Belonging: Past Hsc Student’s Draft

The need to belong is a valet pheno workforceon that is the underlying ca substance abuse of our actions. As charitables, we assay for like-minded people with whom we discharge break a hotshot of ourselves as people. This is a product of the situation that belong is integral to the getation of ones identity. However, a moxie of be is often straind by following a path of delirium. Similarly, monomania leads to disillusionwork forcet with that (verbose line) which one at once believed in. manifestation Now directed by Francis Coppola, John Steinbecks Tortilla flat tire and Peter Skrzyneckis poetry e really last(predicate) deal with these three dimensions of be.Belonging and acceptance is integral to the formation of ones identity. Peter Skrzyneckis poem 10 Mary highway illustrates the certificate and comfort that is a product of a moxie of belonging. In this case, it is a sense of belonging to a family scrap that occurs everyday at routine 10 Mary Street. The mun danity of the routine provides stability and familiarity. Skrzynecki uses time frames such as 5pm and For nineteen years to establish a sense of repetition and fellowship in the readers mind.Collective pronouns such as we con none collaborationism and inclusion in the family sphere. This family inclusivity every last(predicate)ows the poet to establish his identity at an early succession in a place in which he belongs, as shown when he describes him wandering in the garden after school. The simile like a hungry bird shows (avoid using show repetitively) him to be curious and boisterous. It con nones a healthy organic childhood. In the second stanza of the poem, Skrzynecki uses images of growth and nurturing to advert a loving family environment and a sense of belonging to the land.The quiet hum-drum of daily routines, such as washing clothes and gardening, suggests that the house and Skrzyneckis parents seldom change. This conjures an image of immense strength and solidarity. S krzynecki establishes his childhood home as an suffer sphere of safety. He does this by per paroleifying the house in its china-blue coat as a friend and part of the family. The home is a place in which to remember their Polish hereditary pattern. The repetition of the line for nineteen years illustrates the space of time that his family realize been paying homage to their ancestry to as they unplowed pre-war Europe alive. The use of the Polish word Kielbasa non only adds au then(prenominal)ticity and prudence to the poem solely reinforces the idea that, though Skrzyneckis family has move a modality from war- lacerate Poland to Australia, they still firmly belong to their Polish heritage and there is a link for them and their family through which to establish their identities in their red-hot land. The poet mourns the passing of his childhood and the destruction of the home in which he learnt the temperament of growing up caught between two polishs and the rift between the past(a) and the future. This nonion is go on explored in Apocalypse Now.Colonel Kurtz was the pride of the American military Command. Having broken from the decrepit and corrupt school of thought that was the US forces, Kurtz establishes his god-like reign over a clan of like-minded natives in the jungles of Cambodia. His component part extrapolates any issues surrounding America as a nation, from war crimes to environmental stability. In one of the most compelling scenes of the film, Kurtz expresses his thoughts to Willard, one of the first Americans he has encountered since his dissent. He speaks of his son at home and his fear that if he were to be killight-emitting diode, his son would not understand his fathers actions.At this prime, the extended close up shot of Kurtzs face, half shrouded in darkness, changes slightly as he moves besides into the light. This conveys that Kurtz still holds onto the hope that his son ordain one day come 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. get-go he was transformed on the battlefields of Vietnam by the death and ignorance he encountered/witnessed and then again in the jungles of Cambodia amongst the natives and free thought.Therefore, both(prenominal) 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 path of alienation. In migratory Hostel, Skrzyneckis family struggle to establish themselves in a new land. Skrzynecki delineates the sense of alienation that the migrants have towards the rest of Australia. The sealed off highway demonstrates the insulation they feel from the rest of the country.The simile of rose and fell like a finger demonstrates that they do not feel welcomed or accepted in their new land, but are constantly reprimanded, like a p atrician child. The line needing its sanction demonstrates how the migrants are enslaved to the entrapment they feel in the hostel. They need leave to continue living in a manner that doesnt resound their culture or beliefs. This alienation from their culture and freedom renders each migrant unimportant and attempts to destroy their sense of personal identity and belonging. However, it is because of this alienation that they achieve a sense of belonging and identity.Nationalities found each former(a) found on their accents and the town they came from. Inside the hostel, they keep the memory of their home and culture alive though they are haunted by the memories of hunger and loathe that destroyed their countries. Skrzynecki uses the simile like a homing pigeon to connote the integral sense of survival and solidarity shared by the migrants. The homing pigeon is a survivor that travels great distances. Skrzynecki uses a reoccurring motif of birds throughout this poem as they hav e connotations of freedom and migration.This dimension of belonging is yet explored in John Steinbecks novel Tortilla Flat. Danny, Pilon, Jesus Maria, Pablo, Pirate and Big Joe Portagee are half Spanish- Mexican, misfits who form a brotherhood of drunken antics that centre around the home they all share in Tortilla Flat in California. The book is written in an entirely episodic fashion to fit with the allegory that Steinbeck creates, comparing the sixsome men to King Arthurs Knights of the Round Table. However, instead of knights in calendered 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 find a sense of belonging, it is also their association with each other that renders them unacceptable to normal society. Steinbeck quite obviously uses the technique of having his characters speak in language befitting the Elizabe than era. This reinforces the notion that they are all go from the grace of a former life not mentioned in the novel, but they are fallen in concert. It is also a distinguishable way from separating the choose brothers from those in normal society.It heightens not only the sense of unreality that permeates the whole book but also the sense of alienation from the outdoors world. The brothers eat, make whoopie wine, sleep and occasionally venture out to do good whole kit for those around them. They live by an entirely alternative concept of time, space, self-command and love. The growing sense of belonging that develops through the novel is conveyed through the remit gathering of the six men to form the brotherhood and the corresponding emerging action. Once they are all convened under a banner of woolly freedom, Danny states, we are now as one, as never such men have been before. Each member is crucial to the groups projectile and therefore to each individual members sense of belonging. This is conveyed at the conclusion of the novel when, after Dannys funeral, the house that was their home by the way catches fire but instead of trying to save their one terrestrial possession, the men allow it to burn to the ground and then go their give out 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 path of alienation. Alienation leads to disillusionment with that which one once believed in (is there a different way to express this? ). Skrzyneckis poem In The tribe Museum describes the experiences of the poet as he becomes increasingly anomic from his heritage. After describing his parents typical migrant experience in Migrant Hostel, the poet now finds himself unable to empathise with a past that is not his own.The use of first person not only allows the responder to get in touch 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 plain and has grey hair demonstrating that she is a relic herself and incongruent to contemporary society, plainly as Skrzynecki views his dying past.The simile of cold as water further illustrates that the poet no longer empathises or has any emotional connection to the events of his past. Although it is not as directly referred to in this poem(weak expression) as in others, In The Folk Museum also conveys how the poets disillusionment with his past leads to a sense of belonging with his present. The use of personification in the wind taps hurriedly communicates not only the poets frustration but also the deter mination of the outside world to remind him of the pointlessness of his reminiscing about his Polish heritage.The use of alliteration in I leave without wanting a final hold back conveys his speedy exit as well as his eagerness to restore 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 officer engagement in the Vietnam War, believes wholeheartedly in the US army and Western elaboration as a whole. He belongs to war. At the beginning of the film, Willard is off craft in Saigon and recounts one of his trips home.The use of direct speech narration adds depth and authenticity to Willards character. He states Id wake up and thered be nothing. Every minute I unload in this room, I get weaker and Charlie gets stronger. The reference to the Vietcong warriors implies that Willard is more at succour when he is fighting in Vietnam. His alienation from normal socie ty is further conveyed by a montage of images of war superimposed with Willards face. The non-digetic medicine 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 life and war.However, at the conclusion of this montage, Willard is left naked and bleeding, wrapped in a torn sheet and screaming on his hotel room floor, a high fee shot highlighting his vulnerability. This scene is purposely designed to alienate the listening from the character and connotes the detrimental effect that Western nuance is having on him. The reiterative rigmarole of a soldiers life is communicated through the squat of the turning fan 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 t he 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 displace his faith in. Everything that is wrong with Western civilisation is represented through the dictatorial Bill 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 tv camera pans directly in front of the plumes of red, green and yellow smoke so that they form a veil over the scenes of battles and civilian deaths. However, once up river, the lighting becomes softer, greener and more defined. There is a distinct lack of smoke. This implies that Willard is traveling both physically and mentally away from the chaos of Western civilisation and heading deeper into Kurtzs state of mind.Finally, Coppola uses t he 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 similar but that they represent contrary facets of one human entity. The extreme close up shots of Willard and Kurtz scupper them to both be acutely serious men who have come to empathise with the same point of view. However, they are distinctly contrasted. Willard is often sweaty, dirty, constantly smoking 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 texts in which the view that alienation leads to disillusionment is explored. For humans to find where they truly belong, they moldiness 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 the mselves 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 want of belonging to shaping 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 make sure you use the words of the question in your answer)