Isalmic Studies Essay Example | Topics and Well Written Essays - 1000 words

Isalmic Studies - Essay Example Be it in-law or in blood. Thus, Shi'ites could have descended from the bloodline of the prophet Muhammed, peace upon him. This poetic piece of the Qur'an is quite glaring substantiation to the idea of the Shi'ite. Their shadows may mean descendants, mornings may mean children and young ones, and afternoons may mean the middle and old aged. "And to Allah (alone) falls in prostration whoever is in the heavens and the earth, willingly or unwillingly, and so do their shadows in the mornings and in the afternoons (Surah 13:15), and "whosoever is saved from his own covetousness, such are they who will be the successful" (Surah59:9) In the 7th century, after the death of the prophet Muhammed, peace upon him, a void was left to his position as a leader of a Sunni community. It is a population of believers in Islam. This was initially filled by his friend and father-in-law Abu Bakr. He is the father of Aisha who is the second wife of Muhammed, peace upon him. After Abu Bakr, the leadership was passed on to three more unidentified Muslims. The same post was accepted by Ali the son-in-law of Muhammed, peace upon him. He is the husband of Fatima. Fatima was the daughter of Muhammed, peace upon him, with Kadija. Kadija was the first wife of Muhammed, peace upon him. ... al, 1989). Khawarij in Arabic Kharijite meaning one that departs, dissenter, a member of a Muslim secessionist sect establishing a radically democratic reform community in the 7th century (Webster's Third New International Dictionary, Unabridged). It can then be synonymous to Shia. It is a group originating in the controversies over leadership of the community (The Encyclopaedia Americana International Edition USA, 2002).There were two contenders to the Caliphate then. First the Umayyad's who were a family of power (Perry, 1989). They succeeded in assuming the leadership. Second the Shi'a, Shi'ites, proponents of ascendancy (Perry et. al, 1989). They must be the descendants of the prophet Muhammad, peace upon him. They tried but failed to retake the post (Perry et. al., 1989). Eventually they turned out into Khawarij because they departed. They established a radically democratic and puritanical reform community (Webster's Third New International Dictionary, Unabridged). They adopted some philosophies. They evolved practices different from those of traditional Muslims, known as the Sunni. They did not acknowledge the Umayyad's (Perry et. al. 1989). Over the years, the Umayyad's held the highest position of the caliphate. It gained the support of the greater part of Muslims who were all Arabs (Perry, 1989). So, they to all intents and purposes made extensive triumph escalating Muslim dominion. However, the Umayyad's never saw their inaccuracy. First, it repositioned the Muslim seat of power from Mecca to Damascus in Syria. Second, it gave only Arabs the holdings of prominent positions in the hierarchy. This was to the bitterness of its new members. They were

Public policy Essay Example | Topics and Well Written Essays - 4000 words

Public policy - Essay Example But they are a happy and hospitable people. It is a common public policy to smile and be hospitable to any foreigner who comes in and visit one of their islands. The Filipinos are proud of their race. They smile when they see a tourist: that’s tourism policy number one. Tourism has been a flourishing industry in the Philippines and an attractive business venture because of its beautiful scenic spots, baroque churches, white beaches and various heritage sites, a legacy of the hundreds of years of Spanish colonization, and subsequently the American colonization which led to the Philippine independence on June 12, 1898. However, the Philippine tourism industry has passed through various stages of decay and then development. If public policies had been enforced to the letter, the Philippines could have been the number one tourist destination in Asia because of its rich heritage, historic spots, rich natural resources, and a hospitable people willing to receive any guests who have entered into their shore lines. Tourism was used for political purposes during the regime of President Ferdinand Marcos. Tourism policies during Marcos’s time were concentrated on government efforts to gain support from foreign governments, especially during the period when he declared martial law. There was no popular support or cooperation from the local community who had mixed feelings of fear, hatred and remorse over the dictatorship. Human rights violations were rampant. Resorts, hotels and other business establishments were owned by Marcos ‘cronies’. Rebel groups started to surface, and there almost anarchy in the streets. People power led by Corazon Aquino, wife of the martyred opposition leader Benigno Aquino Jr. led to the toppling of the dictatorship. Tourism was totally down at that time. (Gray, 2008, p. 369) When the dictator Marcos was overthrown by a people-power revolt, Corazon ‘Cory’ Aquino took over, and once again, her government used

Summary of Dr. Faustus Essay Example for Free

Summary of Dr. Faustus Essay ?Christopher Marlowe was an older contemporary of William Shakespeare. The Tragical History of Doctor Faustus is his best known work. Christopher Marlowe based his play Doctor Faustus on stories about a scholar and magician, Johann Faust, who allegedly sold his soul to the devil to gain magical powers. Born in 1488, the original Faust wandered through his German homeland until his death in 1541. In 1587, the first story about his life appeared in Germany. What Marlowe creates out of the story is a Medieval morality- play with a late Renaissance temper. In Doctor Faustus, Marlowe has made good use of a conventional Christian doctrine. Faustus strives against human limitation to the point of selling his soul. He is not only a seeker for power but also a knower and a desirer to know. The play begins with Dr. Faustus shown in his study, where he is deciding upon which field to specialise in- Analytics or Logic. Dissatisfied with his human status, he would like to have magical powers of making men live eternally and bringing back the dead to life. He rejects divine learning also, because it is based on a recognition of man’s morality and fallibility. For most of the play, the chorus sets the motion of the drama. The first Act establishes the unscholarly attitude of Faustus and also the base for his tragedy- a poor bargain eventually made with the devil that will leave him devastated in the end. The subplot of Wagner, the scholars and the clown dramatises Faustus’ predicament in very crude terms and have certain comical elements in it. Act 2 outlines the tragedy with greater depth. Faustus’s rebellion against human nature is quite desperate, because it loses more than it gains. But Faustus is â€Å"resolved† and shall â€Å"never repent†. He finally signs the pact with the devil, giving away his soul in return for the services of limitless knowledge. Acts 3 and 4 are basically about the kind of life Faustus is now leading with the help of Mephistophilis and other minions of the devil. Faustus seeks and Mephistophilis plans, rather a series of comic indulgences mainly to distract the former’s mind from the tormenting religious awareness. The final Act brings a climatic end of Faustus. The 24 years of the agreement comes to an end and with that, the sad realisation that all knowledge, wealth and power of the world were futile in comparison to having an everlasting place in heaven. The keynote of the final monologue of Faustus, before the devil takes him, is a feeling of pity and terror which all great tragedies are expected to arouse. Marlowe had a twofold aim in the play. He would write a morality play and hence the substantial stasis can be highlighted along with the comedy and the undramaticality of the play associated with the morality tradition. J. P. Brockbank observes, that the play serves a purpose for the audience- â€Å"In fear we acquiesce in the littleness and powerlessness of man, and in pity we share his sufferings and endorse his protest. †

Gender Analysis of The Crying Game

Gender Analysis of The Crying Game Through a close analysis of The Crying Game, examine Judith Butler’s notion of the performativity of gender There appear to be many similarities between Neil Jordan’s 1992 movie The Crying Game and Judith Butler’s theory of the performativity of gender as promulgated in her seminal book Gender Trouble, which has been one of the most hotly contested intellectual studies on feminism published in the past fifty years. Both managed to cause major controversy by turning the traditional notion of gender on its head and both invite the audience/reader to question society’s making of ‘man’, ‘woman’, ‘masculinity’ and ‘femininity’. The following analysis seeks to show how Butler’s ideas managed to permeate Jordan’s film, which is – it should be noted – a much more complex movie than a mere study of gender issues. First, however, a definition of the ‘performativity’ of gender must be attempted so as to establish a conceptual framework for the remainder of the discussion. Judith Butler’s theory on gender should be interpreted within the broader social and political context of feminist theory that came in two distinct ‘waves’ during the 1960’s and the 1970’s. After securing the requisite political achievements gained by the advances of the first wave, the second, more radicalised wave of feminism sought to challenge historical notions of man and woman in western society, â€Å"which maintains male dominance by co‑opting women and suppressing the feminine. These arguments link dominant western forms of rationality with male power and control over women and nature, which is associated with violence, oppression and destruction.†[1] Thus, while Butler’s views are doubtlessly revolutionary, they should also be read within this dominant feminist climate of deep‑seated change that characterised the second half of the twentieth century in the West, which sought to deliberately create divisions between heterosexual men and heterosexual women in order to further the feminist cause. This is also the reason behind the alliance between radical feminism and the gay and lesbian communities, which was forged at this time and which is directly relevant to the performativity of gender as seen in The Crying Game. Butler’s views deviate from the feminist norm with regards to the way in which she formulates the idea of having to ‘perform’ the parts of man and woman in contemporary society. In this sense, she sees both masculinity and femininity as being manufactured by culture and she plants the idea that if this culture were structured along less visibly male‑female lines, then the two g enders would behave in a discernibly different manner. This is the idea which is used in The Crying Game to which attention must now be turned. The Crying Game is a movie that is as much about the Troubles of the IRA as it is a film about trans‑gender analysis. The plot concerns the nucleus of a small band of Irish terrorists who kidnap a British soldier (Forest Whitaker) for the purpose of exchanging him in order to secure the release of captive IRA operatives in UK jails. The gang is led by Maguire (Adrian Dunbar) and also contains Jude (Miranda Richardson) and Fergus (Stephen Rea.) It is the character of Fergus who will become the main focus of the film as first he finds himself unable to the kill the British soldier, Jody and subsequently he embarks upon discovering the dead man’s lover, Dil (Jaye Davidson) to whom he finds himself immediately attracted. This burgeoning relationship between Fergus and Dil is fraught with tension as Fergus feels tortured by guilt for the death of Jody (although Fergus lets him go, the soldier is still accidentally killed by a British tank). This tension is an essential cinem atic precursor to the movie’s central plot twist, which comes as a major surprise to the viewing audience. Before moving towards a critical appraisal of the revelation that occurs within the relationship of Dil and Fergus, mention must be made of the way in which Neil Jordan manages to exploit the traditional notions of woman in film. By picking an androgynous looking actor to play Dil, the director tricks the audience into believing a traditional heterosexual relationship between a man and a woman is about to take place – a relationship rendered tragic by the loss both characters have already suffered. This coupling, in film history, has usually seen the man seducing the woman who acts as the aesthetically beautiful centrepiece of the action. â€Å"In the celluloid brothel of the cinema, where the merchandise may be eyed endlessly but never purchased, the tension between the beauty of the woman, which is admirable, and the denial of the sexuality which is the source of that beauty but is also immoral, reaches a perfect impasse.†[2] Therefore, when it slowly transpires that Dil is not yet another example of the cinematic female beauty but is in fact a man, the sense of shock is all the more pronounced. As with Butler’s idea on the performativity of gender, Jordan stops short of stating this development as a fact; instead, it is left open to conjecture as a philosophical question: does Dil’s biology mean that he is a man no matter what or does the fact that he has assumed a female role mean that he has transgressed the gender divide to become a woman in the cultural sense? This is a key line of inquiry in radical feminist ideology and one that has no direct answer. For instance, although traditionalists would argue that no‑one can ever reverse the gender of their birth liberals would likewise state that gender is a construct of society and that both males and females should be freely able to choose not only their sexuality but also their gender. This is a direct descendent of Judith Butlerâ⠂¬â„¢s Gender Trouble where the author argues the case that men and women both perform the roles of masculine and feminine without ever questioning its validity in this way. â€Å"Gender is †¦ a construction that regularly conceals its genesis; the tacit collective agreement to perform, produce and sustain discrete and polar genders as cultural fictions is obscured by the credibility of those productions – and the punishments that attend not agreeing to believe in them.†[3] Fergus’ response to the realisation that Dil is a transvestite is typically male and typical of society’s general horror at such transgressions of sexuality and gender. His first response is to punch Dil in the face and retract his previous statements of affection. He exits the scene, leaving Dil lying bloodied on the floor. Fergus’ disgust is mirrored in the shock felt by the contemporary cinema audience, which was manifested in mass protests from Christian and conformist communities when the film was released both in the UK and abroad. The director makes sure not to over or under dramatise the revelation of Dil’s transgression of gender, preferring instead to let the remainder of the plot play out to the backdrop of the shock of the ongoing relationship between the two main characters. With the spectre of the IRA unexpectedly re‑appearing towards the end of the film, the audience is transported away from the notion of the performativity of gender to see how Fergus is able to rise above his initial feeling of disgust to save Dil from prison after the shooting of Fergus’ old comrade, Jude. Interestingly, Dil is compelled to murder Jude when it transpires that she had enjoyed a sexual relationship with Jody while the soldier was in her captivity. Thus, there is no doubt that – after all that has transpired – Dil still identifies herself as a woman and is directly challenged by the more obviously feminine Jude. At this point, mention must be made of the difference between Butlerâ€⠄¢s notion of the performativity of gender and the kind of transgender concepts encapsulated in drag and cross‑dressing. â€Å"In the majority of the works that have followed in Butler’s wake, drag (as the parodic enactment of gender) is represented as something one can choose to do: the imputation is that one can be whatever type of gender one wants to be, and can perform gender in whatever way one fancies. This is what you might call a voluntarist model of identity because it assumes that it is possible to freely and consciously create one’s own identity. Whilst in many ways this voluntarist account of gender performance is in direct contrast with Butler’s notion of performativity, it is also, at least in part, a consequence of the ambiguity of Butler’s own account of the distinction between performance and performativity in Gender Trouble.†[4] Appropriately, Neil Jordan never alludes to whether or not Dill is voluntarily transgressing gender or whether it is a biological necessity for man to have morphed into woman. This mirrors Butler’s ambiguity and the ambiguity that pervades every aspect of the notion of crossing gender, which is one of the more intellectually challenging concepts for any society to grapple with. Ultimately, though, The Crying Game ends with a hint of the director’s views on the subject. During the final scene, which is set years later, Dil asks Fergus why he took the blame for her. Recounting an earlier scene, Fergus replies, â€Å"It’s in my nature.† This implies that there is no choice with regards to gender, sexuality and performance. We are what we are. Conclusion The Crying Game is a challenging film that operates on a variety of levels. Politics, race and gender are all subject to scrutiny without being dealt with in a moralistic way. Judith Butler’s notion pertaining to the performativity of gender is likewise a multifaceted study that has greatly influenced feminist ideology and has clearly infiltrated the mind of director Neil Jordan. In the final analysis, there can be no doubt that there is a strong link between the two without any simple, broad‑based conclusion being put forward by either party. In both instances, it is left up to the reader and viewer to make their minds up concerning gender and the wider issue of whether it is nature that constructs our sexual being or whether it is cultural nurturing that subconsciously encourages us to play the roles of heterosexual men and women. This is a difficult sensible balancing act to maintain, yet it is also ultimately sensible as both The Crying Game and Gender Trouble arriv e at the opinion that there can be no one deduction that manages to satisfy everyone. The conclusion, like the choice of gender and sexuality, must in the end be wholly subjective. BIBLIOGRAPHY Butler, J. (1990) Gender Trouble: Feminism and the Subversion of Identity London: Routledge Carter, A. (1978) The Saideian Woman and the Ideology of Pornography New York: Harper Row Featherstone, M. (Ed.) (2000) Body Modification London: SAGE Shaviro, S. (1993) The Cinematic Body: Theory out of Bounds, Volume 2 Minneapolis and London: University of Minnesota Press Stallybrass, P. and White, A. (1986) The Politics and Poetics of Transgression London: Routledge Sullivan, N. (2003) A Critical Introduction to Queer Theory Edinburgh: Edinburgh University Press Weedon, C. (1987) Feminist Practice and Poststructuralist Theory London and New York: Blackwell FILMS The Crying Game (Neil Jordan; 1992) Footnotes [1] Weedon, C. (1987) Feminist Practice and Poststructuralist Theory London and New York: Blackwell, p.7 [2] Carter, A. (1978) The Saideian Woman and the Ideology of Pornography New York: Harper Row, p.60 [3] Butler, J. (1990) Gender Trouble London: Routledge, p.140 [4] Sullivan, N. (2003) A Critical Introduction to Queer Theory Edinburgh: Edinburgh University Press, p.87

Gay Adoption :: Gay and Lesbian Adoptions

Homosexuality is becoming more and more accepted and integrated into today’s society, however, when it comes to homosexuals establishing families, a problem is posed. In most states, homosexuals can adopt children like any other married or single adult. There are many arguments to this controversial topic; some people believe that it should be legal nationally, while others would prefer that is was banned everywhere, or at least in their individual states. There are logical reasons to allow gays to adopt children, but for some, these reasons are not enough. The main issue really is, what is in the best interest of the child? This type of problem isn’t really one with causes, effects, and solutions, but one with pros and cons. Like any other adoption situation, a parent prove themselves to be responsible and capable enough to raise a child on their own, or with a spouse. This problem or issue is one that is proving to be a bigger one than many people most likely expected. In Today’s more liberal society, homosexuality seeing more acceptance than ever before. Homosexuals and heterosexuals alike have parental instincts and are as interested in beginning families and raising children. A family should be based on love and trust, if these two elements are present in a relationship, homosexual or heterosexual, there would be no reason that the environment the couple creates for a child would be bad. Some say the homosexual lifestyle revolves only around sex, which of course is the most inappropriate subject for a child. (White) For the most part, parents and adults keep what happens behind closed doors, private, therefore, there would be no reason for a homosexual person to flaunt their sex life, especially in front of a child. Pros of Adoption by Gay Parents Adoption is a very important part of the American lifestyle. The welfare of children needs to be put in front of homophobia. There are an estimated 500,000 children in foster care nation wide, and 100,000 of these children are awaiting adoption. In 2013, only one child of every six available for adoption was actually adopted. (Sanchez, 13) Statistics like these show the true importance of adoption. People seem to prefer to have their own children biologically, but adoption should be taken into consideration, even if natural conception is possible.

The Story of an Hour and The Hand Essay -- Comparative, Kate Chopin

The â€Å"Story of an Hour† by Kate Chopin and ‘†The Hand† by Sidonie-Gabrielle Colette are similar in theme and setting. Sidonie-Gabrielle Colette and Kate Chopin create the theme of obligatory love and the unhappiness it entails. Both stories illustrate the concealed emotions many women feel in their marriage yet fail to express them. The two stories take place in a sacred room of the house and both transpire in a brief amount of time. The differences between the two stories are seen through the author’s choice of characters in each story. In â€Å"The story of an Hour† Kate Chopin involves other characters in Mrs. Mallard’s life, whereas, â€Å"The Hand† deals with marriage and togetherness and only involves the husband and wife. Symbolism is seen all throughout â€Å"The Hand† not so in ‘The Story of an Hour.† The similarities in â€Å"The Story of an Hour† and â€Å"The Hand† is portraye d in theme and setting. The differences are illustrated in the choice of characters involved in each story and the amount of symbolism depicted in the different stories. â€Å"The Story of an Hour† and â€Å"The Hand† is similar in setting. Both stories take place in a house and occur mostly in the bedroom, which is considered to be a sacred room in the house. It is not a coincidence that both stories take place in a house, since a woman’s place is believed to be in the home. Women’s major role in marriage is to serve her husband, give birth to his children, and make his home a pleasant place to return to at the end of the day. A woman is denied many freedoms and rights and is expected to submit to the dreams of men and society. Both stories transpire in a brief period of time. The events in the ‘Story of an Hour† develop in just one hour from beginning to end. Mrs. Mal... ... by it. This is symbolic of her marriage which started out as happy and desirable and in such a short time she doubts her love for him and starts to see him as undesirable and animal-like. Women are afraid not to submit to the male species in fear of losing what they have and not being able to make it on their own. â€Å"The Story of an Hour† and â€Å"The Hand† both has remarkable similarities and differences. They share a common theme of women and marriage and the sacrifices they make for their family. The setting in both stories is significant to understand the role of women hundreds of years ago. The symbolism portrayed in â€Å"The Hand† is about relationships and marriage. When a relationship is new and everything is wonderful there are not any fears or regrets. As time goes by even the most desirable qualities in someone will begin to be an annoyance rather than a joy.

Harriet Beecher Stowe Essay

Born â€Å"June 14, 1811†, â€Å"Harriet Beecher Stowe†, was born to â€Å"Roxana and Lyman Beecher† (Lakewood Public Library n. p. ). This seventh sibling has a famous brother, â€Å"Henry Ward Beecher†, who is a leader of the â€Å"abolitionist movement† (Lakewood Public Library n. p. ). She also has a sister, â€Å"Catherine Beecher† who fought for the women to be educated; she played a large role in the women’s progress in terms of education (Lakewood Public Library n. p. ). In addition to that, she was married to an equally brilliant individual and popular named, â€Å"Calvin Stowe† at the age of twenty five (Lakewood Public Library n. p. ). She had seven children with this co-teacher of hers (Lakewood Public Library n. p. ). She attended the â€Å"Hartford Female Academy† to complete her education (Lakewood Public Library n. p. ). This is the same school that her sister, â€Å"Catherine Beecher† instituted when â€Å"Harriet Beecher Stowe† was only twelve years old (Lakewood Public Library n. p. ). In school, she was described as â€Å"absent-minded, moody, and weird†, however, she was also known as extremely intelligent and that she was exceedingly good in writing (Harriet Beecher Stowe, 1811 – 1896 n. p. ). When â€Å"Harriet Beecher Stowe† turned twenty one, she went to teach in â€Å"Cincinnati† at the â€Å"Western Female Institute†, another learning institution that her sister established (Lakewood Public Library n. p. ). Together with her sister, Catherine, she wrote and published â€Å"Geography for Children† (Harriet Beecher Stowe, 1811 – 1896 n. p. ). This same year, she has also been awarded with for an article she wrote and published in the â€Å"Western Monthly Magazine† entitled, â€Å"New England Sketch† (Harriet Beecher Stowe, 1811 – 1896 n. p. ). At the age of thirty nine, she had already accomplished a book, entitled, â€Å"Uncle Tom’s Cabin† (Lakewood Public Library n. p. ). She turned extremely famous in 1851, just a year after she has written the aforementioned book (Harriet Beecher Stowe, 1811 – 1896 n. p. ). In addition to the aforementioned, what made her more famous is the fact that she delivered speeches with regards to oppression/slavery that occurs in the United States, as well as, in the United Kingdom (Harriet Beecher Stowe, 1811 – 1896 n. p. ). When some of her critics declared that the contents of â€Å"Uncle Tom’s Cabin† was not genuine, she rose up to the challenge and wrote another book entitled, â€Å"Dred† five years after the publication of â€Å"Uncle Tom’s Cabin† (Harriet Beecher Stowe, 1811 – 1896 n. p. ). While she was busy delivering speeches about slavery, she also had her writings published in a journal known as â€Å"The National Era† that even the president, â€Å"Abraham Lincoln† acknowledged her brilliance and fame by saying, â€Å"So you are the little woman who wrote the book that started this great war† (Harriet Beecher Stowe, 1811 – 1896 n. p. ). Back then, she was not only the â€Å"most famous† writer, she was also known to be the â€Å"highest paid† one (Harriet Beecher Stowe, 1811 – 1896 n. p. ). She died in July 1, 1896 in Hartford, CT (Lakewood Public Library n. p. ). However, she left with so many contributions to the world of literature including the following works: â€Å"1) The Mayflower: or, Sketches of Scenes and Characters Among the Descendants of the Pilgrims; 2) Uncle Tom’s Cabin; 3) The Key to Uncle Tom’s Cabin; 4) Sunny Memoirs of Foreign Lands; 5) Dred: A Tale of the Great Dismal Swamp; 6) the Minister’s Wooing; 7) The Pearl of Orr’s Island; 8) Agnes of Sorrento; 9) House and Home Papers; 10) Little Foxes; 11) Religious Poems; 12) the Chimney Corner; 12) Men of our Times; 13) Old Town Folks; 14) The True Story of Lord Byron’s Life; 15) Lady Byron Vindicated; 16) Little Pussy Willow; 17) Pink and White Tyranny: A Society Novel; 18) Old Town Fireside Stories; 19) My Wife and I: or, Harry Henderson’s History; 20) Sam Lawson’s Oldtown Fireside Stories; 21) Woman in Sacred History; 22) Palmetto Leaves; 23) We and Our Neighbors; 24) Betty’s Bright Idea; 25) Captain Kidd’s Money and Other Stories; 26) Footsteps of the Master; 27) Bible Heroines; 28) Poqanuc People; 29) A Dog’s Mission; 30) The Poor Life; 31) the Writings; and 32) Regional Sketches† (Hedrick 3 – 398). Furthermore, she left with a good name (Fritz 5 – 144). The author in question played a large role as a â€Å"social reformer, philanthropist, and author†; she fought for the â€Å"African Americans† and everyone else who were victims of oppression and slavery (Fritz 5 – 144). Upon meeting slaves who were able to escape, she immediately wrote articles and actually published them; through these many people â€Å"will wake up† in the years to come (Fritz 5 – 144). If she had not started upholding such rights of the slaves and people who were oppressed, it would not have been pushed by others and slavery would still have been in its worse today (Fritz 5 – 144). During her time, the â€Å"Fugitive Slave Act† has been enacted (Fritz 5 – 144). This law made it unlawful for other individuals to help out slaves who escaped (Fritz 5 – 144). What â€Å"Harriet Beecher Stowe† did was to send a letter to a colleague and â€Å"abolitionist leader† named â€Å"Frederick Douglass† (Fritz 5 – 144). Here, she sought for an advice with regards to her articles on oppression/slavery (Fritz 5 – 144). Fortunately during this time she also had the opportunity to make her voice heard and so what she did was to discuss her writings especially with regards to slavery to help other individuals become well informed and to inspire them to help her out with her advocacies/fight (Fritz 5 – 144). On a final note, â€Å"Harriet Beecher Stowe† is a famous author who played a large role in addressing the problem on slavery in the United States and the United Kingdom through her works and delivered speeches (Fritz 5 – 144). Works Cited Harriet Beecher Stowe, 1811 – 1896. n. d. n. a. 18 November 2008. http://americancivilwar. com/women/hbs. html Fritz, Jean. Harriet Beecher Stowe and the Beecher Preachers (Unforgettable Americans). NY: Putnam Juvenile, 1998. Hedrick, Joan. Harriet Beecher Stowe: A Life. NY: Oxford University Press, 1995. Lakewood Public Library. Harriet Beecher Stowe. n. d. n. a. 18 November 2008. http://www. lkwdpl. org/wihohio/stow-har. htm