Fruit of the Spirit

IYWCC Impact Studies Rediscovering the Holy Spirit Lesson 6: Fruit of the Holy Spirit David Jones, Teacher I. INTRODUCTION: Talking with Christians about the Holy Spirit can sometimes get pretty confusing. Last week we studied the specific â€Å"gifts† of the Holy Spirit – which to an outsider sounds like the Holy Spirit might have something in common with Santa Claus. This week we study the â€Å"fruit† of the Holy Spirit, which sounds like the Holy Spirit might have something in common with an fruit tree. How would you explain the difference between the gifts of the Holy Spirit and the fruit of the Holy Spirit? . Gifts are about what we do 2. Fruit is about who we are Let's dive into our study of the Bible and find out! II. LIMITS OF OUR FLESH Galatians 5:16-17 â€Å"This I say then, Walk in the Spirit, and ye shall not fulfil the lust of the flesh. For the flesh lusteth against the Spirit, and the Spirit against the flesh: and these are contrary the one to th e other: so that ye cannot do the things that ye would. † We know, then, that the indwelling Spirit wars against the desires of our flesh. What is the desire of the Spirit?It is the desire of the Holy Spirit to produce, or bring forth, fruits of righteousness in us as a result of His presence. He desires to truly transform us from the inside out. Philippians 1:10, 11 â€Å"That ye may approve things that are excellent; that ye may be sincere and without offence till the day of Christ; Being filled with the fruits of righteousness, which are by Jesus Christ, unto the glory and praise of God. † These fruits of righteousness that result from the indwelling Spirit are termed the fruit of the Spirit. 1. There Is Nothing Good That Can Come From Our Flesh.There is a simple and vital law that God has established in the natural world: Genesis 1:11, 12 â€Å"And God said, Let the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit after his kind, w hose seed is in itself, upon the earth: and it was so. And the earth brought forth grass, and herb yielding seed after his kind, and the tree yielding fruit, whose seed was in itself, after his kind: and God saw that it was good. † In other words:  · Orange trees give rise to orange trees.  · Apple trees give rise to apple trees.  · Wheat plants give rise to wheat plants. Tomato plants give rise to tomato This sinful flesh does not bring forth righteousness – it brings forth sin! Romans 7:18 â€Å"For I know that in me (that is, in my flesh,) dwelleth no good thing: for to will is present with me; but how to perform that which is good I find not. † 2. What Comes From The Flesh’s Fruit? (Galatians 5:19-21). â€Å"Adultery, fornication, uncleanness, lasciviousness, Idolatry, witchcraft, hatred, variance, emulations, wrath, strife, seditions, heresies, Envyings, murders, drunkenness, revellings, and such like:† Religion only serves to mask or whi tewash these evil works – it cannot bring orth the fruits of righteousness. Even the most righteous works are tainted with pride and self-righteousness. 3. Anything Good In Our Lives Is A Result Of The Work Of The Spirit. â€Å"Now the works of the flesh are manifest, which are these; Adultery,†¦But the fruit of the Spirit is love, joy, peace, longsuffering, gentleness, goodness, faith, Meekness, temperance:† If nothing good can come from our flesh, then it is clear that any good fruit produced in our lives is the result of the inner workings of the Holy Spirit. Just as the sinful flesh brings forth sin, the Holy Spirit will bring forth holiness and righteousness.John 6:63 â€Å"It is the spirit that quickeneth; the flesh profiteth nothing: the words that I speak unto you, they are spirit, and they are life. † 4. It Is Our Duty To Submit To The Spirit And Allow Him To Bring Forth Fruit. â€Å"It is not without design, evidently, that the apostle uses the w ord â€Å"Spirit† here, as denoting that these things do not flow from our own nature. The vices above enumerated are the proper â€Å"works† or result of the operations of the human heart; the virtues which he enumerates are produced by a foreign influence—the agency of the Holy Spirit. Hence, Paul does not trace them to our own hearts, even when renewed.He says that they are to be regarded as the proper result of the Spirit’s operations on the soul. † (Barnes) 5. God Is Very Interested In Bringing Forth Righteous Fruit In Our Lives: John 15:16 â€Å"Ye have not chosen me, but I have chosen you, and ordained you, that ye should go and bring forth fruit, and that your fruit should remain: that whatsoever ye shall ask of the Father in my name, he may give it you. † Romans 7:4 â€Å"Wherefore, my brethren, ye also are become dead to the law by the body of Christ; that ye should be married to another, even to him who is raised from the dead, th at we should bring forth fruit unto God. The source of good works is not a reformed or renewed human heart – it is the person of the indwelling Holy Spirit. It is our part to die to self and yield to the Spirit so that He can produce His fruit in us. John 12:24 â€Å"Verily, verily, I say unto you, Except a corn of wheat fall into the ground and die, it abideth alone: but if it die, it bringeth forth much fruit. † III. NOW, WHAT ARE THE FRUIT OF THE SPIRIT? 1. Inward Fruit That Effects My Relationship To God (Godward) A. Love. Colossians 3:14 â€Å"And above all these things put on charity, which is the bond of perfectness. † Love to God and to human beings.The Greek word agape means â€Å"unconditional love; benevolence. † Love forms the foundation for all the other fruit listed. Love seeks the better good of the one to whom it is directed.. B. Joy 1 John 1:4 â€Å"And these things write we unto you, that your joy may be full. † Joy is greater tha n happiness, for happiness is dependent upon circumstances, whereas joy depends upon an inward faith in the love and goodness of God. C. Peace. John 14:27 â€Å"Peace I leave with you, my peace I give unto you: not as the world giveth, give I unto you. Let not your heart be troubled, neither let it be afraid. †We are to enjoy peace in the midst of trials and persecutions, and peace among one another. An inner quietness and trust in God's sovereignty and justice, even in the face of adverse circumstances. 2. Inward Fruit That Effects My Relationships with Others (Outward) D. Longsuffering. 2 Timothy 3:10 â€Å"But thou hast fully known my doctrine, manner of life, purpose, faith, longsuffering, charity,patience,† Longsuffering may be defined as the ability to cheerfully endure an unbearable situation. It denotes the state of mind which can bear long when oppressed, provoked, insulted and injured. E. Gentleness.Titus 3:1, 2 â€Å"Put them in mind to be subject to princi palities and powers, to obey magistrates, to be ready to every good work, To speak evil of no man, to be no brawlers, but gentle, showing all meekness unto all men. † The word means goodness, kindness, benignity; and is opposed to a harsh, evil, cruel temper. It is mildness of temper, calmness of spirit, and an unruffled disposition. You might say, easy going. F. Goodness. Acts 10:38 â€Å"How God anointed Jesus of Nazareth with the Holy Ghost and with power: who went about doing good, and healing all that were oppressed of the devil; for God was with him. †A Christian must be a good man who does good to all. 3. Inward Fruit That Effects My Relationship To My Conscience (Inward) G. Faith. 1 Corinthians 4:2 â€Å"Moreover it is required in stewards, that a man be found faithful. † A Christian is to be a faithful man, faithful to his word and promises; faithful to His God and to His calling; faithful to those he loves and serves; A Christian is to be a man who can be trusted in. H. Meekness. Ephesians 4:2 â€Å"With all lowliness and meekness, with longsuffering, forbearing one another in love;† Meekness is subdued strength, or power under control. Meekness does not equal weakness!Meekness is the reception of injuries with a belief that God will vindicate us, and it is the opposite of vengeance and retaliation. It is not easily ruffled, insulted, angered, or offended. I. Temperance. 2 Peter 1:5, 6 â€Å"And beside this, giving all diligence, add to your faith virtue; and to virtue knowledge; And to knowledge temperance; and to temperance patience; and to patience godliness;† Temperance is self-control. It is derived from the Greek word meaning strength, and refers to the power which we have over passions of all kinds. It denotes the self-rule which a man has over the evil tendencies of his nature.The word temperance has often referred to abstaining from alcoholic drinks, but here it has a much wider meaning, implying chastity, s elf-government, restraint and moderation. The influences of the Holy Spirit on the heart make a man moderate and restrained, teaching him to restrain his passions and govern himself. IV. CONCLUSION The Spirit produces these character traits that are found in the nature of Christ. They are the by-products of Christ's control; we can't obtain them by trying to get them without his help. If we want the fruit of the Spirit to grow in us, we must align our lives to his John 15:4-5 – Remain in Me, and I in you.Just as a branch is unable to produce fruit by itself unless it remains on the vine, so neither can you unless you remain in Me. 5 â€Å"I am the vine; you are the branches. The one who remains in Me and I in him produces much fruit, because you can do nothing without Me. a. We must know him. b. We must love him. c. We must remember him. d. We must imitate him. To understand the fruit of the Spirit, we must see ourselves, not as individual trees, but as an entire garden unde r the cultivation of God's Spirit. His purpose involves not simply the production of a single kind of fruit but all the fruit, each becoming ripe as it is needed.

University College

David John Lodge was born on January 28, 1935, in London’s lower-middle-class East End, the only son of a musician father and a staunchly Catholic mother. The family’s straitened economic situation, his conservative Catholic upbringing, and the dangers of wartime London left their mark on young David. He began his first novel (unpublished) at eighteen while still a student at University College, London, where he received his B. A. in English (with first honors) in 1955 and an M. A. in 1959.Between times Lodge performed what was then an obligatory National Service (1955-1957). Although the two years were in a sense wasted, his stint in the army did give him time to complete his first published novel, The Picturegoers , and material for his second, Ginger, You’re Barmy , as well as the impetus to continue his studies.In 1959 he married to Mary Frances Jacob; they had three children. After a year working as an assistant at the British Council, Lodge joined the facul ty at the University of Birmingham, where he completed his Ph. D. in 1969; he eventually attained the position of full professor of modern English literature in 1976. The mid-1960’s proved an especially important period in Lodge’s personal and professional life.He became close friends with fellow critic and novelist Malcolm Bradbury (then also at Birmingham), under whose influence Lodge wrote his first comic novel, The British Museum Is Falling Down , for which the publisher, not so comically, forgot to distribute review copies; he was awarded a Harkness Commonwealth Fellowship to study and travel in the United States for a year (1964-1965); he published his first critical study, the influential The Language of Fiction (1966); and he learned that his third child, Christopher, suffered from Down syndrome (a biographical fact that manifests itself obliquely at the end of Out of the Shelter and more overtly in one of the plots of How Far Can You Go? ).Lodge’s secon d trip to the United States, this time as visiting professor of English at the University of California at Berkeley in 1969, during the height of the Free Speech Movement and political unrest, played its part in the conceiving and writing of his second comic novel, Changing Places , as did the critical essays he was then writing and would later collect in The Novelist at the Crossroads (1971) and Working with Structuralism (1981). The cash award that went along with the Whitbread Prize for his next novel, How Far Can You Go? , enabled Lodge to reduce his teaching duties to half-year and to devote himself more fully to his writing.He transformed his participation in the Modern Language Association’s 1978 conference in New York, the 1979 James Joyce Symposium in Zurich, and a three-week world tour of conferences and British Council speaking engagements into his most commercially successful book, Small World , later adapted for British television. His reputation growing and his financial situation brightening, Lodge donated all royalties from his next book, Write On: Occasional Essays, ’65-’85 (1986), to CARE (Cottage and Rural Enterprises), which maintains communities for mentally handicapped adults. In 1987 he took advantage of early retirement (part of Prime Minister Margaret Thatcher’s austerity plan for British universities) so that he could work full time as a writer. Lodge soon published Paradise News (1991) and Therapy (1995).He also published two collections of essays, After Bakhtin: Essays on Fiction and Criticism (1990) The Art of Fiction (1992), and a comedic play, The Writing Game (1991). Especially popular for his academic novels, Lodge enjoyed an increasingly strong critical reception in the 1990’s. The Writing Game was adapted for television in 1996, and Lodge was named a Fellow of Goldsmith’s College in London in 1992. In 1996 he published The Practice of Writing , a collection of seventeen essays on the creative process. In this text he treats fiction writers who have influenced him, from James Joyce to Anthony Burgess, and comments on the contemporary novelist and the world of publishing; the main focus, however, is on adapting his own work, as well as the work of Charles Dickens and Harold Pinter, for television.Lodge remained a supporter of CARE and other organizations supporting the mentally handicapped (the subject of mental handicaps appears briefly in Therapy in a reference to the central character’s sister’s dedication to a mentally handicapped son). He retained the title of Honorary Professor of Modern English Literature at the University of Birmingham. In addition to interests in television, theater, and film, Lodge maintained an interest in tennis that is sometimes reflected in the novels. Literary Forms Mediating between theory and practice, David Lodge has proved himself one of England’s ablest and most interesting literary critics. Among his influ ential critical books are The Language of Fiction (1966) and The Novelist at the Crossroads (1971).In addition to his novels and criticism, he has written short stories, television screenplays of some of his novels, and (in collaboration with Malcolm Bradbury and Jim Duckett) several satirical revues. Achievements As a novelist Lodge has made his mark in three seemingly distinct yet, in Lodge’s case, surprisingly congruent areas: as a writer of Catholic novels, of â€Å"campus fiction,† and of works that somehow manage to be at once realist and postmodern. The publication of Changing Places in 1975 and Small World nine years later brought Lodge to the attention of a much larger (especially American) audience. Changing Places won both the Yorkshire Post and Hawthornden prizes, How Far Can You Go?received the Whitbread Award, and Nice Work was shortlisted for Great Britain’s prestigious Booker Prize. Literary Analysis In order to understand David Lodge’s no vels, it is necessary to place them in the context of postwar British literature—the â€Å"Movement† writers and â€Å"angry young men† of the 1950’s, whose attacks on the English class system had an obvious appeal to the author of The Picturegoers , the English Catholic novel and â€Å"campus novel† traditions, and finally the postmodernism to which British fiction (it is often claimed) has proved especially resistant. In addition, Lodge’s novels are significantly and doubly autobiographical. They draw not only on important events in the author’s life, but also on his work as a literary critic.In The Language of Fiction Lodge defends the aesthetic validity and continuing viabilty of realist writing on the basis of linguistic mastery rather than fidelity to life, and in The Novelist at the Crossroads he rejects Robert Scholes’s bifurcation of contemporary fiction into fabulistic and journalistic modes, positing the â€Å"probl ematic novel† in which the novelist innovatively builds his hesitation as to which mode to adopt into the novel. Lodge’s own novels are profoundly pluralistic yet manifest the author’s clear sense of aesthetic, social, and personal limitations as well as his awareness of working both within and against certain traditions and forms. The Picturegoers Set in a lower-middle-class area of London much like the one in which Lodge grew up, The Picturegoers is an interesting and even ambitious work marred by melodramatic excesses. As the plural of its title implies, The Picturegoers deals with a fairly large number of more or less main characters.Lodge’s title also is indicative of his narrative method: abrupt cinematic shifts between the different plots, use of a similarly shifting focalizing technique, and a stylizing of the narrative discourse in order to reflect features of an individual character’s verbal thought patterns. Of the seven main characters, Mark Underwood is the most important. A lapsed Catholic and aspiring writer, he arrives in London, rents a room in the home of a conservative Catholic family, the Mallorys, and falls in love with the daughter, Clare, formerly a Catholic novitiate. The affair will change them: Clare will become sexually awakened and then skeptical when Mark abandons her for the Catholicism from which she has begun to distance herself.Interestingly, his return to the Church seems selfish and insincere, an ironic sign not of his redemption but of his bad faith. Ginger, You’re Barmy Dismissed by its author as a work of â€Å"missed possibilities† and an â€Å"act of revenge† against Great Britain’s National Service, Ginger, You’re Barmy continues Lodge’s dual exploration of narrative technique and moral matters and largely succeeds on the basis of the solution Lodge found for the technical problem which the writing of the novel posed: how to write a novel about the tedium of military life without making the novel itself tedious to read. Lodge solved the problem by choosing to concentrate the action and double his narrator-protagonist Jonathan Browne’s story.Lodge focuses the story on the first few weeks of basic training, particularly Jonathan’s relationship with the altruistic and highly, though conservatively, principled Mike Brady, a poorly educated Irish Catholic, who soon runs afoul of the military authorities; on the accidental death or perhaps suicide of Percy Higgins; and on Jonathan’s last days before being mustered out two years later. Lodge then frames this already-doubled story with the tale of Jonathan’s telling, or writing, of these events three years later, with Jonathan now married (to Mike’s former girlfriend), having spent the past three years awaiting Mike’s release from prison. The novel’s frame structure suggests that Jonathan has improved morally from the self-centered agnostic he was to the selfless friend he has become, but his telling problematizes the issue of his development.Between Mike’s naive faith and Jonathan’s intellectual self-consciousness and perhaps self-serving confession there opens up an abyss of uncertainty for the reader. The British Museum Is Falling Down This moral questioning takes a very different form in Lodge’s next novel. The British Museum Is Falling Down is a parodic pastiche about a day in the highly literary and (sexually) very Catholic life of Adam Appleby, a twenty-five-year- old graduate student trying to complete his dissertation before his stipend is depleted and his growing family overwhelms his slender financial resources. Desperate but by no means in despair, Adam begins to confuse literature and life as each event in the wildly improbable series that makes up his day unfolds in its own uniquely parodied style.The parodies are fun but also have a semiserious purpose, the undermining of al l forms of authority, religious as well as literary. Parodic in form, The British Museum Is Falling Down is comic in intent in that Lodge wrote it in the expectation of change in the church’s position on birth control. The failure of this expectation would lead Lodge fifteen years later to turn the comedy inside out in his darker novel, How Far Can You Go? Out of the Shelter Published after The British Museum Is Falling Down but conceived earlier, Out of the Shelter is a more serious but also less successful novel. Modeled on a trip Lodge made to Germany when he was sixteen, Out of the Shelter attempts to combine the Bildungsroman and the Jamesian international novel.In three parts of increasing length, the novel traces the life of Timothy Young from his earliest years in the London blitz to the four weeks he spends in Heidelberg in the early 1950’s with his sister, who works for the American army of occupation. With the help of those he meets, Timothy begins the proce ss of coming out of the shelter of home, conservative Catholicism, unambitious lower-middle-class parents, provincial, impoverished England, and sexual immaturity into a world of abundance as well as ambiguity. Lodge’s Joycean stylization of Timothy’s maturing outlook proves much less successful than his portrayal of Timothy’s life as a series of transitions in which the desire for freedom is offset by a desire for shelter, the desire to participate by the desire to observe.Even in the epilogue, Timothy, now thirty, married, and in the United States on a study grant, finds himself dissatisfied (even though he has clearly done better than any of the novel’s other characters) and afraid of the future. Changing Places Lodge translates that fear into a quite different key in Changing Places. Here Lodge’s genius for combining opposites becomes fully evident as the serious Timothy Young gives way to the hapless English liberal-humanist Philip Swallow, wh o leaves the shelter of the University of Rummidge for the expansive pleasures of the State University of Euphoria in Plotinus (Berkeley). Swallow is half of Lodge’s faculty and narrative exchange program; the other is Morris Zapp, also forty, an academic Norman Mailer, arrogant and ambitious.Cartoonish as his characters—or rather caricatures—may be, Lodge makes them and their complementary as well as parallel misadventures in foreign parts humanly interesting. The real energy of Changing Places lies, however, in the intersecting plots and styles of this â€Å"duplex† novel. The first two chapters, â€Å"Flying† and â€Å"Settling,† get the novel off to a self-consciously omniscient but otherwise conventional start. â€Å"Corresponding,† however, switches to the epistolary mode, and â€Å"Reading† furthers the action (and the virtuosic display) by offering a series of newspaper items, press releases, flysheets, and the like. â €Å"Changing† reverts to conventional narration (but in a highly stylized way), and â€Å"Ending† takes the form of a filmscript.Set at a time of political activism and literary innovation, Changing Places is clearly a â€Å"problematic novel† written by a â€Å"novelist at the crossroads,† aware of the means at his disposal but unwilling to privilege any one over any or all of the others. How Far Can You Go? Lodge puts the postmodern plays of Changing Places to a more overtly serious purpose in How Far Can You Go? It is a work more insistently referential than any of Lodge’s other novels but also paradoxically more self-questioning: a fiction about the verifiably real world that nevertheless radically insists upon its own status as fiction. The novel switches back and forth between the sometimes discrete, yet always ultimately related stories of its ten main characters as freely as it does between the mimetic levels of the story and its narration. The parts make up an interconnected yet highly discontinuous whole, tracing the lives of its ten characters from 1952 (when nine are university students and members of a Catholic study group led by the tenth, Father Brierly) through the religious, sexual, and sociopolitical changes of the 1960’s and 1970’s to the deaths of two popes, the installation of the conservative John Paul II, and the writing of the novel How Far Can You Go? in 1978. The authorial narrator’s attitude toward his characters is at once distant and familiar, condescending and compassionate. Their religious doubts and moral questions strike the reader as quaintly naive, the result of a narrowly Catholic upbringing. Yet the lives of reader and characters as well as authorial narrator are also strangely parallel in that (to borrow Lodge’s own metaphor) each is involved in a game of Snakes and Ladders, moving narratively, psychologically, socially, and religiously ahead one moment, only to fall suddenly behind the next.The characters stumble into sexual maturity, marry, have children, have affairs, get divorced, declare their homosexuality, suffer illnesses, breakdowns, and crises of faith, convert to other religions, and join to form Catholics for an Open Church. All the while the authorial narrator of this most postmodern of post- Vatican II novels proceeds with self-conscious caution, possessed of his own set of doubts, as he moves toward the open novel. Exploring various lives, plots, voices, and styles, Lodge’s artfully wrought yet ultimately provisional narrative keeps circling back to the question that troubles his characters: â€Å"How far can you go? † in the search for what is vital in the living of a life and the writing (or reading) of a novel. Small WorldLodge goes still further, geographically as well as narratively speaking, in his next novel. A campus fiction for the age of the â€Å"global campus,† Small World begins at a decided ly provincial meeting in Rummidge in 1978 and ends at a mammoth Modern Language Association conference in New York one year later, with numerous international stops in between as Lodge recycles characters and invents a host of intersecting stories (or narrative flight paths). The pace is frenetic and thematically exhaustive but, for the delighted reader, never exhausting. The basic plot upon which Lodge plays his add-on variations begins when Persse McGarrigle—poet and â€Å"conference virgin†Ã¢â‚¬â€meets the elusive Angelica Pabst.As Angelica pursues literary theory at a number of international conferences, Persse pursues her, occasionally glimpsing her sister, a pornographic actress, Lily Papps, whom he mistakes for Angelica. Meanwhile, characters from earlier Lodge novels reappear to engage in affairs and rivalries, all in the international academic milieu. A parody of (among other things) the medieval quest, Lodge’s highly allusive novel proves at once ente rtaining and instructive as it combines literary modes, transforms the traditional novel’s world of characters into semiotics’ world of signs, and turns the tables on contemporary literary theory’s celebrated demystifications by demystifying it. At novel’s end, Lodge makes a guest appearance, and Persse makes an exit, in pursuit of another object of his chaste desire.The quest continues, but that narrative fact does not mean that the novel necessarily endorses the kind of extreme open-endedness or inconclusiveness that characterizes certain contemporary literary theories. Rather, the novel seems to side with the reconstructed Morris Zapp, who has lost his faith in deconstruction, claiming that although the deferral of meaning may be endless, the individual is not: â€Å"Death is the one concept you can’t deconstruct. Work back from there and you end up with the old idea of an autonomous self. † Nice Work Zapp’s reduced expectations ty pify Lodge’s eighth novel, Nice Work , set almost entirely in Rummidge but also—as in How Far Can You Go? —evidencing his interest in bringing purely literary and academic matters to bear on larger social issues.The essential doubleness of this geographically circumscribed novel manifests itself in a series of contrasts: between the nineteenth and twentieth centuries, literature and life, the Industrial Midlands and Margaret Thatcher’s economically thriving (but morally bankrupt) London, male and female, and the novel’s two main characters. Vic Wilcox, age forty-six, managing director of a family-named but conglomerate-owned foundry, rather ironically embodies the male qualities his name implies. Robyn Penrose is everything Vic Wilcox is not: young, attractive, intellectual, cosmopolitan, idealistic, politically aware, sexually liberated, as androgynous as her name, and, as temporary lecturer in women’s studies and the nineteenth century nov el, ill-paid. The differences between the two are evident even in the narrative language, as Lodge takes pains to unobtrusively adjust discourse to character.The sections devoted to Vic, â€Å"a phallic sort of bloke,† are appropriately straightforward, whereas those dealing with Robyn, a character who â€Å"doesn’t believe in character,† reflect her high degree of self-awareness. In order to bring the two characters and their quite different worlds together, Lodge invents an Industry Year Shadow Scheme that involves Robyn’s following Vic around one workday per week for a semester. Both are at first reluctant participants. Displeasure slowly turns into dialogue, and dialogue eventually leads to bed, with sexual roles reversed. Along the way Lodge smuggles in a considerable amount of literary theory as Vic and Robyn enter each other’s worlds and words: the phallo and logocentric literalmindedness of the one coming up against the feminist-semiotic aw areness of the other.Each comes to understand, even appreciate, the other. Lodge does not stop there. His ending is implausible, in fact flatly unconvincing, but deliberately so—a parody of the only solutions that, as Robyn points out to her students, the Victorian novelists were able or willing to offer to â€Å"the problems of industrial capitalism: a legacy, a marriage, emigration or death. † Robyn will receive two proposals of marriage, a lucrative job offer, and an inheritance that will enable her to finance the small company Vic, recently fired, will found and direct and also enable her to stay on at Rummidge to try to make her utopian dream of an educated, classless English society a reality.The impossibly happy ending suggests just how slim her chances for success are, but the very existence of Lodge’s novel seems to undermine this irony, leaving Nice Work and its reader on the border between aspiration and limitation, belief and skepticism, the romance of how things should be and the reality, or realism, of how things are—a border area that is one of the hallmarks of Lodge’s fiction. Paradise News Paradise News centers on the quest motif and the conflicts of a postmodern English Catholic. Bernard Walsh, a â€Å"sceptical theologican,† was formerly a priest but now teaches theology at the University of Rummidge. Summoned, along with his father, to see his aunt, who left England after World War II and is now dying in Hawaii, Walsh signs up for a package tour to save money. The rumpled son and his curmudgeon father join a comic assortment of honeymooners, disgruntled families, and other eccentrics; Lodge calls an airport scene â€Å"carnivalesque.† When the father breaks his leg on the first morning, Bernard must negotiate to bring his father and his aunt together so that his aunt can finally reveal and overcome the sexual abuse she suffered in childhood. Bernard’s journey to Hawaii becomes a journe y of discovery in his sexual initiation with Yolande, who gently leads him to know himself and his body. A major theme, as the title suggests, is â€Å"paradise. † Hawaii is the false paradise—paradise lost, fallen, or packaged by the tourist industry—yet a beautiful, natural backdrop is there, however worn and sullied. Paradise emerges from within the individuals who learn to talk to one another. The â€Å"news† from paradise includes Bernard’s long letter to himself, which he secretly delivers to Yolande, and letters home from members of the tour group.As with Lodge’s other novels, prominent themes are desire and repression in English Catholic families and a naive academic’s quest for self. In a complex tangle of human vignettes, Bernard moves from innocence and repression to an awakening of both body and spirit—an existential journey that is both comic and poignant. Therapy Therapy centers on another spiritual and existentia l quest. Lawrence (Tubby) Passmore, successful writer of television comedies, is troubled by knee pains and by anxiety that leads him, after reading the works of Soren Kierkegaard, to consider himself the â€Å"unhappiest man. † Seeking psychotherapy, aromatherapy, massage therapy, and acupuncture, Tubby moves through a haze of guilt and anxiety.When his wife of thirty years asks for a divorce, he seeks solace with a series of women, with each quest ending in comic failure. Obsessed with Kierkegaard’s unrequited love, Tubby launches a quest for the sweetheart whom he feels he wronged in adolescence. Lodge’s concern with the blurring of literary forms is evident in Tubby’s preoccupation with writing in his journal, sometimes writing Browningesque monologues for other characters. Opening with an epigraph from Graham Greene asserting that writing itself is â€Å"therapy,† Lodge takes Tubby through a quest for self through writing that coincides with a literal pilgrimage when he joins his former sweetheart, Maureen, on a hiking pilgrimage in Spain.When Tubby at last finds Maureen, her recollections of their teenage romance minimize his guilt, and his troubles seem trivial in comparison with her losing a son and surviving breast cancer. At the end, Tubby is planning a trip (a pilgrimage) to Kierkegaard’s home with Maureen and her husband. Tubby’s real therapy has been self-discovery through writing in his journal; other therapies and journeys have failed. Intertwined with existential angst, Tubby’s physical and psychological journeys are both comic and sad, with an underlying sense of the power of human goodness and the need to overcome repressions. Findings and discussion Conclusion References

“Hunter in the Dark” by Monica Hughes Essay

Monica Hughes, a truly gifted novelist, has written a first class book titled Hunter in the Dark. I chose this gripping novel, which was published in 1982 because I have immensely enjoyed some of her other works. After reading the preview, I expected that the story would give me a greater appreciation for life, since it focused on a boy’s struggle with leukemia, and how he overcame it. Hughes uses theme to weave a well-developed plot by using her unique style of writing. Sixteen-year-old Mike Rankin is preparing for a hunting trip, with his best friend Doug O’Reilly, that he has been planning and waiting for all year. He is sent to the hospital for treatment, as a result, he misses the hunting trip. Mike’s parents refuses to tell him about his sickness for fear of hurting his feelings, and he had to discover that he has leukemia by tracking down his symptoms and treatments at the library. He becomes angry that his parents hid his sickness from him and wants to discontinue his treatment due to the fact that he feels that he doesn’t have anything to live for. He thinks about how nice it would be if he could go hunting and decides that he wants to go hunting one last time before he dies. With Doug’s help, he plans a solo-hunting trip, and prepares mentally and physically for what he could encounter in the bush. He leaves his protective house and drives into the bush. After numerous days, Mike tracks down a massive whitetail buck and prepares to fire his rifle when he suddenly has a flashback to when he was still in the hospital. He remembers when the nurse clipped a plastic tag, a badge of slavery, around his wrist, and he wonders with despair when it would be cut off. He realized he wasn’t running away to go hunting, he was running away so that he could forget about his sickness and pretends that everything was fine. He saw his life through new eyes. Mike lowers his rifle and prepares to head back home. The following passage from the novel illustrates the author’s descriptive style of writing. â€Å"The pickup was there, just where Doug had parked it. Mike had had an irrational twinge of fear that somehow it might have vanished overnight. But there it was, tan-coloured, squared and business-like, sparkling with frost under the blue lights.† You can tell that Hughes has a descriptive style of writing  because this passage is loaded with adjectives and similes. Some examples are: tan-coloured, squared and business-like and blue lights. These descriptive elements help form a picture of the pickup in the reader’s mind. Monica Hughes has written a fantastic novel, which I couldn’t put down. Hunter in the Dark has a fast paced plot that flowed from event to event. This, along with the suspenseful situations she created, impelled me to continue reading. The characters were complex and seemed as if they were real, due to the fact that their reactions and how they act were realistic. Also, the author used vivid details to form a clear picture of every scene in the reader’s mind. This book deserves to stay on the reading list because it is an outstanding novel.

Leadership and Management Research Paper Example | Topics and Well Written Essays - 250 words

Leadership and Management - Research Paper Example Whenever the organization needs a strategic direction for specific objectives to achieve, leaders need to take command of the situation. Leaders set broad objectives, and guide its entire staff through the critical issues while a manager attempts to accomplish short-term tasks for all immediate objectives of the organization. It is necessary to have effective leaders as well as managers for spearheading growth of an organization. Leader plays a critical role when an organization needs a long-term strategic direction in order to survive and grow as forced by the immediate environment needs. While the leader guides through a specific objectives to fulfill, managers need to execute daily plan and take a follower role along with the leader to ascertain that organization treads on the planned path and makes necessary corrective action to achieve the broad objectives as ascertained by the organization. At department level, the manager focuses on the command and control functions such as planning, communicating, executing, or evaluating the various tasks. The leader attempts to identify the needs and opportunities and create an environment in which people can support each other. In short, all roles are important for any organization to achieve success in the market