# data[].attributes.body
CHAPTER 33

The new order of Gilead -> Prayer

Big loud show, Ofglen and Offred can go in the back and chi chat.

Ginnine has flashbacks as a waitress and Moira had to slap her out of it, she would get in trouble.

CHAPTER 34

Commander full uniform, like Nazi event

Decorated soldiers of civil war.

Offred has flashback of telling how they would be fertilised to make new soldiers and how it would benefit them in the long run. She recognizes this is not good for younger woman or any woman. Moira comes in acts as her concience

The underground knows shes been meeting with commander and wants to know what she knows from him

Eye with two wings

Virgins white

Angels uniform

Showy moment -> propoganda -> show of state power

CHAPTER 35

Luke and Offred and daughter escape flashback

they got stopped at the cannadian border, then Offred made a run for it at the border -> panic

Offred and commander discussing Love, what love means, concept of love, falling in love, deeply in love, passionate? deeper? Spiritual? Soul higher being.

Philosophy

The world used to be limitless, western style, United States, she feels like a refugee from past life.

End of chapter:

Serena promises photo of daughter, photograph gives her hope.

CHAPTER 36

Action packed chapter, alot happens here!!!

Ballgown night gown dress, idea of feathers sequence, sneak out of house nightclub, cinderella flavour, she hides in foot of car, covers herself in the cloak.

Sexy Clothing, should be banned

CHAPTER 37

Shes dressed up as sparkling gown, illegal gown, everything is illegal in club, thats its appeal.

Woman dressed in cheerleader, nightleuchays, bikini, woman on display, all types of woman and men, more like a film or movie. she sees Moira dressed up as bunny with tail, she signals Moira to the bathroom and chats there under 15 minutes from the commander.

# data[].attributes.body
"Perhaps he is an eye"

The author has used the eye as the eye in the original proverbs symbolizes God's view, The republic of Gilead is like a God watching over woman and man.

This line shows the possible instances of worry and uncertainty, which she is unsure of being watched or not

# data[].attributes.body
"The car is a whirlwind better than the chariot"

Original bible verse : And it came to pass, as they still went on, and talked, that, behold, there appeared a chariot of fire, and horses of fire, and parted them both asunder; and Elijah went up by a whirlwind into heaven.

Margret Atwood has twisted 2 King 2:11 perhaps to emphasize that a black car, a car demonstrating egocentricism owned by the commanders, that better and has a bigger influence than the old chariots owned by lower class woman.

# data[].attributes.body
Dystopian : an imagined world or a society where people lead fearful lives.

Satire : The use of humor, irony or exaggeration.

Utopian : Idealistic, aiming for a perfect world.

Theocratic : Denoting or relating to a system of government in which priests rule.

American Puritanism : A very strict, severe religious movement.

Feminism : Advocating woman's rights on the basis of equality in sexes.

Christian Fundamentalist Movement : Being emphasized as the fundamental literal truth of the bible.

Pronatalist : A policy which encourages people to have children.

Sterility : The condition or quality of being sterile.

# data[].attributes.headline
To what extent does the concept of 'loopholes' in rules and authority systems reveal the dynamic between individual agency, societal norms, and the pursuit of personal goals? How do instances of creatively navigating or challenging rules shed light on the complex interplay between ethical considerations, personal intentions, and the broader social context?

# data[].attributes.subject
To what extent does the concept of 'loopholes' in rules and authority systems reveal the dynamic between individual agency, societal norms, and the pursuit of personal goals? How do instances of creatively navigating or challenging rules shed light on the complex interplay between ethical considerations, personal intentions, and the broader social context?

# data[].attributes.body
It is to a large extent that the concept of loopholes reflect this idea, as chapter 6 loopholes depicts Trevor depicts himself as being controlled by his mom, while being also controlled by societal norms, for example, Trevor Noah gets ignored by Patricia, his mom, when he puts the toffee apple at the counter, this indicates societal norms as society regards black moms as having no authority over white kids, which, Trevor has a half white half black skin tone, perhaps partly removes this allowance of being together with him for Patricia. The instances where Trevor wants to take control through literature show personal intentions, and perhaps the complex interplay of arguments or conflict between Patricia and Trevor, as when Trevor presents his ideas on a piece of paper.

# data[].attributes.headline
Dad was the white chocolate, mom was the dark chocolate, and I was the milk chocolate. 

# data[].attributes.subject
Dad was the white chocolate, mom was the dark chocolate, and I was the milk chocolate. 

# data[].attributes.body
3 Key Phrases : White Chocolate, Dark Chocolate, Milk Chocolate.

I have decided to choose this passage as it indicates a tender and sweet moment of a family, where the white chocolate and the dark chocolate mix to create Trevor, who is viewed as the Milk Chocolate. Which some view milk chocolate as soft, smooth, and loving to the taste and feels, this gives people an impression of how Trevor is, while reminding me of Paris.

Trevor is possibly presenting himself as the smooth, soft, loving person, with good character.

I find this aspect to be particularly inspiring, and moving to the reader. Which is why I chose this passage.

# data[].attributes.body
I remember it was a mornings day, a fine day to go to church with my egocentric dad, or, my mom who has always been sleeping but had just woken up. I remember walking down the street that day, closing the door behind me, than descending down the small alley into the Train.
There was lots of people near the train station, of whom I knew not much people, but my dad would always say "just be urself!", and I'd be like "okay? Just be urself!".
But anyway, we stepped on the escalators, and I was moving back and forth like an agitated kid, preparing to get my soup and cheeze bread, of which was my favourite thing to have.
I am a strong believer in Jesus myself, and I couldn't wait to see that big wooden cross at the front of where the priest is standing...
My mom would always tell me to catch up, swatting my butt in the public, she'd make an embarrassing move in front of everyone, but that was cool.

Feedback from other students : Edric said I should set up the scene, the scene should be done through vivid imagery. And Edric also explored my ways of writing, which he commented it was very raw, in the sense that it was very personal, which makes it relatable.

# data[].attributes.headline
Discussion on the Authorial choices of this form of writing in chapter 2 of Born a Crime

# data[].attributes.subject
Discussion on the Authorial choices of this form of writing in chapter 2 of Born a Crime

# data[].attributes.body
Trevor Noah uses imagery, caesura, third person pronouns to depicts his living environment as a dangerous society comprised of the brutality of the police, and the anger issues happening on the busses. In an example, "They wore riot gear. They were militarized. Because they would swoop in out of nowhere, riding in armored personal carriers.. slotted holes in the side of the vehicle to fire their guns out of." Trevor Noah's use of the words "militarized" and "swoop" creates an impression of an aggressive and scary government control, it perhaps, emphasizes the power dynamics between the African Americans and the "Whites".

# data[].attributes.body
Memoir is a piece of literature that transports their readers to the author. Allowing the reader to feel everything the author has felt in reality. However Memoirs have to be made professionally written to achivev that effect, which includes the use of

Unique Voice, Specific Details, Emotions, thought-Feelings, Descriptive, Vivid Relationships, Clever Dialouge, and Syntax etc for example

In conclusion,

Memoirs use iterative techniques to compose a unforgettable feeling of the author to the readers themselves.

# data[].attributes.body
https://docs.google.com/document/d/1R8XFxZkq4KnY2CcK1LtLHKHBVESJKma9cCOMc-qcQ3A/edit

# data[].attributes.attachment_link.description
Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

# data[].attributes.body
https://docs.google.com/document/d/18MK44MRgPQ-HrxnzeIN2rQ2vKnxmiSnugQeQP0TbET0/edit

# data[].attributes.attachment_link.description
Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

# data[].attributes.body
To what extent is truth necessary for a memoir? For something to be true, must it be truthful?

I believe that while truth is necessary for the creation of a good memoir like a non fictional book, I also considered that it is important to have a little bit of personality into the memoir, as it is important to consider the ways of a interesting memoir.

Secondly , truth should be thought as of from the real, so it should be truthful.. while.. a memoir should also be truthful, however a memoir could also be in the form of a journal, that in this case, would be personal like.

While on the other angle, I believe that there has got to be an abundance of truth in order for a memoir to feel authentic. This is because personality that lacks truth can feel as if the person is making facts up.

Firstly, it depends on how the term "truth is defined", in general definition, truth is defined as "the body of real things, events, and facts", using the general definition, I believe that for something to be true, it must be truthful. That the truth is one or a bunch of facts that one cannot erase, as it is "real", it exists physically in this world and mentally in our heads.

# data[].attributes.body
I feel very empowered to see what appears to be an army formation composed of African Americans, this feels empowering as it shows the African Americans's strength in an orderly fashion, which proves to white people that.. they are indeed.. obedient like good soldiers.. and indulges in building a team.

Secondly, building a team in this sense can be a very proud thing to do.. as it demonstrates to others ur strength in numbers.. and the sheer perfect allignment of the African Americans just make it ceremonial feeling~! As if the ceremony was representing of great respect to the Africans..

Lastly, the white officer standing in front proves that, not only does this ceremony have huge respect, it also has allied powers with a white people.. The white people could symbolize the white peoples Which, is indeed changing the world 2023 perspectives about segregation between Africans and other skin colored people.

However, I took the image as an army ceremony.

# data[].attributes.attachment_caption
PERSONAL REFLECTION OR THOUGHTS BASED FROM THE DISCUSSIONS ABOUT Shamsia Hassani- 'Birds of No Nation' (2015) Artworks

# data[].attributes.headline
Shamsia Hassani- 'Birds of No Nation' (2015)

# data[].attributes.subject
Shamsia Hassani- 'Birds of No Nation' (2015)

# data[].attributes.body
While explaining and discussing this with my classmates and my teacher... I discovered about Shamsia Hassani's knowledge for the act of fighting for woman's independence in the face of strict Iranian control.. especially depicted in the work in the image above.. which shows giant soldier figures drawn in a dark color, and the symmetry of these three figures, while combined with the enlarged body.. enhances this strict control aspect..
The woman holds her piano.. an act of defending her individuality. Individuality as in being able to be urself without others sense on you.

# data[].attributes.body
Throughout the IO practice, I discovered the need to be cohesive with the examples I use in my speech.. For example... If I am discussing about the similarities and differences between Persepolis and Gwendolyn Brooks.. I should be able to talk about what their beliefs and values have in common.. and to be able to give relevant examples regarding that area.. while being careful to not deviate from beliefs and values.

In summary, my speech that I make for IO practice has to be congruent or cohesive.

# data[].attributes.body
Persepolis inspired me in many ways, since Persepolis used black and white contrast to depict important juxtapositions in the events. For instance, Marjane Satrapi sleeping in bed, but her God next to her is bright, against the dark blackness.. which could symbolize a sense of relief and restoration of her hopes for herself as she faces these  issues such as strict and lifeless Iranian control.

# data[].attributes.body
The Aunt Jemima Advertisement think about the stereotypes people put in black people, especially in the past in America. Since... the advertisement shows black people as caring nannies that give happiness to the white people with pancakes..

African Americans might find the advertisement offensive as it gives them a stereotype because of their skin color.

# data[].attributes.body
A Dolls House made me relate to my own life as a young boy living at home in Hong Kong, its very similar to the face that A Dolls House contains aspects of being controlled at home. Being controlled at home is never a good thing.. especially if it hinders ur freedom of expression and such... Although i am a boy.

# data[].attributes.body
This poetry makes me imagine about African Americans life. In 1976, she was the first African American to nationally ever join the  Institute of Letters and Arts, this makes me think about how African Americans live their lives.. which opens up my perception of their life qualities.

# data[].attributes.attachment_link.readable_text
Bani Adam ( Persian: بنی‌آدم; Arabic: بني آدم; Hebrew: בן־אדם), meaning "Sons of Adam" or "Human Beings", is the name of famous poem by Persian poet Saadi Shirazi from his Gulistan. A translation of the first line of the poem was quoted by former U. S. President Barack Obama in a videotaped message to Iranians to mark Nowruz, the Persian New Year, on 20 March 2009. The poem is also inscribed on a large hand-made carpet installed in 2005 on the wall of a meeting room in the United Nations building in New York.

The poem comes from Saadi's book the Gulistan or Golestan (chapter 1, story 10), completed in AD 1258.

A close translation of the above is as follows:

Or:

Another poetic version by Dick Davis:

Another translation (adopting the variant reading yak paykar for yak dīgar), is as follows:

Another version by Kalal Derhami reads:

"Children of Adam are all members of each other

In creation made of one earth, one mother

In time may a member find himself in pain

Other members stand besides him and remain

You who wont feel for others in despair and in pain

Shall not be worthy as a human and in name"

Shrine of John the Baptist in the Umayyad Mosque.

The poem comes in the Gulistan at the end of story ten of the first chapter "On the Conduct of Kings". In this story Saʿdi claims to have been praying at the tomb of John the Baptist in the Great Mosque in Damascus, when he gave advice to an unnamed Arab king who requested Saʿdi to add his prayers to his own as he was afraid of a powerful enemy. Saʾdi's advice to the king was that if he wished to live a life free of fear of retribution he should rule his people with justice. He reinforces his advice with two short poems, the second of which is Bani Adam.

There seems no reason to doubt that Saʿdi may have visited Damascus in his travels, although this particular incident, like many of Saʾdi's stories, may of course be fictional.

The story is quoted below in the version completed in 1888 and published in 1928 under the name of Richard Francis Burton, but probably in fact by the Hungarian linguist Edward Rehatsek:

I was constantly engaged in prayer, at the head of the prophet Yahia's tomb in the cathedral mosque of Damascus, when one of the Arab kings, notorious for his injustice, happened to arrive on a pilgrimage to it, who offered his supplications and asked for compliance with his needs.

The dervish and the plutocrat are slaves on the floor of this threshold

And those who are the wealthiest are the most needy.

Then he said to me: 'Dervishes being zealous and veracious in their dealings, unite thy mind to mine, for I am apprehensive of a powerful enemy.' I replied: 'Have mercy upon thy feeble subjects that thou mayest not be injured by a strong foe.'

With a powerful arm and the strength of the wrist

To break the five fingers of a poor man is sin.

Let him be afraid who spares not the fallen

Because if he falls no one will take hold of his hand.

Whoever sows bad seed and expects good fruit

Has cudgelled his brains for nought and begotten vain imaginations.

Extract the cotton from thy ears and administer justice to thy people

And if thou failest to do so, there is a day of retribution.

-

The sons of Adam are limbs of each other

Having been created of one essence.

When the calamity of time afflicts one limb

The other limbs cannot remain at rest.

If thou hast no sympathy for the troubles of others

Thou art unworthy to be called by the name of a man.

The first line of the poem is quoted in two different versions, one with yekdīgar "one another" and the other with yek peykar "one body". Both readings have their supporters.

The variant of the poem containing the word yekdīgar "one another" is the form more usually quoted in Iran. It is the version found in the standard edition of the Gulistan edited by Mohammad Ali Foroughi, on the Internet on the Ganjoor Persian Literature website, and woven on the Persian carpet presented to the United Nations in New York in 2005. In 2010 the Central Bank of the Islamic Republic of Iran issued a 100,000-rial banknote containing the first couplet of the poem, also with the yekdīgar version. In a statement issued at the time in response to a controversy in the press about the choice of version, the bank said that they had chosen this version after consultation with experts at the Academy of Persian Language and Literature.

Among statements issued by experts at the time of the issue of the banknote, Professor Kavoos Hasanli of the University of Shiraz, the author of a book on Saadi, was quoted as saying that yek peykar is closer to the construction and grammar of Persian in Saadi's time and therefore more trustworthy. Later, however, in another statement he revised his view to say that although banī ādam a'zāye yek peykar-and is more grammatical and closer to the language of Saadi, he believed that since this version is not found in the early manuscripts, it is not the original one.

The yekdīgar variant is also favoured by Mohammad Jafar Yahaghi of the Academy of Persian Language and Literature, and was also supported by the late Professors Mojtaba Minovi and Gholamhossein Yousefi.

The version with yekdīgar is said to be found in all the early manuscripts, dating to within 60 years of the composition of the Gulistan. The scholar Habib Yaghmai wrote: "Twenty years ago when I was assisting the late Mohammad Ali Foroughi in preparing the 2nd edition of his collected works of Saadi, we had available some very old and reliable manuscripts, dating from 717 (1317-8 AD) and 724 (1324 AD) and later. In all these copies the poem appeared in the form banī ādam a'zāye yekdīgar-and."

However, despite the lack of manuscript support, other scholars have argued for the correctness of the variant yek peykar. Among these was Saeed Nafisi, himself the author of an edition of the Gulistan (1962), who pointed out that in the ta'liq style of handwriting used in Saadi's time, the expressions yekdīgar and yekpeykar would have looked almost identical. Another scholar who supported the reading yek peykar was the famous blind teacher Dr Mohammad Khazaeli, on the grounds that "members of one body" was not only more logical, but also closer to the hadith cited above, on which the poem is based.

It may be noted that although the carpet in the United Nations has the yekdīgar version woven into it, the English translation by Edward Eastwick on the plaque alongside it quoted in a speech by Ban Ki-moon (see below) "All human beings are members of one frame" translates the other version with yek peykar.

The word peykar has a wide range of meanings: "image", "figure", "effigy", "likeness", "statue", "icon", "body". Before Saadi's time it was most famously used by Nizami Ganjavi in his poem Haft Peykar ("The Seven Portraits") of 1197, the story of King Bahram, who finds portraits of seven princesses in a locked room. In other contexts, however, such as 595.6, where Saadi writes of his "feeble body" ( peykar-e za'īf-am), the translation "body" is appropriate.

The prose stories of the Gulistan are illustrated with short poems in a large variety of different metres. Three different metres are used in Story 10. The first couplet is in the 13-syllable ruba'i metre (3.3.13 and 5.1.13 in Elwell-Sutton's classification); the second poem, of four couplets, is in the 15-syllable metre known as mojtass (4.1.15), often used for lyric poetry.

The third poem, Bani Adam, is in the well-known 11-syllable motaqāreb ( mutaqārib) metre (1.1.11), which is also used for Ferdowsi's and for Saadi's long poem the . Although it has an Arabic name, it is likely that this metre is originally Persian and not derived from any Arabic metre. The metre is usually used as here in the form of rhyming couplets.

The pattern of the metre is as follows (where "u" is a short syllable, and "-" a long one), reading from left to right:

Monotony is avoided by variation in the position of the word accents, and by the occasional use of "overlong" syllables such as rūz and ozv- in the third and fourth lines, which are prolonged and occupy the time of a long plus a short syllable:

Thus these two lines have only 10 syllables instead of the usual 11.

Persian carpet with the poem by Sa'adi, Bani Adam, in the United Nations-New York

The first Iranian representative to the League of Nations (the predecessor of the United Nations) from 1928 to 1930 was Mohammad Ali Foroughi, the editor of Saadi's works. In a speech made in Paris in 1929, Foroughi described how at a banquet of the League of Nations in Geneva in September 1928, an Albanian representative (who had apparently learnt Persian when Albania was still part of the Ottoman Empire) had made the suggestion that Saadi's poem would make a good motto for the organisation.

It seems that the suggestion was not taken up, but for many years it was rumoured in Iran that Saadi's poem had been inscribed over the entrance to the United Nations headquarters, either in New York or in Geneva. Later, Mohammad Javad Zarif, the Permanent Representative of Iran to the United Nations from 2002 to 2007, described how he searched both locations in vain, and could find no trace of any such inscription.

It was during Zarif's time, however, that Mohammad Seirafian, the owner of a famous carpet workshop in Isfahan, let it be known that he had a large 5 metre by 5 metre carpet containing Saadi's poem woven into it in gold letters, which he was willing to offer to the United Nations as a gift. This carpet was eventually installed in 2005 in a meeting hall in the interior of the United Nations headquarters in New York, where it shares a wall with a Chinese carpet. The eighth Secretary General of the United Nations, Ban Ki-moon, mentioned the carpet and quoted Saadi's poem in a speech made in Tehran in 2012 in these words:

"There is a magnificent carpet - I think the largest carpet the United Nations has - that adorns the wall of the United Nations, a gift from the people of Iran. Alongside it are the wonderful words of that great Persian poet, Sa'adi:

All human beings are members of one frame,

Since all, at first, from the same essence came.

When time afflicts a limb with pain

The other limbs at rest cannot remain.

If thou feel not for other's misery

A human being is no name for thee."

The translation quoted by Ban Ki-moon, which is the same as that on the plaque on the wall of the United Nations commemorating the United Nations Year of Dialogue Among Civilizations (2001), is taken from the second edition (1880) of the translation of the Gulistan by Edward Eastwick.

The sentiment of Saadi's poem can be seen to conform to the spirit of the Universal Declaration of Human Rights, proclaimed by the United Nations General Assembly in Paris on 10 December 1948, of which the first article reads as follows:

"All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood."

The poem was featured as one of Coldplay's songs (also called Persian: "بنی‌آدم") on their album Everyday Life released in November 2019.

# data[].attributes.attachment_link.description
Bani Adam ( Persian: بنی‌آدم; Arabic: بني آدم; Hebrew: בן־אדם), meaning "Sons of Adam" or "Human Beings", is the name of famous poem by Persian poet Saadi Shirazi from his Gulistan. A translation of the first line of the poem was quoted by former U. S.

# data[].attributes.attachment_link.description
And what we can do to show support from New Zealand.