Harmonizing to Maslow’s hierarchy of human demands. love and belonging is what drives human being. We search for a sense of belonging every twenty-four hours of our lives. non gaining that it is our perceptual experiences and attitudes towards belonging that determine the fulfillment we experience. We can take how we belong and the degree of fulfillment we experience by altering our perceptual experiences and attitude.
This construct is expressed through the poesy of Peter Skrzynecki’s “Immigrant Chronicle” . Marc Foster’s movie “Finding Neverland” and Nam Le’s short narrative “Love and Honour and Pride and Pity and Compassion and Sacrifice. Skrzynecki communicates the manner that his perceptual experiences and attitudes towards belonging affected his ability to experience fulfilled and content from a cultural position through his poetic anthology “Immigrant Chronicle” . In “Feliks Skrzynecki” the poet describes the esteem he has for his male parent and the manner that he can stay affiliated to Poland in his head whilst populating in new state. Skrzynecki uses the word “gentle” to specify his male parent. showing the degree of regard he has for him.
He references the stating ‘keeping up with the Joneses’ in the line “Kept gait merely with the Joneses/ Of his ain heads making” to pass on that his male parent is able to experience content and fulfilled by taking to remain connected with Poland. but merely in his head can he make so because they now live so far off. Skrzynecki doesn’t understand how his male parent can take to belong. showing his confusion by stating that his male parent is “happy as I have ne’er been. ” We begin to understand that Skrzynecki’s attitude towards belonging to his Polish heritage reflects his feelings of disjunction in the verse form “Ancestors” .
The line “where sand and grasses ne’er stir” is a metaphor used to stand for the stagnancy of Skrzynecki’s connexion with his Polish heritage. He is plagued with guilt and defeat as a consequence of his disjunction and this is demonstrated through the accusative nature of the figures in his dream. The usage of initial rhyme communicates Skrzynecki’s menace: “Standing shoulder to shoulder” . Skrzynecki does non gain that it is his ain perceptual experiences and attitudes that prevent him from belonging to his
Polish ascendants. and this is reflected in his usage of rhetorical inquiries throughout the verse form: “how long is their delay to be? ” Skrzynecki’s attitudes towards belonging Begin to alter in the verse form “10 Mary Street” and a greater sense of fulfillment is communicated. Skrzynecki references his ain verse form “Feliks Skrzynecki” in the line “tended roses and camellias/ like adopted kids. ” This demonstrates that Skrzynecki’s perceptual experience of his father’s sense of belonging to his garden had changed. In “Feliks Skrzynecki” Skrzynecki felt excluded because his male parent “loved his garden like an lone child” .
In “10 Mary Street” he realises that the sense of belonging he portions with his male parent is greater than the connexion his male parent has with the garden and that to him it is merely like an “adopted” kid. This alteration in attitude leads to the last verse form of the anthology “Post Card” in which Skrzynecki comes to the realization that he has the ability to take where and how he belongs. He writes of a station card that has been sent to him by a friend sing Warsaw. the town in Poland where he and his parents one time lived.
Skrzynecki gives a description of the station card that is obviously barren of emotion until the last line: “The sky’s the brightest shadiness. ” This line is positively connoted and reflects Skrzynecki’s realization that he has the ability to link with Warsaw. Skrzynecki straight addresses the town by saying “I ne’er knew you. ” This personifies the town and farther demonstrates the poets turning connexion. Skrzynecki uses the qualifier “for the moment” to undersell the line “I ne’er knew you” which is repeated in the 4th stanza.
This demonstrates that Skrzynecki recognises that he doesn’t experience a sense of belonging to his Polish heritage. but that he is willing to research it. He one time once more addresses the town with a rhetorical inquiry in the 4th stanza: “What’s my pick to be? ” This straight communicates that Skrzynecki understands that he has a pick about linking to his Polish heritage and belonging. whilst besides conveying his sense of indecisiveness. Throughout the full anthology Skrzynecki communicates his feelings of disjunction from both Australian and Polish civilizations.
Post Card” is Skrzynecki’s declaration as he is content with admiting that he doesn’t have to belong. and at the same clip recognizing that he doesn’t have to experience excluded from his Polish civilization either. He uses the last lines of the verse form to pass on that he does experience some sense of belonging to Warsaw. through bodying the town as speech production to him: “On a rivers bank/ A lone tree susurrations: / “We will run into before you die. ” This externalises Skrzynecki’s new perceptual experiences and attitude towards belonging and his recognition that he will see Poland one twenty-four hours and so do the pick as to whether or non he belongs to it.
Marc Foster’s “Finding Neverland” alludes to the perceptual experience that a topographic point where we belong can be created. done imaginativeness every bit good as relationships. The supporter James Barrie James Barrie is the supporter in “Finding Neverland” and uses his imaginativeness to make a topographic point where he can conceal from the unhappy world of his weakness dramas and matrimony. a topographic point where he belongs. Foster demonstrates Barrie’s sense of non belonging at the beginning of the film. when we see the dramatist peeping through the phase curtains at the audience in the theater.
This shows us that Barrie is dying. an emotion that is juxtaposed with those of the laughing. relaxed playgoers. His anxiousness and interior convulsion is farther demonstrated when a point of position camera shooting shows us that Barrie is conceive ofing a rain storm with a color palette of dark blues and inkinesss within the theater. The perennial image of a door is used to show the disjunction between Barrie and his married woman. For illustration. when Barrie asks Mary if she would wish to fall in him on a walk to the park she declines via a cry through a closed door.
During another scene Mary and Barrie are left spat. and are once more disconnected by doors when the twosome retire to their separate sleeping rooms. The room access into which Mary retreats is dark and presents a sense of somberness for the adult female. but Barrie’s room access reveals brilliantly coloured parkland. This is where we are introduced to the construct of the fanciful Neverland and the intent it has in leting Barrie to take to be in a universe where he belongs. When Barrie meets the Davies household his perceptual experiences and attitudes towards belonging Begin to alter.
The strong relationship he is organizing with the four immature male childs and their female parent is represented through the shared experience of fanciful universes. The scenes swap back and Forth between the Davies’ back yard and an old western tap house where the male childs play a game of ‘Cowboys and Indians’ . Likewise. a scene of a quiet. countryside pine wood becomes an Amazonian jungle in which the Davies’ household are pirates expecting to be appointed to the crew of Captain Barrie. The redaction is fast paced to demo that the sense of belonging that Barrie and the Davies are developing through their relationships with one another is going stronger.
Barrie comes to the realization that he can belong outside of his fanciful universe. Foster uses shut up shootings that are shared between him and the Davies male childs. which communicate the strong bonds of love and friendly relationship that they have with each other whilst besides showing Barrie’s new perceptual experiences of belonging. Barrie has a pick as to whether he belongs in world or in Neverland. Nam Le’s “Love and Honour and Pity and Pride and Compassion and Sacrifice” besides demonstrates that perceptual experiences and attitudes determine an individual’s ability to belong. through the relationship between a immature author suitably named Nam and his male parent.
In the rubric of his short narrative. Le references William Faulkner and the truths that define human interaction. The words become Nam’s influence in accommodating his perceptual experiences and attitudes towards belonging throughout the narrative. Nam struggles over whether he should utilize his father’s history of lasting the My Lai slaughter as a 14 twelvemonth old male child and subsequently Vietnamese prison cantonments after the autumn of Saigon for a writing assignment.
A strong sense of disjunction is apparent between Nam and his male parent. demonstrated through the usage of short. blunt sentences and pronouns that separate the two characters individualities from each other: “He loved talking in Vietnamese Proverbs. I had long since learned to disregard it. ” Nam is influenced by his wise mans who tell him that “ethnic literature is hot” . but he inquiries whether Faulkner’s truths would use to any cultural literature that he could compose when he doesn’t experience a sense of belonging to his Vietnamese heritage.
Nam feels pressured to acquire his narrative done. and the lone thing interrupting him free of his writer’s block is his father’s yesteryear: “F**k it. I thought. I had two and a half yearss left. I would compose the cultural narrative of my Vietnamese male parent. ” Personal pronouns are used in this illustration to pass on that Nam is composing the narrative for his ain addition. and non his father’s because there is no sense of belonging in their relationship. The usage of profanity suggests that there is internal struggle within Nam and guilt over non experiencing a true sense of belonging with his male parent and Vietnamese history.
Nam’s attitude towards experiencing a sense of belonging to his father’s narrative alterations when a friend tells him that the ground he respects his authorship is because he doesn’t “exploit the Vietnamese thing. ” He feels a sense of shame for taking his father’s history so lightly: “We were locked in all the intricate ways of guilt. ” This is where Nam comes to gain that even though his heritage is rich with the truths that Faulkner talked approximately. he can non compose truthfully without experiencing a sense of belonging to his Vietnamese civilization or his male parent.
Nam chooses to make out to his male parent in effort to understand and develop a sense of belonging to what he had written approximately. He uses his new position about his male parent and his father’s past to rewrite the narrative. and the pronouns “me” and “he” are used in the same sentences now. to demo the son’s connexion to his male parent: “He would see how powerful was his experience. how valuable his enduring – how I had made it talk for more than itself. He would be pleased with me. ” Nam has chosen to alter his attitude towards the relationship he has with his male parent and as a consequence can belong through his new apprehension.
All three texts pass on how alterations in positions and attitudes towards belonging determine the degree of fulfillment we can see. Through these texts we can comprehend that belonging is a pick and that our perceptual experiences and attitudes towards belonging find how fulfilling our lives are. If we can command our perceptual experiences and attitudes towards belonging. we can efficaciously command how we belong. and as a consequence develop a higher apprehension and consciousness of our ain individualities.