Photography Essay Example for Free

Photography Essay The purpose of photography is to present to the viewer a view of the world that is not normally seen. With the advent of fashion photography however, the view of this world is skewered. Fashion models do not present a true reality but a made-up world in which being too thin is regarded as high fashion. With works such as Lachapelle the use of morphing reality and creating one’s own reality is more and more kosher in the world of high fashion. It is with the re-evaluation of beauty that fashion photography has enchanted and changed the world. This surmise can be discovered in the way women and men dress, in their progression of outfits, daily work clothes, celebratory clothes and all of this reflected in the economic up rise of the consumers desire to be in fashion for the season. LaChapelle explores and exploits this need through his photography and although not always paying attention to the status quo on what fashion photography is, he presents his viewers with his own perspective on beauty through fashion. The topic of fashion has always held my interest, especially fashion photography. The way in which the photographer can create different realms of existence through different angles, colored lenses, and outfits has been a great intrigue of my interest in art. My favorite photographer is David LaChapelle which is why I choose him for the research and analysis part of this project. The way that he does fashion photography is a reinvention of it. He does not just accomplish what no one else can accomplish in photography but he also puts humor into his pieces as will be explained later. He makes fun of fashion, or the extremes which people put on fashion by creating a world through photography in which his eloquence matches this humor as can be seen in his Shoes to Die For photograph. Thus, he is a photographer I admire because he does not take himself too seriously. Introduction Fashion photography is about portability and malleability. A model can be incorporated into a fantastical environment for which only the word surreal can be used to define. In modern day photography there is a myriad of photographers each striving for a new lens, a new way in which to portray a fantastic image. In the history of fashion, nothing is so transcendental than photography. The image in fashion has been primarily focused on the model and how well the model sells the clothes; it is in the photograph that mutation over the decades has skyrocketed into a true art form. Fashion photography does not succumb to the norms of portraiture that Daguerre made famous but to focal points of beauty in landscape, cityscape and how well assembled the model appears in those scenes. Body Media With the issue of thinness, the disease anorexia is conjured up; since the advocating of the media towards a thinner woman’s body, disorders such as anorexia and bulimia have become predominant among women and men. In the Western culture this rising phenomenon has become a central fact for overly conscious people who focus on their appearance, as Dittmar and Howard state, â€Å"†¦they learn to see themselves as objects to be looked at and evaluated by appearance. This pressure is constantly reinforced by a strong cultural ideal of female beauty, and that ideal has become synonymous with thinness† (477-478). With this notion in the forefront of the paper other issues such as model size as they are propagated through the media become a rising concern. Dittmar and Howard go on to state that roughly 20% of models in the fashion industry are underweight which in term clinically diagnosis them with the condition of anorexia nervosa. These conditions give further rise to other women’s problems. Since the cultural idea of thinness as perpetuated by the media and the fashion industry is to have increasingly thin body types, the average woman or man tries dieting and exercising to keep up with the ‘standard’. When the average woman or man finds that they are still not ‘normal’ according to the cultural guidelines of the word, they begin to be dissatisfied with their bodies which leads to low self-esteem, â€Å"Thus it stands to reason that women are likely to experience body dissatisfaction, low self-esteem and even eating disorders if they internalize and strive for a beauty ideal that is stringently thin and essentially unattainable† (478). The mass media is the continual hindrance to a healthy body image for Americans. The media is a social influence that reinforces these ideals through repetition and product placement. The media is a visual stimulation letting the American public voyeuristically fantasize about ultra thin models and having a body (sometimes these bodies are digitally re-mastered) that provides relative pleasure in shape. Dittmar and Howard’s article highlights one such concern with the UK government in which they held a conference in June 2000 to discuss this issue of thinness and the media and to in essence debate about banning the use of these too thin models as media advertisement since the image essentially gave permission to the public to suffer and toil over gaining a great body, no matter the public acquired anorexia nervosa or other clinical conditions. The detriment of this fact, the fact that thinness is amounting to such problems as anorexia nervosa raise many social and cultural issues. The cultural issue may best be summarized in Dittmar and Howard’s article as they quote Naomi Campbell and Claudia Schiffer, both spokespersons for top models, â€Å"†¦(s)tatistics have repeatedly shown that if you stick a beautiful skinny girl on the cover of a magazine you sell more copies†¦Agencies would say that we supply the women and the advertisers, our clients, want. The clients would say that hey are selling a product and responding to consumer demand. At the end of the day, it is a business and the fact is that these models sell the products† (478). Thus, the opposite side of the spectrum is arguing that businesses or model clients are merely representing something that already exists within the cultural dynamic. The argument is that thin models represent what people want to see and so the products the model’s are advertising sell more copies. The clients of the modeling agencies are merely tied into the vicious cycle of believing what they want to believe. Although this point seems somewhat valid, the validation stops when such perpetuating leads to serious illnesses (in some cases anorexia or bulimia have lead to death). It can plainly be deciphered from the above text that body image is created by the media, as Guttman quotes in her article â€Å"Advertising, My Mirror† in an interview with Christian Blachas, â€Å"That image comes to us from the fashion world. People like to say advertising starts trends like the recent wave of ‘fashion pornography. ’ But this came straight from designers and fashion journalists. The job of advertising is to pick up on trends. It’s rarely subversive because brands don’t gain anything from shocking people too much. Advertising’s a remarkable mirror, but it doesn’t start fads† (25). Consequently, Blachas is stating that if fault is to be placed anywhere for the over correction of dieting, then the blame is not on the fashion industry but on advertisers who are the ones who pick up trends and allow these trends to filter down to every consumer; thus, while 20% of models are diagnosed as too ‘thin’ this relevant percentage can be related to the American public. Since the blame seems to be resting with the advertisers, another close look at the media needs to be given. The media perpetuates fads and other culturally influential eras, but this seems to have heightened within the past few decades. The bombardment the public receives from the media and especially from the advertising end of the media is seen not only in commercials but in product placement in music videos, and movies. Magazines also aid in distributing the advertisements’ ideals as can be seen in repeated simulation on television soap operas, just as much as from fashion magazines, as Hargreaves and Tiggemann state in â€Å"Longer term implications of responsiveness to ‘thin-ideal’: support for a cumulative hypothesis of body image disturbance? , â€Å"Although this evidence appears to support the media’s negative impact on body image, various methodological limitations need to be acknowledged. In particular, the causal direction of correlations between body dissatisfaction and media use remains a challenge. The causal direction is clear in controlled laboratory research†¦One possible link between individual reactive episodes of dissatisfaction in response to specific media images and the development of body image is that enduring attitudes, beliefs, and feelings about bodies and appearances accumulate over time through repeated exposure to ideals of attractiveness in the media† (466). Thus, the level of insecurity is maintained in the public through the barrage of repeated body images through advertisements. In the composition of photography there are many elements which define the medium; line, color, focus, brightness, scenery, shadow, etc. The evolution of fashion photography hinged upon the mass reproduction of images in magazines. In Germany, in the early 20th century, fashion became fully popular and available to the populace through Berliner Illustrierte Zeitung and Munchner Illustrierte Presse . It is in the magazine world that fashion photography began it’s popularity . As soon as fashion hit a mainstream cord with the public, magazines sales soared and thus was born the beginning of the history of fashion photography. There was great demand for magazines; especially fashion. Women and men would see what to wear, how to wear to it, what was in style and the modern world finally had the leisure to pursue the market of clothes as fashion. With this demand installed in the public, it was up to the photographers of the early fashion industry to come up with new ways in which to depict the model, the clothes and entice women and men to dress according to what was portrayed in the photos. This is where composition of the photo is required to ensure new and deliberate methods of fashion portrayal. With the oncoming age of color introduced in photography in the 1930’s and 1940’s as the encyclopedia elaborates, â€Å"Nonetheless, color remained a sidelight in photography until the 1930s because it required considerable patience and expense on the part of both photographer and printer. The dominance of color in terms of reproduction and everyday picture-taking did not begin until 1935, when Kodak started to sell Kodachrome transparency film, and was completed by the introduction of color-print films and Ektachrome films in the 1940s†. With color photography, the realm of the fashion world drastically changed. The limits of black and white and sepia toned magazine covers gave way to brilliant exhibits of color combinations, and a wide range of fabrics that women and men could now see, duplicate, or buy. Fashion photography changed from depicting high-class society women to models in every day clothing. Professional photographers were then counted on to resonant the possibility of how fashion should co-exist with society. With Vogue and Harper’s Bazaar photographers were hired full time to create, in the magazine, a gallery of fabric eye candy dressed on a model with a backdrop. June 1, 1947 Vogue cover. The most notable photographers at the time were pictorialists , Edward Steichen and Englishman Cecil Beaton. The incorporation of art into photography made the photographs more believable as high fashion. Steichen and Beaton glamorized the models with enhanced lighting effects, which lionized the models and made the magazine world believe that fashion through photography was otherworldly. Among new techniques being used, the online encyclopedia states, â€Å"American Edward Steichen and Englishman Cecil Beaton, both one-time pictorialists. These photographers began to use elaborate lighting schemes to achieve the same sort of glamorizing effects being perfected by Clarence Bull as he photographed new starlets in Hollywood, California. Martin Munkacsi initiated a fresh look in fashion photography after Harper’s Bazaar hired him in 1934. He moved the models outdoors, where he photographed them as active, energetic modern women†. So began the movement of high fashion. Martin Munkacsi photograph. In the movement, the use of fashion as advertisement was key in developing a market for fashion photography. It is through marketing advertising, that fashion photographers began to be highlighted, as the encyclopedia states, â€Å"The new approach to photography in the editorial content of magazines was matched by an increasingly sophisticated use of photography in advertisements. Steichen, while also working for Vogue and Vanity Fair magazines, became one of the highest-paid photographers of the 1930s through his work for the J. Walter Thompson advertising agency†. These photographers, as well as others, helped to make advertising an art form through use of portraying model’s hands in product placement, and altogether catering to ever-widening audience of magazine buyers. Fashion photography changed through the utilization and realization that product sold only through its modeling and photographic depiction.

Suicide :: essays research papers

Teen Suicide   Ã‚  Ã‚  Ã‚  Ã‚  Suicide is a major issue among teens. In 1990 alone we lost more than 13 out of 100,000 teens to suicide. This number increased by 15% less than one year later. When suicide is discussed in schools students take it very seriously because they know that at least two people in their class will attempt suicide.   Ã‚  Ã‚  Ã‚  Ã‚  When there are suicide prevention discussions most feel their is no hope. â€Å"Youth still see psychiatry as a pretty scary system,† says Lynn Chiarell, satellite program coordinator for Youth Net (Youth Net). â€Å"When you look at what happened at Columbine, it’s pretty obvious those kids had real problems but everyone just ignored it. We want to prevent that from happening here at Youth Net.† When suicidal teens see that there are people who care, they feel they have someone to talk to. Most teens that are thinking about suicide won’t talk about their feelings. This is why it is important that if someone brings the issue up you talk to them and ask them about their feelings and tell them you care. If we can get more people to at least consider suicide being an open issue it is a big step in teen suicide prevention.   Ã‚  Ã‚  Ã‚  Ã‚  Every teenager has mood swings and habit changes. But when a teen seems to be depressed for more than two weeks, serious depression could be setting in (APA Online). â€Å" Young people who have attempted suicide are at greater risk of future attempts. Listen for hints like, â€Å" I’d be better off dead† or â€Å" I won’t be a problem for you much longer† or â€Å" Nothing matters; It’s no use,† so you can tell if your teen is suicidal. Many suicide cases are by teens who abuse alcohol or drugs. Some teenagers â€Å"clean house† by giving away favorite possessions, cleaning their rooms or throwing things away before committing suicide. Some of the most dangerous times of a teen’s life is when he or she has suffered a loss or been publicly humiliated, Loss of self-esteem, the break up with a boyfriend or girlfriend. When this happens suicide is often a reoccurring thought. When you know that something like t his has happened you should talk to the teen about how they feel.   Ã‚  Ã‚  Ã‚  Ã‚  Young people in today’s society have it tough. They deal with divorce, death and illness. Teens have to deal with complex decisions and peer pressure every day.

Important Quotes Frankenstein

Important quotes from Frankenstein â€Å"†¦ an enterprise which you have regarded with such evil forebodings. † – RW, P. 7 â€Å"I shall certainly find no friend on the wide ocean,† – RW, P. 11 â€Å"We accordingly brought him back to the deck, and restored him to animation† – RW on VF, P. 14 â€Å"†¦ playful as a summer insect†¦ lively as a bird†¦ the most fragile creature† – VF on E, P. 20 â€Å", the first misfortune of my life occurred – an omen, as it were, of my future misery† – VF, P. 25 â€Å"Thus ended a day memorable to me; it decided my future destiny† – VF on inevitable fate, P. 30 â€Å"†¦ y father had taken the greatest precautions that my mind should be impressed with no supernatural horrors. † – VF on actually having a caring father, also, Gothicism, P. 31 â€Å", I became myself capable of bestowing animation upon lifeless matter† à ¢â‚¬â€œ VF, P. 32 â€Å"†¦ a dreary night†¦ with an anxiety that almost amounted to agony† – VF and the day of creation, his mental state and pathetic fallacy, P. 35 â€Å"†¦ my candle was nearly burnt out† – VF, a metaphor for his sanity, P. 35 â€Å"†¦ he muttered some inarticulate sounds, while a grin wrinkled his cheeks† – VF on the monster as a newborn baby, P. 6 â€Å"†¦ one hand was stretched out† – VF on the monster as Michelangelo’s Creation of Adam, P. 36 â€Å"†¦ but I escaped, and rushed down stairs† – VF abandons his baby, his duty, P. 36 â€Å"Oh, save me! save me! † – VF as a damsel in distress, HC is the saviour, save-haven, P. 39 â€Å"†¦ the season contributed greatly to my convalescence† – VF as a Romantic, nature restores health P. 39 â€Å"During the whole of this wretched mockery of justice, I suffered living torture. â₠¬  – VF, the beginning of injustice; brought on simply by himself, P. 54 â€Å"Could the daemon†¦ lso in his hellish sport have betrayed the innocent to death and ignominy. † – VF. It was VF who betrayed the innocent, so surely then he is the daemon? P. 56 â€Å"Justine died; she rested; and I was alive. † – VF; is death better than life at this point? P. 61 â€Å"†¦ deep, dark, death-like solitude† – VF, P. 61 â€Å"I had been the author of unalterable evils† – VF and his inevitable fate, his realised sense of guilt and fault, P. 62 â€Å"The rain depressed me† – VF, pure and simple pathetic fallacy, P. 65 â€Å"†¦ the view of the tremendous and ever-moving glacier†¦ t had then filled me with a sublime ecstasy† – VF on the sublime nature of his setting, P. 66 LINK: â€Å"Infinity has a tendency to fill the mind with that sort of delightful horror† – Edmund B urke, On the Sublime and Beautiful â€Å"†¦ the vast river of ice†¦ their icy and glittering peaks† – VF, a continuation of the sublime, and a reference to Rime, P. 67 LINK: â€Å"The ice was here, the ice was there / The ice was all around† – Samuel Taylor Coleridge, Rime of the Ancient Mariner â€Å"All men hate the wretched† – M, proving himself different to humans, P. 7 â€Å"†¦ you, my creator† – M, master/slave distinction, father/son distinction, self-awareness, P. 68 â€Å"I ought to be thy Adam; but I am rather the fallen angel† – M is comparing himself to the devil. Whereas he should have been a perfect being, he became an archetypal fallen angel, like Lucifer for example, P. 68 LINK: â€Å"Awake, arise or be for ever fall’n. † – John Milton, Paradise Lost â€Å"†¦ thy creature, who implores thy goodness and compassion. † – M only needed his creator, his father, to care for him. He was of a good nature, until rejection. P. 8 â€Å"; my soul glowed with love and humanity† – M, until he realised he was not human, P. 68 â€Å"Oh, praise the eternal justice of man! † – M. This brilliantly ironic; the monster has learnt sarcasm, and is using it to condemn VF for wanting to murder him, despite VF accusing the monster of murder. In doing so, the monster mocks the injustice of Justine’s trial, as well as William’s death, P. 69 â€Å"Cursed be the day†¦ in which you first saw light! † – VF. Unlike convention, the symbolism of light here is negative, P. 69 â€Å"I thrust my hand into the live embers, but quickly drew it out again with a cry of pain. – M has no parent, he learns through trial and error, P. 71 â€Å"†¦ miserable, from the inclemency of the season, and still more from the barbarity of man. † – M, as an unnatural being, has at this point neither nature nor mankind. He is a reject, P. 73 â€Å"It was indeed a paradise, compared to the bleak forest, my former residence† – M, his hovel is a paradise from which he is soon banished, after he gives in to curiosity and tries the ‘forbidden fruit’; talking to humankind, P. 75 â€Å"†¦ when I found that in doing this I inflicted pain on the cottagers, I abstained† – M learns guilt, is of a good nature, P. 7 â€Å"I went into the woods, and collected my own food and fuel for the cottage. † – M becomes a parent to the De Lacy family, and furthermore becomes a peasant, P. 79 â€Å"The lady was dressed in a dark suit, and covered with a thick black veil† – M describes Safie as dressing in a Gothic manner, P. 80 â€Å"†¦ her eyes were dark, but gentle† – M, provides alternate view to idea of black symbolising darkness or Gothicism, P. 81 â€Å"And what was I? † – M has no cl ass, has no role in society, P. 83 â€Å"Of what a strange nature is knowledge! – M realises that maybe all that he has learnt is not for the better, P. 83 â€Å"The injustice of his sentence was very flagrant† – M again experiences injustice, grows evermore corrupt, P. 85 â€Å"I can hardly describe to you the effect of these books† – M acquires life-changing books, P. 89 â€Å"†¦ the picture of an omnipotent God warring with his creatures† – M, familiar? M vs. VF, P. 90 â€Å"Like Adam, I was created apparently united by no link to any other being in existence, but†¦ he had come forth from the hands of God a perfect creature, happy and prosperous†¦ I was wretched, helpless and alone. – M links himself to Adam, realises he is not a perfect creature, or a human. He acknowledges his alienation, his loneliness, P. 90 LINK: â€Å"Adam, the goodliest man of men since born his sons† – John Milton, Para dise Lost â€Å"Many times I considered Satan as the fitter emblem of my condition† – M is the fallen angel, P. 90 â€Å"†¦ the hearts of men†¦ are full of brotherly love and charity† – De Lacy, but maybe M isn’t a human brother, he is different, P. 93 â€Å"I am blind, and cannot judge of your countenance, but there is something in your words which persuades me that you are sincere. † – De Lacy.M speaks eloquently, is compassionate (at this point) and cares for the De Lacy family, but on the outside is a monster, P. 94 â€Å"No: from that moment I declared everlasting war against the species† – M is rejected by De Lacy family, P. 95 â€Å"This was then the reward of my benevolence! † – M saves a woman from drowning, and is shot in doing so. Again, it is his appearance, not his intention, that is seen by mankind, P. 99 â€Å"You, my creator, would tear me to pieces† – M, but actually , VF tears the female M to pieces, P. 102 â€Å"Oh! my creator, make me happy† – M, this is the simplest demand to his father/creator, P. 02 â€Å"I do not destroy the lamb and the kid, to glut my appetite; acorns and berries afford me sufficient nourishment† – M; eco-criticism? P. 103 â€Å"; the sun will shine on us as on man, and will ripen our food. † – M. Both Romantic (nature supplying food) and Marxist (all men are equal)? P. 103 â€Å"†¦ with this deadly weight yet hanging around my neck† – VF acknowledges his guilt, but it still exists. Also, has he replaced religion with his actions, and replaced God with himself? P. 108 LINK: â€Å"Instead of the cross, the Albatross / About my neck was hung. – Samuel Coleridge, Rime of the Ancient Mariner. â€Å"But in Clerval I saw the image of my former self† – VF. Could it be that Clerval is the innocent, ambitious and excitable VF, and the monster is t he corrupt and miserable VF? P. 113 â€Å", the sight of what is beautiful in nature†¦ could always interest my heart. † – VF was (he is recollecting his childhood, here) a Romantic. Now, he has gone against nature and created something unnatural, P. 114 â€Å"Had I a right†¦ to inflict this curse upon everlasting generations? † – VF suddenly gains a conscience. Was M simply a ‘test-run’?He has learnt his lesson, and he shall now tear up the female M, P. 119 â€Å"Have my murderous machinations deprives you also, my dearest Henry, of life? † – VF, I think we now know who the murderer is, P. 127 â€Å"The peasants were shut up in their hovels† – VF, so was M a peasant? P. 148 â€Å"You have read this strange and terrific story†¦ do you not feel your blood congealed with horror, like that which even now curdles mine? † – RW; so was the story Gothic? P. 151 LINK: â€Å"†¦ one to make the reader dread to look around, to curdle the blood, and quicken the beatings of the heart. – Mary Shelley, on what Frankenstein was intended to be. â€Å"in his murder my crimes are consummated;† – M, upon seeing VF dead, believes justice has been done. He who abandoned him has suffered. P. 158 â€Å"I, the miserable and the abandoned, am an abortion† – M did actually develop fully, though. He was, however, an aborted experiment, P. 160 â€Å"He was soon borne away by the waves, and lost in darkness and distance. † RW, not only is M lost in darkness, but so is the reader. What happens next? Does M really stay by his word? What comes of RW? P. 161

The Loss Of Innocence By William Golding - 2100 Words

Mutated Innocence: Rough Copy Innocence is a characteristic that humans possess from birth. It is a quality of being free from guilt, sin, or moral wrong. When humans begin to mature, their innocence can evolve into one that benefits them as they start to gain knowledge or have experience; alternatively, it can also lead to a disadvantage, as a result of humans tending to misuse what they achieve through their life. In Lord of the Flies, William Golding displays the central theme of innocence, as a quality that decreases in the boys over time as a result of them losing their understanding of society, consequently leading them to act like savages. The loss of innocence is viewed through the foreshadowing of Piggy and Simon’s death which leads to the boys’ personalities becoming savage, the irony in how they communicate or what they do drifts them towards savagery, along with symbolism that relates to hunting which ultimately brings fear among the boys. The use of foreshadowing depicts decline in inn ocence, specifically from two major deaths; the death of Simon and Piggy. These deaths clearly represent the attributes of savagery and prepares the reader for possible future events. Primarily, the loss of innocence can be observed from the Lord of the Flies, symbolizing the sow’s head which foreshadows Simon’s death. The Lord of the Flies says, â€Å"We are going to have fun on this island. Understand? We are going to have fun on this island! So don’t try it on, my poor misguidedShow MoreRelatedLord Of The Flies Nature Analysis1027 Words   |  5 PagesCline Ms.Tantlinger Honors English 10 2 January 2018 Man’s Evil State of Nature shown through the Loss of Innocence in Jack and the Hunters The novel Lord of the Flies, is an excellent exemplar written by William Golding in showing the true evil state of man’s nature. It captures young british school boys who have landed on an island due to a plane crash who work their way into losing innocence, acting like adults and starting caos. The boys were placed into a dream location for kids with noRead MoreLoss of Innocence757 Words   |  4 PagesIt has been said that innocence can be defined as the state or quality of being morally free from guilt or sin, through lack of knowledge of evil. I will examine pieces of literature that convey the loss of innocence to either a particular person, or a group of people. The first piece of writing I have chosen is, The Lord of the Flies by William Golding. In the middle of a war, a plane carrying a group of schoolboys crashed onto an island. The pilot had been killed, so that left the boys to fendRead MoreLord Of The Flies Allegory820 Words   |  4 PagesAccording to the Merriam-Webster Dictionary, innocence is â€Å"freedom from guilt or sin through being unacquainted with evil† (â€Å"innocence† def. 1). In the allegorical novel, Lord of the Flies by William Golding, the innocence of schoolboys deserted on an island is tested and broken. In a failed attempt to reach safety in the midst of World War II, these boys are stranded on an island to fend for themselves. Golding uses Simon, the archetypal innocent character, in the text to demonstrate the corruptionRead MoreWilliam Golding s Lord Of The Flies1394 Words   |  6 PagesPast Innocence Innocence is usually referring to children who have not experienced, or have no knowledge about the evils and sufferings of the real world. However, at some point of your life you will lose that innocence and what is it replaced by? Maturity? In the novel Lord of the Flies, the author, William Golding includes many symbols throughout the story, that represent the corruption taking place inside the boys, as they survive on the island. 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Jack falls far from the rules of society as he is overcome by the power of the mask, Jack also conceals his humanity by using his war mask; Golding uses this to portray one of the mainRead MoreEssay on Human Nature in William Golding ´s Lord of the Flies686 Words   |  3 PagesLord of the Flies, a 20th century novel written by William Golding, countless issues are portrayed; however the essential nature of humankind is, perhaps, the most recurring. From the moment we meet the boys after they land on the island, it is obvious that this fundamental issue will play out through the entire length of the novel, and, as it progresses, the deeper Golding will delve into mankind’s true nature. Shown through the loss of innocence, social skills, and order, the nature of humankindRead MoreTheme Of Lord Of The Flies And The Guide Essay1407 Words   |  6 PagesHossain ID NO. 133013040 ENG 302 The Novel-1 Submitted to: Ms Arifa Rahaman Date: 09.12.2015 Theme of ‘Lord of The Flies’ and ‘The Guide’ ‘Lord of the flies’(1954) and ‘The guide’(1958) are the two novels written by famous novelists William Golding and R.K. Narayan. ‘Lord of the Flies’ portrays the story of a group of British boys trapped on an abandoned island who try to administrate themselves with catastrophic results and On the other side, R.K. 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