Culture

Poetry is one of the most ancient media in which people express their emotions and perhaps one of the most beautiful; as Howard Monomer gracefully puts It, “It may be said that poems are In one way Like Icebergs: only about a third of their bulk appears above the surface of the page” (1920 1 991 Australian poetry is no exception to this tradition of versified thoughts and feelings, and many a poet have demonstrated an intense focus on both the artistry and harshness of the environment that harbors this nation.

Through the creativity and emotions of the poets, Australians are arrayed In a contrasting light as both likeable and dissociable. This Is particularly apparent in the poems being analyses in this essay – A. B. ‘Banjo’ Patterson We’re all Australians now and Kimonos Servos’ nobody calls me a hog anymore. While both Banjo Patterson and Kimonos Servos infuse their poetry with the spirit of metathesis and acceptance In Australia, Patterson focuses on the circumstances of war which ‘instantly mend’ the countries’ interstate differences while Servos concentrates on the struggle to achieve tolerance as an international migrant.

These two poems share a umber of similarities. The first of these is the focus on equality between all, which creates a sense of unity within the participants In the narrative told by each poem. In We’re all Australians now, Patterson makes powerful allusions to the nation as a whole using cities as synecdoche for integration such as “From Brome to Hobnobs Bay”. Brome is a city on the North-Western coast of Australia, while Hobnobs Bay is an electorate of Melbourne, In the south east of the country; hence, this metaphor Implies the Inclusion of the inure country.

The third stanza of the poem Incorporates people of opposing ethnicities, using a true blue’ metaphor, “the man who used to hump his drum”, to introduce the indigenous people to the picture through their musical customs, referring to their drum playing as an Identifying feature (Aboriginal Arts and Cultures Centre). They are compared as “fighting side-by-side” with Tasmania farmers; one cannot escape the carefully constructed and implicit incorporation of two distinct ethnic groups as Tasmania people are likely the whitest Australians there are, given the cool climate of their state.

This creates a contrast between pollarded races while portraying them all as equal. The title of the poem suggests the idea of unity and togetherness, and everyone being the same – the phrase “We’re all Australians now” appears as an anaphora throughout the poem to reinforce the importance of Australian identity. Within this phrase, the persona Includes himself, which he doesn’t do at any other point throughout the poem; this could suggest that he uses himself as a replacement for everyone through use of the word ‘we’re’.

In a similar fashion, the use of the word ‘now implies reminiscence of previous times, such that the conflict between states is gone but will never be resorting. Servos also focuses on equality between people. The title of the poem, which Is also Its first line and Its dominant Ideology, states this concept of personal acceptance and equality quite frankly: “nobody calls me a hog anymore”. The poet”, set the hopeful yet sarcastic tone: despite all the hardship, the persona is accepted as an Australian.

The end of the poem shows the use of schism’s in the line Mimi need me, and I need you”, which gives the effect that the sharing and the acquisition of Australian citizenship is a mutually beneficent deal, thus creating equal opportunity for both participants. This type of relationship generally results in a unified environment: Australia is enriched and the protagonist is embraced. Both writers have used Australian symbols, icons and stereotypes in order to relate to the concept of acceptance into Australian society and to relate to a typical Australian audience.

We’re all Australians now refers to perhaps the biggest icon the nation has, its national flag: “Our six starred flag that used to fly/Half-shyly in the breeze. ” This can create a sense of patriotism in the reader, making them feel proud of their entry and thus allowing them to visualize and work towards achieving an atmosphere of acceptance and metathesis. Patterson also refers to the more traditional, enumerating, well-known occupations of the country, especially as they were at the time of the war.

These include the men who worked in the shearing shed, or the shearers, those who worked on the cattle runs, the fishermen, the farmers and the miners, scattered throughout the verses. All of these are attempts to relate with the audience, particularly that of the sass, allowing them to feel as though they too re involved in the metathesis, camaraderie and acceptance that the nation is so well known for. The final important reference to Australian identity in this poem is found in the last stanza: “And with Australia’s flag shall fly/A spray of wattle bough”.

The poem states the purpose of this explicitly – it is “to symbolism our unity. ” Perhaps the main drive behind the choice of “wattle” is something as simple as the fact that all men in Australia can grow the wattle, the national flower, no matter where they come from or what they look like; thus, it creates a bond between the people. The wattle therefore becomes a metaphor for togetherness. Kimonos Servos is a little less ‘romantic’ and idealistic in describing Australia’s struggle to achieve this same goal.

His heavy use of colloquial language and intentional lack of spelling, grammar and punctuation conventions imply that he is not trying to please and appease a demanding, skeptical Australian society but rather use his resume as a good reason for benefiting from the tolerance and equality that is so loved about Australia. He tries to replicate the way Australians speak in particular as Servos tends to more often than not perform his poetry, making it more a spoken then a written piece (De Wright).

Examples of this sort of language include “I’m an cozies too”, a tirade of interesting, accusatory Australian slang such as “Fair dinked ridge dodge a dinky die true blue” and “Me hog mate Kevin”, where the word “me”, replaces the grammatically correct term “my’, as this is how it is often pronounced. He deals with parts of life that are vital to common Australian people, detailing that they apply to him also: “A poet with a mortgage/And a wife, and kids/And gas bills, and a tax file number/Just like you.

These depictions of real life Susie living create a common ground for both poet and reader, allowing for the ultimate message to be shared: we all deserve – for various, complex reasons – to be called Australians! The poems also have a number of differences, segregating their ideologies and themes accordingly. The first of these differences is Patterson softened poetic mood as compared to the experiences which engendered them. The most obvious part of the poems that is different and which connects to this idea is the prosody. We’re all Australians now has consistent end rhyme and rhythm and flows really well.

This is in complete juxtaposition to Server’s choice of prosodic elements, which has no consistency and appears as rebellious, unconventional and abrupt as the message itself. They are representative of what the poets are trying to portray – while Patterson is depicting a perfect, naturally occurring team environment, where everyone gets along instantly and operations and relationships flow smoothly, Servos is displaying a struggle to obtain this acceptance, a struggle which is filled with bumps, lumps and plenty of twists, similar to the mood created by the irregular number of syllables and incidental rhyme.

This may be owing to the experiences of each respective poet. Patterson writes about the Battle of Galileo, in a highly dampened manner, as indicated by the reference to Gab Tepee hill, which is a hill Just south of Anza Cove. While he served in the First World War, it was not at Galileo, but rather on the Western Front, meaning essentially that he never actually witnessed exactly what it was he was writing about (University of Sydney).

On the other hand, Server’s poems often, among other things, contain confronting, realistic autobiographical content. An example of another of these poems is childhood in Richmond, where in fact he is describing his own childhood as a fight for recognition “and a bag/ full of dreams”; nobody calls me a hog anymore appears to be based on a similar concept (De Wright). The term Hog’ is used in Australian English to describe foreigners, particularly Mediterranean Europeans. The poet is a Greek Australian, born in Melbourne to Greek parents.

It is likely then that this poem describes his own experience, an idea strongly reinforced by his referral to himself and the use first- person point of view, both of which are lacking in the other poem: “And I said, Australia, hey! ‘/You can call me Kimonos! “. All these factors allow him to not only better describe the situation, but to relate to the audience better. The oscillation between first and second person connotes the author’s deep desire for dialogue, conversation achieved through the use of pharmacopoeia.

Also emphasizing this idea are the forms of figures of speech present in each poem. We’re all Australians now has a lot of tropes such as metaphors, personification and metonymy to embellish and moderate intentions; for example, the lines “the mettle that a race can show/is roved with shot and steel” display metonymy, replacing guns or weapons with the phrase “shot and steel”, which essentially means the bullets and the blades; it is a way of euphemistic the otherwise painful message and making the scene a little bit milder than it actually is.

On the contrary, nobody calls me a hog anymore is blunter and to the point, instead using figures of sound such as schism’s, napoleon and gausses in order to persuade the reader of the point. Patterson and Servos are describing two different scenarios in their poems – while Patterson is discussing the resistances provided by war which instantly heal any interstate dissentions, Servos is essentially portraying the personal fight and victory that he had against racism.

Throughout We’re all Australians now, the quelling of competition between states when faced with war is a common theme, shown particularly well in the line “We’re not state children anymore”. This line personifies “the state” as motherly and then quickly brushes over the simplicity of detachment from one’s state to instead form a nation. Another part of the poem recites “For English, Scotch and Irish-bred/ They’re all Australians now! At the time in which this poem was set, Australia was a young nation of Just 14 years, so the English, Scotch and Irish are not necessarily literally those nationalities (though for many people of the time, it would have been), but more likely their heritage, including the quintessentially Aboriginal one. On the other hand, Servos, as stated earlier, is depicting a constant struggle, a fight for his own personal acceptance. He attempts to connect with the audience and Australians in order to achieve this.

He also describes parts of his struggles in the first half of the memo. For example, gausses is used in the lines “Point the finger accusingly/Thump my fist demandingly’, in order to describe the escalation of moods. He Jumps from peaceful accusations to semi-violent measures within the space of two lines as the anger boils up. Overall, the poets have each drawn upon their own personal experiences in order to spin the webs of aesthetic features that readers still enjoy today.

Be it Patterson third-hand experience, comparing the Western Front of the Great War to the Battle of Galileo, or the personal story told by Kimonos Servos of he struggle against racist attitudes, the poems leave a lasting message that shall be forever remembered; Australian metathesis is real, a sense of acceptance seen nowhere else in the world does exist, forming indestructible bonds of helpfulness and tolerance.

Giant Lorenz Bernie “Ecstasy of Saint Teresa” I chose Ecstasy of Saint Teresa by Bernie because it is an impressive multi-media installation that helps me understand the intense experience of Saint Thresher’s visions. Four black columns frame the scene of Saint Theresa floating as if on a cloud as a playful angel is about to plunge an arrow repeatedly into her. Her face portrays a feeling of intense pain and pleasure as she accepts the glory and light of her lord. Heavenly light is shining down on them. Through the use of natural light shining down from an unseen mystical source.

Brass reflective rods are lined up in a row opening up towards the couple further signifying the beauty and grace of the light. From both sides of the main characters a viewer then notices a seated audience relief carved out of marble. The audience seems to be captivated by the untraditional portrayal of god like visions. The marble is so beautifully carved to render flesh and the texture of clothing. Ecstasy of Saint Teresa is equally frightening and stunning; reflecting the religion it represents. This piece is a perfect example of Baroque sculpture. A common characteristic of

Baroque art is including the audience into the work. Ecstasy of Saint Teresa does this by way of the theater windows. The relief of witnesses within these windows gives the sense that all of this is happening on a stage, and the audience is thus placed in orchestral seats in front of the stage. This includes the viewers into the work and justifies the drama portrayed theatrically in front of us. The scene portrayed here is an intense one. Seeing the look on Saint Teeter’s face shows fear, pain, and pleasure. This is Juxtaposed with the look of calm playfulness on the angels face as he threatens her with the arrow.

Natural light bathes both the figures in a holy light that implies a sense of realism to the existence of God. The emotional impression the piece implies is very characteristic of Baroque art. One can imagine the pious traveling great distances to be brought down on their knees by Bering’s instillation. Bernie was a master in working with marble. The articulate depiction of different weights of cloth is impressive. Saint Teresa is dressed in a heavy textile that weighs her down in the earthly sense. The angel is lifted into the heavens by his silky clothing that moves easily in the breeze.

He shows off more of his craftsmanship by way of the windows. There is an illusion of continued space beyond what we can see. Bernie also includes a stylized classical pediment. This pediment is cleverly utilized to hide a window that lets in the natural light that is focused on the centerpiece. Ecstasy of Saint Teresa was created using Marble, gilded brass, natural light, and architectural elements to create a whole composition. This makes Bering’s epic depiction the first multimedia installation that predates the popularization of the art form by 3 centuries.

Earache From Ovoid’s Metamorphoses, Earache remains a relevant myth in all its forms. The Myth of Earache provides both a spiritual almost religious moral baseline as well as an origin for a common household creature. In the myth, Earache- a talented weaver, challenges the weaving skills of Palls (also known as Athena). Intrigued, Athena weaves her tapestry and “Earache weaves hers in reply’. (Book VI: 103-128, http:// Ovid. Lib. Virginia. Due/trans/Metamorphose. HTML). Even Athena has to admit that Earache is the greatest weaver and in anger ruins her tapestry.

Earache in shame kills resell, and is resurrected by Athena to live her life as a spider so that she can continue to weave. (Book VI: 129-145) This myth serves several purposes specifically to Greek culture. Firstly, it reminds those who revere the Greek Gods; that they are not only all powerful but that they have the same nature as humans do. Athena is human in the sense that she is jealous of the work of Earache. She then returns from Jealousy to show Earache compassion and love by resurrecting her to weave forever. In a religious way is an example of the condemnation of suicide within organized religion.

All religions address suicide differently, but nevertheless it is addressed. The other common theme being that those within religious stories that choose to challenge a God/ Goddess in any way, never come out triumphant. It reminds those reading that the Gods are all powerful and always will be. This myth also creates an origin story for the word “arachnid” for spiders, a household creature. This helps the myth survive and makes it relevant to cultures across the world including my own, linking something that everyone knows, and everyone has seen to an origin and a person.

Suddenly, those scary eight-legged little monsters are a piece of a woman’s soul. They weave for the woman that bore them. When a small child is about to squash the spider and their loved one stops them and tells them the story of Earache. The creature that Earache is turned into, directly reflects her as a woman. Firstly, the talented weaver is resurrected as a creature that weaves to survive. Secondly, after she has hung herself to end her life, she is turned into a creature that hangs onto the material that extends her life. She must now live from the art that caused her to take her own life.

Besides teaching readers an example of hubris, the story teaches the importance of not boasting. When Athena is warned of the young woman’s challenge, she gives her a last chance to learn some humility. The woman continues to boast and ignores the ominous warning. The practical piece of this myth is that it would be, could be told to children because it teaches so many warnings. It is fairly easy to imagine the matriarch or patriarch of the family sitting down the small proud child and telling them the story of Earache, and letting their eyes brighten as they relate and understand the story in all its power and meaning.

The reason most myths and stories remain in a culture is usually centric to religion. Nearly every culture on the planet has some form of organized religion. The reason that stories linked to religion carry on, opposed to others is that they draw people together. These ideologies are passed among family members, on through generations and create links between families. This is part of the reason that other stories, not religiously based do not survive. They remain in families, changing over time, never chronicled and decomposing slowly over time.

Build a big enough religious following and your stories will live forever. I find many of these stories including Earache’s fascinating but slightly dramatic. Killing yourself over a ripped tapestry is a bit over the top. The phrase “crying over spilt milk” comes to mind. I understand the stories purpose as a lesson but wonder whether there wasn’t a less severe way to get the point across. This specific story will live on because its namesake creatures are a household critter. I wonder if people see spiders and think “if only Earache wouldn’t have challenged Athena.

I wanted to learn more about it. I realized that most freedmen could earn a better living for themselves and family by sharecropping. After slavery ended many of them had no money, food, or shelter to support them. Also I thought about how much America has changed, since the industrial revolution. I don’t know anyone who does agricultural work anymore, but I know there are still a few. Most of the work that is needed to be done now for agricultural work has been taken over by machines.

Antonio Vivaldi, George Frederic Handel, and Johann Sebastian Bach were all great music composers. Although they’re all are quite famous, Vivaldi was one of the greatest. There are some differences between the composers that make them all unique. Vivaldi played the violin while Handel and Bach both played the organ. Vivaldi and Handel both are Italian and Bach is German. This source of different backgrounds is what makes their music style different.

Vivaldi grew up being a part f the priesthood, and Bach grew up not having very many people like him because of the way he saw things. Handel combined the Italian style with a unique French melody and created his own kind of music. Although there are many differences between these composers, they all were not famous during the time they were alive. Bach and Vivaldi were known more as a performer rather than as a composer because of the way they performed. All of these composers produced a style of their own, In a way to please and slut there audience.

I believe this cartoon was published in the early 1840’s to persuade people to not become Mormons. The Mormons were unpopular during the 1840’s as they had different beliefs to the rest of the settlers. They believed they had found the second part to the bible in America, no one really considered the Mormons a serious religion until Joseph Smith set up a church. People were often jealous of the Mormons as the Mormons believed in working hard to obtain success and money.

Mormons also followed polygamy like the Native Americans, people disrespected them because of this and as the picture shows the man hiding from his many wives, who are fighting and the children, which are crying on the floor. I believe this cartoon was published in the early 1840’s to persuade people to not become Mormons. The cartoon shows an un-ideal life as everyone is making chaos, this would deter people from becoming Mormons as it shows people what is supposed to go on inside the Mormon life.

Because people hated the Mormons for whatever reason, the man is put across as a coward as he is hiding away from what is happening. This cartoon was probably used to create a general impression of the Mormons. I think the Mormons were able to complete their journey across the Great Plains and into the Rockies from what I am shown in the source as the Mormon’s seem to be well supplied and travelling in large groups.

You can tell that the Mormon’s were well supplied and organised because they built log houses to keep warm and safe during the winter, we can also assume that the journey was taking them a long time as the log houses are permanent building which would not have been easy to build or move. I don’t think the Mormon population suffered that badly during the crossing despite losing 700 people to illness or starvation as due to polygamy there was a lot of children who would grow up to continue the Mormon faith. I think so many people died because of starvation because in the photo there is no evidence of food or any sources of food.

The source shows us a scene in which the Mormons seem to be doing quite well as the have shelter, protection and transport as well as this because the Mormons were friendly with the Native Americans they didn’t have the fear of raids. Source C tells us that some Mormons didn’t find Salt Lake as impressive as they first assumed. They said that the land was beautiful, but there were no resources for building and they were relying on the land to be fertile, otherwise they would have no food. Some of the Mormons would think of ideas that could work, they would then work hard to achieve them as this is what they believed in.

Some of the Mormons will have seen prospect in the land and others will have tried to make the most out of what they could see, ‘There is little prospect for log houses, but we can make Spanish bricks’, from the journal of William Clayton from the Mormon Pioneer Band which reached Salt Lake first. I believe that the Mormons were disappointed in the appearance of Salt Lake. However they also believed that there was prospect in the land and surrounding area, so they made the most of what they had and since the rest of the settlers hated them they could start a purely Mormon society.

This is a critical analysis of a written piece by Marino Cavalli as he writes his thoughts about the comparisons between the current King; Charles V, and his son and heir Philip. Cavalli has documented the concerns he has about Philip’s inability to adequately rule over ‘various peoples’ when he comes to power. Cavalli was the Venetian Ambassador in France at the time, and had a vested interest in who succeeded Charles V to the throne.

Cavalli begins by making basic observations about the physical similarities between father and son; their appearance, their habits and their demeanour.

“His Highness is now in his twenty-fourth year, of very delicate complexion and medium stature.

In both face and mind he resembles his father..” This is the first, and last positive evaluation he makes about Philip. It becomes clear very quickly that he harbours numerous doubts about Philip’s ability to come to power and manage different countries, when he favours being advised by a solely Spanish council, who would clearly have preference for their own agenda. “He takes excessive pleasure in being revered, and he maintains with everyone, no matter who he may be, a greater haughtiness than his father,”.

Cavalli obviously worries that Philip does not attempt to earn the respect of his subjects or nobility. He manages to infer a negative edge to the term ‘revere’ cleverly using insinuation to make the reader consider this to be an unattractive quality, and demonstrates a preference for Charles V over Philip as he goes on to say; “They have good reason, being used to his father, who knows extremely well how to adjust himself by various ways to all kinds of people.”

If Cavalli’s dilemma was merely a loyalty preference for Charles V it could be argued that he was politicking. Especially considering his Venetian roots and French ties, and the fact that the European countries were constantly warring for power, land and control. But when taking into account his other reservations about Philip’s eventual rise to power, (which were similar to a great many other opinions of the time), the historian; with the grace of hindsight, can see that his concerns were well founded.

It was well known that Charles V (despite the many wars he fought) was hungrier for peace than to acquire land, and he made the best efforts to maintain civility with the neighbouring states, whether or not they had previously fought each other for the rite to rule. Charles V was also recognised as having a very tolerant nature regarding the religious preferences of the people he governed. He was aware of the protestant uprising, and did not make it a priority to come down on his subjects with the severity he could have. As his son Philip would do in later years. It would seem Philip was destined to live in his fathers shadow; “But owing to the greatness of his father, and the fact that he was born great and has not yet proved himself in any work, he will never appear in the last analysis as the equal of the emperor.”

Cavalli felt that Philip had cut himself off from all but the Spanish. “One may judge that when this prince succeeds to the government of his states he will be served wholly by Spanish ministers, for he is inclined towards that people more than is fitting in a prince who wishes to rule over various peoples…”

And he was quite right, Philip did move to Spain never returning to live in Holland, he refused to speak the language and did keep virtually a wholly Spanish council. His preference for Spain was widely known at the time, and widely documented in the historical years to follow.

This piece of text is written in a personal, almost diary or journal entry style which allows Cavalli to articulate freely his concerns. It would seem that Cavalli’s fears were realised once Philip came to power, although there would have been nothing Cavalli could have done to bring about change, as Philip was born into the time when Royalty were believed to be born with a divine rite to rule, and due to the sheer population numbers of the countries that he resided over, he was always able to gain favour somewhere, especially when his main goal was to crush the protestant reformation and gain land and title, no matter what the cost.

The Russian Levi’s advert is about a man who arrives at a Russian airport and needs to get to his apartment in hope that his pair of Levi Jeans will not be confiscated. The advert was set during the time of the Russian Revolution, where Russia’s rival country was America. The Levi’s jeans represent Rebellion and Freedom, which was American Ideology, something that Russia was totally against. Russia was a communist country so the people had to follow one leader, and any one who did not obey the Russian rules or customs would have simply been shot or arrested. There is evidence to back this up as the advert starts off with a close up shot of a large poster of Lenin, a Russian leader.

The customs officer begins to search the traveller’s luggage and finds a James dean magazine. James Dean is also American so the customs man instantly is shocked and turns to his colleague to ask weather the magazine should be permitted into the country. Just as he turns to his colleague, a large group of Russian militaries march by. The customs man immediately stops searching the luggage and salutes to the leader of the troop and quickly dismisses the traveller.

The traveller who is now desperate to get to his apartment rushes to a bleak, deserted looking train station and takes the next train home. When he arrives outside his apartment he scurries up the flights of stairs and opens his door and closes it behind him with a big sigh of relief on his face. He throws his suitcase on the bed and opens it up, rummaging around until he unfolds a parcel to reveal a pair of Levi’s Jeans. The look of relief on the mans face when he sees his jeans is very important as it tells the audience that this man loves his jeans so much and they are almost one of the best pieces of clothing he owns, which then encourages the viewers even more to go out and by themselves a pair of Levi’s jeans.

This advert was set in Russia in around the time of the Russian revolution. We can deduce this as the advert features a picture of Lenin who was a very famous Russian leader at that time. The advert is also set in black and white, which tells us it was made in a very early period and also helps set the atmosphere of gloom and oppression. We can also deduce the time it was set in by referring to the magazine with James Dean on the front cover.

There is also a great contrast in costume in both adverts. The Russian advert has a heavy presence of Russian Military uniform, which gives the impression of communist rule. The main character in this advert was a young male who represents Russian youth. Although throughout the advert he seemed scared, he represents rebellion as he brings an American Item into his own country. He was dressed in formal clothing, which matched with the atmosphere of the society. He seemed weak and repressed by the Russian authorities and by looking at his posture and facial expression we could easily imagine his anxiety.

Prokofiev was a Russian composer who wrote military style music during the time of the Russian revolution and inspired the soundtrack for the advert. The music is deliberately construed with ponderous militaristic overtones to give us the impression of fear and danger. Even without seeing the advert itself this piece of music gives us a very clear picture of the setting and atmosphere. There are many types of camera shot used in this advert, Most of the close up shots were used to show the viewers of the advert the expression on the characters faces, e.g.: close-up shot on Man’s face to show anxiety and fear and close-up on Customs Man to show suspicion.

There is also a close-up shot on Lenin’s face at the beginning of the advert to ensure the audience are sure of the time and era of the advert setting. Most of the shots are long or medium to show the locations properly and the directions in which the man is walking in but there is a close up of items such as the James Dean magazine to allow the viewers to recognise the minor details such as the picture of James himself. At the end of the advert there is a close-up of the man’s hands unwrapping the mysterious package to reveal a pair of blue Levi’s jeans. The camera focuses on the red label and then a slogan appears in Russian saying ‘There’s Blue Jeans And then there’s Levi’s.’

Although the Russian and the Laundrette adverts are very different to each other the endings are very similar, as the viewers do not know what the advert is marketing until the end when there is a close-up of a Levi’s red tag. Also another similarity is that both adverts keep the viewers drawn by creating captivating story lines which ensures viewers will watch the whole advert to see what happens at the of the story.

The advert was marketed towards youth who wanted to be rebellious and non-conformist, it was clear from the fear of the man in the advert that he was risking persecution in order to make a . The people who would buy these jeans would share the same beliefs and ideology of the man in the advert; they would stand up for their rights and believe in freedom and equality. I think the man in advert was brave and courageous and made people think if they too wore these jeans they would be different and individual to everyone else as they would express their opinion of repression through wearing the Jeans.