One of the more surprising statistics cited by Shadid is that in post-war Iraq, jobs with Americans are actually the most plentiful source of labor, and pay the best, from $130 up to $175 a month (284).
This statistic starkly underlines how the hope of America pulling out of Iraq without causing economic as well as military chaos seems bleak. The volunteers soldiers still hold fast to the sunrise to sunset fast of Ramadan, and feel grateful that they are able to help their families during the nightly feast in a month that is so sacred -- but not because they feel the ideals of America are important to their nation's collective future. Of course, for some Iraqis, no matter what the salary, joining the occupying forces was morally wrong, and simply not worth the money, however high, that Americans might pay. The enlisted Iraqi soldiers worry about retaliation, stating grimly that opponents will "not forget" their faces (285).
This is a nation, Shadid stresses, that never forgets anything -- not a betrayal, not a religious conflict, nothing. He quotes religious, militant Islamicists, who speak of cleansing their nation of all foreign forces and find, in an atmosphere of poverty and degradation, at least some pride that their children may have died fighting for Islamic ideals, and have not fallen in with America. They use tactics that Americans would call terrorism, but what to many Iraqis is noble resistant to foreign, Western forces (290) "In a confusing aftermath...nothing was confusing" to men who believed in fundamentalist tenants of faith (291). In one bombing described by Shadid, "once again, the gulf between occupier and occupied" was filed with "unavoidable slights," even after the man had died, like leaving the man his back his family was allowed to identify him (296).
The Americans scoff that the instigator was motivated by money, although the man's family insist that it was faith. Ironically, when Iraqis volunteer for the Americans to serve in the national army, the Americans view this as idealism,...
Furthermore, when groups began people naturally turned to the group leader for direction and advice. It would be accurate to state that most of the relating was to the group leader at that point. However, by exercising linking behavior, I was able to get the group members to look to each other for understanding and help. Initially, I had to point out when people were saying things that would indicate
Chapter 10: Direct to Consumer Advertising Television Television advertising has caused a rift in traditional doctor-patient relationship. Patients arriving for doctor visits with a firm, fixed idea of outcome -- prescribe me the drug because I saw it on television! Encourage consumers to think buying drug like buying soap. End of expectation that individual doctor knows best and best medical care emerges from open discussion of patient symptoms, concerns, and exam and consideration
Tom Shulich ("ColtishHum") A comparative study on the theme of fascination with and repulsion from Otherness in Song of Kali by Dan Simmons and in the City of Joy by Dominique Lapierre ABSRACT In this chapter, I examine similarities and differences between The City of Joy by Dominique Lapierre (1985) and Song of Kali by Dan Simmons (1985) with regard to the themes of the Western journalistic observer of the Oriental Other, and
al. 11). In the same way that European colonialism itself depended on a limited view of the world that placed colonial subjects under the rule of their masters, European theory was based on a view of literature and identity that had no place for the identities and literature of colonized people. Postcolonial theory is the ideal basis for this study, because in many ways the process of developing a
The rococo was aimed towards the French court and nobles. The main message was not a religious one, but aimed the upper classes and focused on their lives, houses and celebrations. In France this style gave way to the austere neoclassic style at the end of the xviii century and disappeared with the French revolution in 1978, suddenly and completely. Neoclassicism appeared as a return to the classical ideology in
Pissarro took a special interest in his attempts at painting, emphasizing that he should 'look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon. In the meantime Pissarro had introduced him to Cezanne, for whose works he conceived a great respect-so much so that the older man began to fear that he would steal his
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