Graffiti Culture Is it a Form of Artistic Expression or Criminal Activity

Graffiti Culture Is it a Form of Artistic Expression or Criminal Activity Introduction Various studies have over the years attempted to delineate the reasons and motivating factors behind the exposition of a wide range of popular cultures, and a good number of them have directed their efforts towards studying the graffiti culture.Advertising We will write a custom research paper sample on Graffiti Culture: Is it a Form of Artistic Expression or Criminal Activity? specifically for you for only $16.05 $11/page Learn More Though consensus is yet to be achieved on the major driving factors of this form of subculture, a number of seminal studies demonstrate that graffiti has been used by sociologists, anthropologists and other researchers to understand a wide range of issues, including adolescent personality, group behavior, sexual orientation and attitudes, gang territoriality, female suppression, social processes, racial undertones, and communication cues (Alonso 2). In the recent past, however, many states across the United States h ave criminalized this type of written expression, with some legislating punitive measures intended to curb the perceived decline of urban civility and destruction of private and public property. This ethnographic study will attempt to evaluate if graffiti culture is a form of artistic and cultural expression or if it is perpetrated with criminal or gangland intent. An analysis of graffiti culture is important as the findings of this study will expand the existing pool of knowledge especially in understanding the real motivating factors behind graffiti writers. Additionally, the findings of this study will serve as a barometer in understanding the behavior, attitudes, value propositions, and social-cultural processes of this segment of society. More importantly, the findings will inform policy initiatives and directions aimed at legislating for or against the use of graffiti as a form of expression. Background In contextual terms â€Å"†¦the word graffiti means little scratchin gs (sic) and it comes from the Italian graffiare, which means to scratch† (Alonso 2). Graffiti writers have been largely studied by researchers with the intention of demonstrating how this segment of society expresses attachment to particular beliefs, attitudes, social processes, and value propositions through conformance with or rebellion against existing mores and rule of law (Sliwa Cairns 73). Some studies form the opinion that graffiti provide a unique insight into society, in large part due to the fact that the scribbled messages are made without fear of social restrictions that might otherwise inhibit free expression of political, social, cultural or controversial thoughts (Alonso 2).Advertising Looking for research paper on art? Let's see if we can help you! Get your first paper with 15% OFF Learn More Scholars postulates that â€Å"†¦the graffiti culture, like any other culture, present itself in different forms, dependent on the social a nd cultural component of the local community, the distribution of cultural knowledge, the age of the culture and particularly, the presence or lack of an established hierarchy possessing experienced writers† (Serkan Gulsen 1). In equal measure, graffiti serves diverse types of functions. The Los Angeles gang graffiti, for instance, serves as a significant medium to understanding this segment of society as the graffiti not only delineates space, but also put a focus on the existing territory (Alonso 2). Other forms of graffiti, according to this particular author, serves as a tool of communication as they are perceived to constantly challenge the hegemonic discourses of the dominant group in addition to assisting in comprehending the social and cultural meaning of these ‘disadvantaged’ groups. A study undertaken to evaluate the commitment of graffiti writers argues that graffers are freely able to express themselves through their artwork as â€Å"†¦it is con ceivable to live exhibiting neither explicit compliance with, nor opposition to, norms of behavior accepted by society, or any grouping within it† (Sliwa Cairns 75). These researchers are of the opinion that many empirical analysis done by normative social scientists fail to recognize the commitment of graffers and instead depict them in simplistic terms as individuals who lack commitment to generally accepted mores of society. Contrary to this popularly held view, most graffers are motivated by the urge to share their own perceptions of the world rather than rely on meta-narratives that only seek to present a singular, unchallenged and exclusive version of reality (Sliwa Cairns 75). In other quarters, graffiti is perceived as one of the few successful attempts made by the voiceless masses to enforce their presence on urban culture (Kriegel 432). According to the author, â€Å"†¦graffiti proves that behind the rage of urban poverty there remains an endurance of aspirat ion† (Kriegel 435). Consequently, it can be argued that the importance of graffiti lies in the voice it provides to the expression of suppressed anger and contempt of the existing social or political order. However, one author is quick to point that graffiti not only implies the destruction of city life, but it also â€Å"†¦denies the possibility of an urban community by insisting that individual style is a more natural right than the communitarian demands of city life† (Kriegel 433). More importantly, this particular author notes any form of graffiti – political or otherwise – intrudes on the privacy of the wider public by voicing a specific protest that may not be in tandem with the views and expectations held by the general public.Advertising We will write a custom research paper sample on Graffiti Culture: Is it a Form of Artistic Expression or Criminal Activity? specifically for you for only $16.05 $11/page Learn More Gr affiti is seen and defined in some quarters as a criminal activity which is lumped with other undesirable behaviors such as drug dependence and mindless violence and together labeled as ‘bad symptoms’ of civilization (Sliwa Cairns 75). The authors further argue that the very fact that graffiti is carried out anonymously and away from public scrutiny underlines its criminal nature. What’s more, spray-painting public property with undue disregard of the views, attitudes and values of the wider public, or without express permission from the authorities, is by itself criminal (Sliwa Cairns 74). These observations led one analyst to conclude that if graffiti truly constitutes an art form, then it is ultimately an art that is inspired by an urge to destroy the root concept of what apparently created it (Kriegel, 436). It is therefore imperative to know if graffiti is truly a form of artistic expression or purely a criminal activity. As already mentioned, such knowled ge can be used to inform policy initiatives and directions aimed at legislating rules for or against the use of graffiti as a form of expression. Based on the above review of related literature, this ethnographic study will be guided by the following research questions: What are the main motivators of graffiti culture? What are the social and economic benefits and costs associated with graffiti? Do you believe that the exposition of graffiti is a clear sign of social decline and anti-social behavior? What constitutes the reasons as to why graffiti should or should not be criminalized? Research This ethnographic study relied on participant observation and interviews to collect primary data needed to answer the key research questions. In most ethnographic studies â€Å"†¦people’s actions and accounts are studied in everyday contexts, rather than under conditions created by the researcher† (Hammersley Atkinson 3). As such, the researcher utilized participant obser vation to gather data by participating in the daily life experiences of graffiti writers. This approach entailed everyday interactions and conversations aimed at discovering in-depth insights into the graffiti writers’ interpretations of the experiences and situations they are involved in. participant observation should be aimed at generating an in-depth description of social interactions and experiences within natural settings (Smith para. 5). Through participating as a member of the graffiti group while observing it, the researcher noted that most graffiti writers were motivated by the current social and political order, and they engaged in graffiti to express their own opinions of the current occurrences. A particular graffiti that caught the attention of the researcher depicted the recent shooting of Osama bin Laden with the inscription that â€Å"KILL OSAMA-REMAIN THE ONLY SUPERPOWER.† The researcher also observed that graffiti writers were not only motivated by t heir aesthetic appeal, but also by a perceived social aspect of sharing an event, experience or activity with ‘friends.’ It was also observed that continued involvement in graffiti writing was associated with pride, pleasure, enjoyment of spray-painting, and recognition achieved from writing.Advertising Looking for research paper on art? Let's see if we can help you! Get your first paper with 15% OFF Learn More The researcher noted that these particular motivators were not associated with any quantifiable benefits apart from the intrinsic outcomes described above. In addition, the researcher noted that boredom and rebellion to the existing order (especially state and local authority laws and bylaws) formed a central component in motivating graffiti writers to spray-paint public and private property. Lastly, the researcher observed that some graffiti writers engaged in the practice for competition. The informants for this ethnographic study consisted of three graffiti writers and two local government officials. The informants were subjected to a brief interview process that sought to achieve an in-depth knowledge and understanding about some of the perspectives that were not apparent from the initial participant observations. The interviews were largely unstructured. From the responses of the graffiti writers, the researcher noted that graffiti was to a large extent driven by emotional, soc ial or political expression as opposed to other variables mentioned in previous studies, such as drugs, immorality and social decadence. It was also noted from the graffiti writers interviewed that they were to some extent driven by the pursuit of ‘illegal fame’ and recognition. The writers, however, denied that graffiti was connected to drugs and criminal activities though they acknowledged that some graffiti was associated with gangland behaviors and territoriality interests. Lastly, graffiti writers contended that graffiti should not be criminalized as doing so amounted to contravening the freedom of expression. The researcher interviewed the local authority officials to gain a deeper understanding of the social and economic benefits and costs of graffiti, and criminalization of graffiti. The two officials were in agreement that the graffiti culture had led to unsightly, damaging and costly ramifications for private property owners as well as for public buildings. Th e officials were in agreement that graffiti does not have economic and social benefits to society in general and the writers in particular. However, graffiti vandalism, as they preferred to call it, occasioned unwarranted costs to businesses, individuals, and organs of state or local government in removing the graffiti; increased insurance premiums for public and private property; increased government taxes; and impacted negatively on the value of private property. These reasons, according to the local government officials, are more than enough to warrant the criminalization of graffiti culture. Socially, the officials felt that graffiti culture continually undermines community perceptions of safety, not mentioning that it exhibits discernible symptoms of social decline and anti-social behavior. Lastly, the officials were in agreement that graffiti culture warrants criminal reprimand as it is often associated with other undesirable behaviors such as drug-taking, theft, loitering, ga ngland activities, and private and public property destruction. Analysis and Conclusions The data collected during participant observation and interviews satisfactorily answers the key study questions. The main motivators of graffiti culture, according to the gathered data include: need to artistically express the current social and political order from the graffiti writer’s own opinion; aesthetic appeal; need to share an event or experience with friends; pride; pleasure; enjoyment; recognition; competition; boredom and; rebellion. This information expands on the existing knowledge as to what actually propels the graffiti culture (Sliwa Cairns 75). From the graffiti writers’ perspective, it has been revealed that graffiti provides intrinsic emotional and social rewards in terms of freely expressing one’s thoughts, recognition, and pleasure. One previous study had perceived graffiti culture as one of the few successful attempts made by the voiceless masses to en force their presence on urban culture (Kriegel 432). It is however interesting to note that graffiti culture carries no perceived benefits outside the scope of the writers as can be demonstrated by the interview responses from the local authority officials. As such, it can be safely concluded that graffiti culture impinges on the rights and privacy of others who may be not necessarily share the views or opinions of the graffiti writers. This view has been well espoused in the review of literature (Kriegel 433). Again, the findings demonstrate that graffiti is not a sign of social and moral decadence from the mouth of the players, but other interested parties think otherwise. Indeed, the culture has been accused of causing wanton destruction of property, not mentioning that it has been positively correlated to other disruptive behaviors, such as drug use and abuse, theft, loitering, and gangland activities. This finding has been collaborated in previous studies (Kriegel 435). The fin dings have overwhelmingly depicted graffiti culture as a form of artistic expression mainly intended to avail a forum where current political, cultural, and social issues can be discussed from the graffiti writer’s lens rather than relying on dominant discourses of information. This finding has been well corroborated in previous studies (Sliwa Cairns 75; Serkan Gulsen 1). However, there is overbearing evidence from the findings that graffiti culture needs to be checked and legislated so as not to impinge on the rights and freedoms of other people. Going by the findings, graffiti culture should not be criminalized; rather, it should be legislated upon through the use of a legal framework that ensures that excesses of the artwork are checked and punitive measures applied for those who fail to obey the rules, just as it is done in other areas of law. Blanket criminalization of graffiti culture is unnecessary. The government should also consider coming up with designated areas where writers can legitimately express themselves without causing damage to public or private property. Alonso, A. Urban Graffiti on the City Landscape. 1998. Web. Hammersley, M., Atkinson, P. Ethnography: Principles in Practice. Taylor Francis e-Library. 2007. Kriegel, L. Graffiti: Tunnel Notes of a New Yorker. American Scholar 62.3 (1993): 431-436. Retrieved from MasterFILE Premier Database. Serkan, G., Gulsen, Y. Understanding Graffiti in the Built Environment: The Case in Ankara, Turkiye. 2006. Web. Smith, M.K. Participant Observation and Informal Education. 1997. Web. Sliwa, M., Cairns, G. Exploring Narratives and Antenarratives of Graffiti Artists: Beyond Dichotomies of Commitment and Detachment. Culture Organization 13.1 (2007): 73-82. Retrieved from Academic Search Premier Database.

The Fact-packed Email Subject

The Fact-packed Email Subject The Fact-packed Email Subject The Fact-packed Email Subject By Michael For important email messages, try to see how much content you can get into your subject line. I dont mean you should try to see how long a subject line you can write 60 or 80 characters should be the maximum. No, but sometimes you want to get your message across through the subject line alone, so the recipient can get the urgent news even before reading the whole message. For example, if youre organizing a Toastmasters meeting, try something like, Tech-Talk Toastmasters, Friday noon, Jims Restaurant. But you say, If I put too much in the subject, nobody will read the rest of the email. Then make it Fridays Toastmasters meeting agenda. What subject line do you use when cold-calling, or sending an email to someone who doesnt expect it? Use specific details that a spammer wouldnt. For example, If you want to discuss a new paint thinner with a professional painter in your rainy town of Oakhurst, use an email subject such as Better paint thinner for Oakhurst humidity. If youre contacting someone upon the recommendation of someone elses, put the recommenders name in the subject line. Even if the email is unsolicited, the details are authentic enough, and the product benefits are real enough, that your subject line may convince the painter to open the email. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Business Writing category, check our popular posts, or choose a related post below:Is She a "Lady" or a "Woman"?10 Colloquial Terms and Their MeaningsThe Uses of â€Å"The†

Economics Essay Example | Topics and Well Written Essays - 1500 words - 28

Economics - Essay Example An isocost line is a line showing combinations of inputs that would yield the same cost. Therefore, the word isocost implies that the cost of the given factors of production are constant along the certain activity level and thus can be used for the planning and decision making purposes. In the above figure, L denotes the amount of labor utilized by the producer and K denotes the amount of capital utilized by the producer. It is evident from the figure that along the line the cost of both of the factors of production is same and the total cost of production is also shown on the graph for different cost lines. With the help of isocost lines, most economic and cost beneficial decision can be made for getting the desired output. This graph also shows that isocost lines are the straight lines and the only different in them is that they shift up or down the graph showing the same pattern for different activity levels. These isocost lines are parallel because each reflects the same relative resource price. Given a  production function, an isoquant is "the locus of input combinations that yield the same output level." (Chiang, p. 360) There is an isoquant set for each possible output level. Mathematically the isoquant is a  level curve of the production function. Isoquants is a concept relating to the quantity of input required to produce a certain level of output. For a given level of output, there are certain levels of input of production factors that yield the same level of output. If the ratio of two or more of the factors of production is changed then the resulting yield of those input factors can be same for all of the combinations of factors. This implies that the concept of isoquant deals primarily with the cost minimization problems of producers. The above figure shows different levels of labor and capital required to produce a certain output of a particular product and the curve shows that different combinations of input resources can be made to

Essay response Example | Topics and Well Written Essays - 500 words - 1

Response - Essay Example e blacks were victimized as a community but there were other groups of people that suffered at the hands of such an extremely discriminating system as well. The free black community also suffered at the hands of the white masters indirectly. The free carpenter boy who loved the slave girl could not marry her because she was someone else’s property. Similarly, the wives of the white masters were also victimized by their husband’s sexual relations with the slave women. They were forced to accept the insolent sexual behaviour of their husbands. It must have been really hard for them to turn a blind eye to the slave children their husbands bore with the slave women. Thus, women- either black or white received the most brutal blows of slavery. The free people of the North that represent a silent community are looked upon with great hope by the slave girl. She wonders why they were silent; as she believes that they have the power to change the system. The silence of the free people of the North actually represents the indifferent attitude usually adopted by those people who live in their own little bubble of life. This is not just a personal narrative of a slave girl but a life changing experience to read about her ordeal. This narrative compels the minds of the readers to think about what it is like to be a slave to another human being. This enables us to think beyond our immediate lives and to reach out to others who are in trouble. It also pinpoints to the fact that people in trouble look up to those who are in a strong position to change the course of their lives and destinies; and if their calls for help remain unanswered, then whatever hope they have turns into hopelessness and despair. â€Å"If God has bestowed beauty upon her, it will prove her greatest curse.† (47) This narrative is also about power, strength, hope, virtuousness and determination of human soul. The slave girl is an epitome of bravery and courage as she tries to fight back and to resist.

An Effective Teacher Essay Example for Free

An Effective Teacher Essay The qualities that define an effective teacher are very complex in my opinion. Everyone seems to have different ideas as to what the key indicators are. They range from; professionalism, communication, professional development, managing, guiding and strategies. There are even those of the opinion that it doesn’t matter what you do, children will always learn. However I have chosen professionalism as I believe that it is an essential attribute to being an effective teacher. Professionalism is defined by Merriam-Webster’s dictionary as â€Å"Characterised by or conforming to the technical or ethical standard of one’s profession. (Belcher). In order to gain and preserve the respect and trust of students, parents and colleagues alike and to provide students with the best education possible it is important to demonstrate professional conduct and practice. The guidelines for professionalism in the teaching profession are provided by Code of Ethics, National Professional Standards for Teachers and Duty of Care. These define the â€Å"what†. The key however is being or acting professional, this is the â€Å"how†, the effectiveness of a teacher. This is the true measure of professionalism. Some of the primary demonstrable characteristics or attributes of a professional teacher are communication, morals and ethics and professional development. Communication is an essential aspect in education, the means to send and receive clear messages to and from students, teachers, parents and community members. It establishes positive and effective relationships and connections with the involved parties. Communication can be in many forms namely verbal, non-verbal or written and used by teachers to constantly impart new knowledge or important information. The ability for teachers to apply the characteristics of good and effective communication in all its forms, to a diverse audience with different backgrounds and interests and to minimise the barriers, for example noise, misunderstanding or misinterpretation of the messages are the makings of an effective teacher. In the article by Prozesky, he states that the most effectual way to overcome these barriers is to have two-way communication with regular feedback provided by the receivers. Professional ethics is not achieved by only purely applying the ethical codes of practice nor professional standards which embody the core principles but by also applying professional skills and personal skills (caring and nurturing) and ethical behaviour in the form of attitude, intention, words, acknowledgement, respect (inside and outside of the classroom), fairness and equity with regards to individual circumstances, colour, creed, age, social-economic status, to name a few. Brock (1998) says that when dealing with ethics and professional standards there are two questions to ask; what should one do and what one should not do, what is right and what is wrong and what is appropriate and what is inappropriate. These questions result in a number of ethical dilemmas that face the teacher such as truth versus loyalty, individual versus community and religion versus morals. Early Childhood Australia has published a guide to help teachers deal with every day ethical dilemmas. According to Marsh (2010) ethical decisions have been categorised into five different levels of decision making. Open decision making, limited decision making, decisions made by the teacher, security seeking (delegation) and avoidance. Several ethical relationships exist within the dynamics of a school environment; these include ethical relationship between the teacher and the education system for example, the education system restricts teachers on what they should teach. The teacher and the principal, an example being that the teacher and principal have different values and the principal’s values will over ride those of the teacher. The teacher and the students where the teacher develops emotional bonds with his or her students and there is a mutual respect between teacher and student. The third quality that defines an effective teacher is professional development. In order to be a good teacher you need to be a good learner too. The demands on teachers to find new ideas and forms of teaching are increasing. Teachers need to be innovative and therefore attend professional development days which will help them continuously enhance their competencies and provide their students with problem solving skills and advanced thinking thus elevating them to higher levels of achievement. The desire to expand their knowledge base, stay current and gain a broader exposure to information provides this opportunity. Through numerous examples it is clear how important communication, ethics and professional development are to professionalism. These attributes will help teachers to be more effective in imparting knowledge and wisdom to their students. All of these attributes will allow the students to really focus their energies on learning and engaging with their education. Even though all of the attributes are vital for effective teaching one must never forget that the purpose of effective teaching is â€Å"that teachers make a difference, (Boyd, 2009).

A Conversation with Anna Quindlan and Alice Walker :: Biography Biographies Essays

A Conversation with Anna Quindlan and Alice Walker It was an early Fall afternoon. The kind of afternoon which lends itself to quiet contemplation of the meaning of life, either while sitting under a tree, or walking through the woods admiring the changing foliage, or writing by sunlight in a quiet coffeeshop I had begun to call home. This particular afternoon I opted for the coffeeshop. I walked through the door and waved to Theresa, who was standing behind the counter. In the three years I had been coming to this place I was never served by anyone but Theresa. She knew me only as "Honey." As my eyes adjusted to the light on the inside of the coffeeshop, I removed my jacket and moved to my customary spot at the table to the extreme rear, beside the windows. I sit here because, in this corner, I can be an inconspicuous observer of the world. I have a view of the street outside the window and a view of the interior of the coffeeshop from this vantage point. While on the way to my table, I noticed something new in my second home. There the two of them sat. One white, thirty-something, in a conservative blue dress. The other black, only the experience that shows in her eyes giving away her true age of fifty-two, dressed in a colorful, flowing dress that seemed to have a vibrant life of its own. They appeared to be engaged in light conversation like two women from a General Foods International Coffee commercial. I immediately changed direction and headed for their table. "Mrs. Quindlen, Mrs. Walker, it is a pleasure and an honor to see you. I have read your books and thoroughly enjoyed them. Would you mind if I joined you?" "Not at all," stated Mrs. Quindlen. "Please, call me Anna." She studied my face intently, trying to decide whether or not to continue with the conversation or to simply while away the time with small talk until they could gently push me away. She decided on the former. "We were just sitting here discussing men. You just happened to walk up and now we have a real live man with which to examine.

The Problem with Oliver by Maggie O’Farrell

Most teenagers have experienced that odd moment when their parents know what they are doing, even though they haven’t told them; and they certainly don’t like being compared to their parents. Young people consider themselves as individuals who have nothing in common with their parents – but in fact they might have more in common with their elders than they think. The latter might be the case for the main character in Maggie O’Farrell’s short story â€Å"The Problem with Oliver†, Fionnuala, who is a perfect, and almost stereotypical, example of a teenager of the kind mentioned in the sentences above.This short story covers some of the greatest problems and themes, we are all likely to encounter in our own life somehow. It is about the relationship between mother and daughter and about social heritage, how we all deal with growing up, falling in love – which is most likely to be kept secret by young people. What to do, when the one youâ €™re in love with comes from a culture that is despised by your closest family. When the mother is experiencing her first out-of-body experience and tells Fionnuala about it, Fionnuala is rather sceptical and is wondering if her mother has been smoking.She makes it clear to herself, that her mother has officially gone mad, and she is frustrated and tries to erase the possible similarities between Fionnuala and her mother. They don’t even look alike – not anymore. Not since Fionnuala has started straightening her hair. In which, you could say that Fionnuala will most likely not want to look like her â€Å"mad† mother. But the out of body experience made Grainne wonder if her daughter was going to make the same mistake by bringing Oliver along to the beach hut. She is laughing, probably trying to laugh it off and make Fionnuala understand it.She then says: â€Å"Then I realised it was you, and I was me, in here, in the house. † (l. 71) In which could me an that Grainne is willing to let her daughter manage it in her own way. Fionnuala may not repeat the mistake, because she could differ so much from Grainne. Fionnuala has an English boyfriend, Oliver. The mother haven’t heard about their relationship from Fionnuala, and Fionnuala is afraid of letting her know, because of her disliking of English men as equal to weak tea and amoebic dysentery (l. 49). The mother is exceedingly fond of Irish folklore and treasures the ancient traditions.And her fondness is clearly expressed in the name she has given her daughter; the name Fionnuala was, according to Fionnuala herself, an ancient Irish princess who turned into a swan. But it is obvious that Fionnuala is ashamed of her mother’s eccentric behaviour; when she first met Oliver, she introduced herself as â€Å"Finn†, unable to add the two last syllables in her name out of sheer embarrassment. The episode, where Fionnuala’s mother Grainne hides the key to the bea ch hut from her daughter, could very well be the result of a bad experience from Grainne’s younger years.We know from the text that Grainne moved to England to escape the fury of her family, and since Grainne is able to hide away the key to the beach hut, it could be a sign of her trying to avoid repeating the episode. This looks very much alike the episode, where Grainne sits on a bench and she spots a cat that is about to make it a run for the crumb-pecking finch. (ll. 25-33) Grainne is preventing the cat from getting to the bird by throwing a cloth towards a window.In the same way, she is attempting to scare Fionnuala or teach her a lesson, and maybe save her from something that could go wrong, like it did for Grainne, when she was younger. So Grainne knows, that there is something bothering Fionnuala, maybe that she haven’t done it yet, and almost the rest of the school has. In the text, Grainne warns Fionnuala about not giving in for peer pressure, and that would save a lot of trouble later. Right when Fionnuala had cancelled the date with Oliver and gone terribly mad at her mother, she founds the key on her bed, and her mother is gone.Grainne would maybe rather run away herself than run the risks of getting furious with Fionnuala’s boyfriend, so Fionnuala did not have to run anywhere. By growing up, your sense of realism is developing, the older you get. So as the dark, twisted branches of the hawthorn tree tap-tap against the side of the house, as if wanting to come in, could be referred to as the reality, wanting to come inside the house – her mind. Grainne knows what is going on, and therefore, things may get easier for Fionnuala in the future. She could maybe be torn between her mothers strong Irish standards and her boyfriends English ways.