Clare Lam (19-I1)
As our modern day society progresses down the path of rapid technological advancements, many activities in our everyday lives are now carried out online, be it communication or work. Although this advancement has no doubt brought about significant convenience in our way of life, which can be seen [by how the] vast majority of individuals…
Bella Ong (19-U1)
Hopkins’ poem portrays a mind and self dwelling in a particular moment of turmoil, and the persona self-describes this psychological unravelling as it evolves from a state of anguish and despair into one of elevation and hope. The self, through the presence of this transition, is thus depicted to possess potential for transformation, capable of arriving at a more restful and reassured spiritual state from the disquietude of psychological agitation.
Ponhvoan Srey (18-U5)
Bryan Sim (17-I1)
Goh Pei Swhen (18-U2)
Kieron Ong (17-O1)
When I was a child, a visit to the Waitangi Treaty Grounds and Te Kōngahu Museum of Waitangi in the Bay of Islands was an experience that I would never forget. The beautiful architecture and stunning performances engraved a picture of joyous harmony into my mind, and I left Auckland with the impression that the Māori were proud and embraced in their own society. Ten years later, upon further research, I realized that I could not be more wrong.
This passage begins with Angelo’s soliloquy as he reveals the internal conflict between restraint which he had always strictly believed himself to live by, and the liberation of his growing sexual desires for Isabella. It then transitions immediately to a dialogue between Angelo and Isabella, revealing to the audience Angelo’s growing self-awareness as he gives in to his sexual temptations and allows them to manifest in his speech. Hence, Angelo is presented through this passage as a man susceptible to human passions and temptations of the flesh, just like any other fallible human being, contrary to earlier depictions of him in the play.