peoples together in spirit as one, this essay will attempt to piece together a basic understanding of what pushed an undercurrent of Arab awareness to the surface in the early decades of the 20th century.