Apply for graduate school, MA in Economics Personal Statement

Apply for graduate school, MA in Economics - Personal Statement Example In spite of the fact that I already have a degree for developing a career, becoming an outstanding professional with specialized knowledge in my field is my immediate objective for pursuing the course. This is because my previous academic background is so wide with inadequate ‘in-depth’ knowledge in economic principles and theories for practical application. I further believe that taking the course from a distinguished institution like yours, which is also a key competitive advantage in the job market, and eventually establishing my career in a reputable international organization will be a key to my professional objective. The need for highly rated economists to solve existing economic problems at different levels of the society, local, national, and international levels has also motivated my desire to pursue the Masters degree in economics because it provides an opportunity to influencing policies for the society’s economic benefit. My intention to complete the masters program also factors in a number of personal goals. Upon completing the degree, I hope to work with a social international agency that specializes in economic empowerment of communities in ‘poverty-stricken’ developing countries, a position from which I shall be able to initiate positive transitions in people’s lives besides conducting research into economic theories. Sharing my acquired knowledge with other members of the society is also my goal into the course. I for instance intend to apply my knowledge in lecturing university and college students as a part time activity. Further, upon attaining my professional goal towards a recognized social status, I hope to be a socially responsible member of the society through mobilization and empowerment of the youth towards pursuits for higher education, entrepreneurial ventures, and social responsibility. This is because the youth lacks dedicated

Listning quiz- english Essay Example | Topics and Well Written Essays - 250 words

Listning quiz- english - Essay Example My total score shows that I need to work more in order to improve my listening skills and it can only happen if I pay full attention towards the speaker. One of my weaknesses is that I do not listen to the speaker properly or assume everything before it actually happens and this is the thing, which stops me from improving my listening skills. I should not take listening easy. I think I deceive myself when I ask non-threatening questions to the speaker. I should listen to the other person properly in order to understand the actual scenarios. I think my habit to interrupt the speaker is not a good one because it diverts my attention from the speaker. I need to be patient during the time the other person speaks. I should let the other person state his or her viewpoint before stating my own viewpoint. I should also try to improve my creative skills instead of paraphrasing other person’s sentences. So, these were some of the points which I need to consider in order to improve my li stening skills. Works Cited Not Required.

Stolen Generation Essay Example for Free

Stolen Generation Essay The present day Australia is widely known as a beacon of multiculturalism. Every year, more and more immigrants are settling down in the country in a bid to seek better employment, education or even advance their quality of life in general. It is a policy that has strengthened the cultural development of the nation. Australias census in 2011, which is the official count of a population, reported that one in every four Australians is born overseas. This clearly demonstrates Australias vast idea of unity in diversity. Despite the movement of accepting multiculturalism into the nation, Australia is still involved in one of the biggest racial injustices in history by trying to breed out Aboriginal heritage from their land. Starting from the year 1910, the Australian government carries out actions to breed out the Aboriginal bloodline. They hoped to end the Aboriginal culture within a short time and get rid of the Aboriginal problem. In the early 20th century, a new policy started in which about 100,000 children were forcibly removed from their parents by the Australian government. This policy of removing children is infamously referred as the stolen generation, which this essay will be heavily based upon. Due to the vast amount of topics that Australias stolen generation covers, this essay will discuss how the Aborigines settled on Australian soil, the motives behind the stolen generation and attempts of reconciliation from the Australian governing bodies. Having lived in the land thousands of years prior to the arrival of the Europeans, Aborigines are one of the most primeval settlers of the Australian land. However, the arrival of British captain James Cook in 1770 marked the beginning of the end for the native Australians, as he claimed the land to be in possession of his home country, ignoring the fact that the land was already densely populated. All indigenous rights are extinguished ever since as they have no British citizenship rights. Captain James Cook claims that the Aborigines had no laws towards the ownership of the land. Taking social Darwinism into account, this would be one of the major reasons on why the British has taken abrupt control over the Aborigines or why the  stolen generation is occurring. The theory of social Darwinism strongly believes that only the strong will survive. The Europeans saw themselves to be superior towards the Aborigines hence their ruthless move to gain control on the Australian acreage. This case is further validated when the power-hungry Europeans conquered the African continent. Various European countries colonized the African land in mid 1880s, leaving only Liberia and Ethiopia as the remaining independent countries. Former Australian prime minister Paul Keating also acknowledged that European settlers were the ones who were largely responsible for the injustices caused to the Aboriginal people during his speech in 1992. Dubbed as the Redfern speech, it was largely known as one of the most notorious in Australian history. Publicly expressed to a large number of Indigenous Australians, Paul Keating expressed culpability over how Aboriginal people were treated. The people thought that the Aborigines were to have a better life if they were to become more like them, and this policy led to an act of injustice which was referred earlier as the â€Å"stolen generation,† and the children with Aboriginal descendant were separated from their parents and were institutionalized in secluded camps. The mentality of the white society was that it would be the best decision to remove the children from their parent’s influences and abandon their former lifestyle. In almost every state and territory in Australia, the children were forced into labor and received little or no education. The girls did domestic chores such as cleaning along with cooking while the boys mainly worked as stockmen. They worked in unfit working conditions. Their food was unclean and was infested with maggots. Despite working from the early hours for seven days a week, the children were only rewarded with a small amount of money or even worse, they receive nothing at all. The children were physically abused for speaking Aboriginal language and those who were sent to prison for rebellious acts often committed suicide. More children were taken as they were not as resistant compared to the Aboriginal adults. These actions were tremendously exhibited in Phillip Noyces film called The Rabbit Proof Fence which was released in 2002. Receiving numerous accolades, the story follows 3 aboriginal girls- Molly, Daisy and Gracie who escaped from an institution after being forcibly removed from their families to be trained as domestic staffs. They travelled as far as 2,400 kilometers on foot, hoping to return to their home. The movie was adapted from a book of the same name which was written by Doris Pilkington in 1996. Most of these acts finally stopped when many people who were inspired by the Civil Rights movement in the USA, saw the poor conditions that the Aborigines were living in and decided to take acts about the problem. In the year 1967, they met up with the Aborigines and they took steps towards a fairer treatment and attempted to change how the natives were treated in society. The revolution took steps but it worked and settled in well. By 1990, large amount of the land were returned to the Aborigines and they were able to have rights towards an equal citizenship, along with the power to vote. Steps towards reconciliation continue to take place until today, although the past acts have created a lasting, negative feeling towards the locals. The governments have also played an instrumental role in these attempts of reconciliation. This was signaled by former prime minister Kevin Rudds apology in 2008 towards the native Australians for their profound grief, suffering and loss. Thousands of Aboriginal Australians gathered in Canberra to watch the historic event which was also televised around the nation. On February 2009, the Australian government established the Aboriginal and Torres Strait Islander Healing Foundation which is designed to deal with the trauma of the Aboriginal people after the effects of the conducts of the stolen generation. Financial supports have also been generated by the governments. In 2012, they announced that a total of $35 million will be spent to assist healthcare for the native Australians. Another $28 million will also be shelled out to upgrade houses in the remote areas, enabling better accesses to transportation routes, medical centers among other essential services in the  particular areas. A total budget of $206 million has also been green-lighted to support the lives of over 18,000 Aboriginal Australians living in rural areas. The area of education has also been a key improvement towards the Aborigines. In the 2011 Australian census, about 27% of the native Australian population have completed year 12 or its equivalence, compared to 22% in the 2006 census and a mere 20% in the 2001 census. More Aboriginal people are also getting widespread recognition for their achievements in todays society. Widely known as one of the best female tennis players of all time, Evonne Goolagongs efforts has led her to 14 Grand Slam titles. A testament to her talent materialized in 1976 as she was named as the best female tennis player in the world. Numerous Aboriginal Australians have also been noted for their remarkable contributions to Australian politics. People such as Neville Bonner and Aden Ridgeway has been named as the first Indigenous Australians to be named as the senator of Queensland and the senator of New South Wales, respectively. Although there have been numerous reconciliation attempts by the governing bodies, the removal of Aboriginal children is still widespread throughout Australia. As of 2013, almost 14,000 children has been removed. The Australian government, however, has denied any accusations towards the matter. The reason why the Aborigines doesnt find it easy to forgive and forget alone is the reason why I think the Australians should say sorry to the Aborigines. Thus, I conclude that after numerous years of prejudices, I feel that these acts of injustices should be stopped. Numerous apology and reconciliation attempts for the injustices are desperately needed to set an example for the younger generation, to prove that Australia has a proud and forgiving historical legacy, not a cruel and prejudiced country as exhibited beforehand.

The Influence Of Christianity On Culture Religion Essay

The Influence Of Christianity On Culture Religion Essay The novel, Things Fall Apart, was written by Chinua Achebe and was first published in 1958. The book deals with Okonkwo, the main character in the book, and his approach towards Christianity and the new Umofia after his exile. The novel shows us the impact of a western culture on the Igbo society and how the citizens have to adapt to the new changes and beliefs. Achebe, through this story, wants to show the readers that, things, culture and relationships do fall apart as we read it. White men arrived in Africa as traders, missionaries and administrators. In this essay, I will talk about the influence of Christianity on the Igbo culture. Is the Igbo culture civilized or barbaric? Was the arrival of the white missionaries in Things Fall Apart positive or negative? My essay will be divided into four sections, each giving a different influence of Christianity on the Igbo culture. I will discuss the four main influences. Christianity has influenced the Igbo culture in many ways. The main influence is on the religion that tribes follow. The white missionaries bring a different set of beliefs and laws which are incompatible with Igbo traditions and practices. The church which is built by the Christians, contributes to the destruction of the clan. Many Umofians decide to convert to Christianity, as they feel they will get more freedom, comfort and they can be and do what the clan does not agree to. The converts are outcasts, people with no titles and women who had twins. Such people are mistreated in the lgbo society. Christianity is giving such people dignity. The converts have the chance to find their true identity. The missionaries begin to establish themselves through the church. The white mens power increases as they survive the Evil Forest. The missionaries say We have been sent by the Great God to ask you to leave your wicked ways and false gods and turn to Him so that you may be saved when you d ie. The power of the traditional gods is challenged by the survival of the missionary hut in the Evil Forest, in which, the unfortunate people, twins and ogbanje children are thrown. Christianity points fingers to the beliefs of the Igbo culture. For many, Christianity is an answer for all their queries. People think that converting to Christianity means peace and was better than the Igbo religion and its superstitions. Three converts had gone into the village and boasted openly that all the gods were dead and impotent and that they were prepared to defy them by burning all their shrines. This shows that the converts and the missionaries no longer respect the views and beliefs of the Igbo clan. The converts know that they are protected by the white men and the feel that they have a greater god than the lgbos. In Chapter 18, with the episode of the python, the belief of the Igbos in god strengthens and the death of the convert responsible proves that the gods still exist and do justi ce to its people. In a sense, despite the influence of Christianity, some of Igbo people still have firm belief in their gods. The second major influence is on the legal system in the Igbo tribes. It has a major hand in the collapsing of the clan. The new rules also apply to the Igbo tribe members, which has people who do not wish to convert to Christianity. The imposition of an alien legal system confuses the lgbos and adds up to the hatred the Igbos have towards the white men and the converts. à ¢Ã¢â€š ¬Ã‚ ¦ stories were already gaining ground that the white men had not only brought religion, but also a government. It was said that they had built a place of judgment in Umofia to protect the followers of their religion. It was even said that they had hanged one man who killed a missionary. Before the coming of the white men, decisions are made by the heads of the clan, the men with high titles. But now, these men have lost their place and there is the police to pass laws and give final verdicts and punishments. The new legal system proves to be neither just nor deserves praise. While the egwugwu frequently settle land disputes both effectively and fairly, the colonial courts decisions result in conflict and murder. The previously accepted traditions now are punishable offenses. Soon, the prison is full of men who had offended against the white mens law. Some of these prisoners have thrown away their twins, while some have molested Christians. This shows that to a great extent, the Igbo members of the society neither fear the Christians, nor are they scared of the new legal system and its laws. By building the Christian church and establishing a new legal system with their own western laws, the colonial government gradually makes the tribal legal procedure less effective and destroys traditional beliefs. This shows that the western culture is interfering in the day-to-day running of the Igbo government. The third influence is on the education given by the lgbos. Educating people of different age groups in Umofia helped those who were eager for self-advancement, who soon realize the potential of the schools. Hence, by educating the people of Umofia, the Christians do well to the place. The people are able to widen their knowledge. There is no harm in educating somebody. Mr. Brown, one of the missionaries, teaches the ambitious students. Mr. Brown is, understanding, patient and friendly, which make the people, feel welcomed and they would thus want to continue studying to become responsible. More people came to learn in his school, and he encouraged them with singlets and towels. They were not all young, these people who came to learn. This shows that Mr. Browns school produced quick results. A few months in it were enough to make one a court messenger or even a court clerk. Those who stayed longer became teachers. This tells us that Mr. Browns school is effective and good. The studen ts can become successful and can even educate others, keeping the trend of education. On the other hand, through education, Mr. Brown is luring the Umofians to convert. By aiming at the different age groups, he wants the maximum number of converts who will accept the religion and its beliefs. The singlets and towels are forms of bribe as the Igbo have never used them. These items, therefore, symbolize luxury and also the mode of living of the white. By using such stuffs, they will feel superior to their fellow Umofians. Mr. Brown tries to become godly figure in the eyes of the people. Mr. Browns polite and caring nature helps him in his strategy to attract Umofians to convert. The last striking influence is that on trade. Christianity takes hold over the community but the clan also benefits from the trade and prosperity which it brings with it. In Chapter 21, the influence is introduced. The white man had indeed brought a lunatic religion, but he had also built a trading store and for the first time palm oil and kernel became things of great price, and much money flowed into Umofia. The coming of Christians brings money indirectly to the Igbos. By trading, they grow their knowledge about trading and other countries. Trading helps Umofia as they now have a trading store and get money to improve the place. The traders mostly trade palm oil and kernels. This buying and selling of goods changes Umofia. People now believe in the white missionaries and trust them better. This shows that the coming of Christianity in the Igbo society brings both positive and negative changes. This dealing requires manual skills and special training which might be given in Mr. Bro wns school. But in Umofia, before the arrival of Christianity, money was not of great value as sharing and borrowing existed. The appearance of money, through trading, decreases fraternity and friendship that was once there among the citizens. In a sense, the evil has been introduced in Umofia. There is competition and people want to be rich, unlike before. To conclude, the Igbo culture, in Things Fall Apart, is presented as both good and bad. Achebe manages to a great extent, to destroy the myth of the African savage. He impresses the reader by the fact that the white men are not bringing civilization, but are destroying the society. It shows that the colonization of Africa by western powers perpetuated the stereotype of primitive African savage. In Part 1 and Part 2, Achebe portrays a long-established and orderly African society with its strict hierarchy of gods, elders and titled men and with its own customs and religious beliefs. As from the end of Part 2, the white missionaries decide to destroy the culture and create hatred among its citizens. I think that each culture has the right for its own systems and other modern cultures, intruding, will just result in misunderstandings and hatred among the people who belong to the separate cultures. The arrival of the white missionaries makes few positive effects but also brings detestatio n in Umofia. Nevertheless, it also contributes considerably, as the Africans can learn new languages and modern techniques. 1550 words.

Almost the Wrestling State Champion :: Memoir Essays

Almost the Wrestling State Champion      Ã‚  Ã‚  Ã‚  Ã‚  There he was, standing one step above me on the platform. He was wearing his maroon colored warm-ups and holding the bracket that the champion always wins. Over the school's announcement system I could hear the announcer saying, "In second place from Hotchkiss, Derek Blitz, and your champion at 103 pounds, from SoRoCo, Josh Deaver." I just stood there hanging my head wondering why he was getting the first place medal and I wasn't. After all, I had worked hard in practice, but in the end I couldn't pull off the win. Now I could only mope around knowing that I had almost won and continue replaying the match over and over again in my head.   Ã‚  Ã‚  Ã‚  Ã‚  On Monday of the week before the tournament, I lost my varsity position in a close challange match. Once that happened, I started to go through the practices without any intensity. All week I was acting like I was practicing as hard as I could, but I was really only putting in enough effort to make sure we didn't have a harder conditioning than normal. Since I had lost my varsity position, I had it stuck in my head that there was no reason to practice very hard. After all, I was going to be wrestling on JV.   Ã‚  Ã‚  Ã‚  Ã‚  On Friday, the coaches told us to be at the high school by 6:15 the next morning, so that we could make it to Paonia for weigh-ins at 7:00. The next morning I arrived at the high school by 6:00, and then I went into the locker room to make sure that I hadn't forgotten anything. By the time we arrived at Paonia, it was almost time for weigh-ins. A referee walked out into the gym and called all 103 pounders to the wrestling room. I walked up to the scale where two other refs were waiting to make sure no one had long nails or ring worm. Next, I proceeded to step on the scale to see if I would make weight. The ref, who was at the scale, then said, "102 pounds, step off." A huge feeling of relief swept over me, and I soon realized that I was going to give 110% to wrestling that day.   Ã‚  Ã‚  Ã‚  Ã‚  At about 9:00, the tournament began and I was on the first open mat against the 103 pounder from Middle Park. I looked over my opponent and said to myself, "I am going to win this match.

Themes Presented in Goblin Market by Christina Rossetti Essay -- Gobli

Themes Presented in Goblin Market by Christina Rossetti Christina Rossetti's used her poetry to express herself; her work exhibits many autobiographical elements and from it the reader can discern Rossetti's emotions, beliefs and her comments on the society she lived in. As a female poet it would have been improper for Rossetti to deal directly with these issues though and so her ideas are masked through appearing to be children's poetry and having simple meanings. 'Goblin Market' superficially appears to a moral story about two sisters one of whom gives way to the temptation of the goblins forbidden fruits but through her poetic techniques Rossetti manages to embody her fears and desires. One of the desires Rossetti appears to have in this poem is for a relationship similar to that of Lizzie and Laura; the closing lines of the poem express the joys of having a sister "To fetch one if one goes astray", but Rossetti had only brothers. This theme of friendship is crucial to the plot of the poem and maybe Rossetti yearns for someone she can feel close to. Rossetti shows the difference between the love Laura has for the goblins fruits and the love between the sisters through the use of parallelism. While Laura "sucked" the goblins' fruits "until her lips were sore" showing Laura's greed as she gives way to temptation and gives a strongly physical image, Lizzie calling "Hug me, kiss me, suck my juices / Squeezed from goblin fruits for you" brings to mind Lizzie's self-sacrifice - the difference of Laura's lust for the juices and Lizzie's love for her sister is apparent. The image by Rossetti describing the sisters "Like two pigeons in one nest" creates a strong impression of the closeness between the two s... ...n coming before love in Rossetti's life. 'Goblin Market' contains many of the key themes that appear throughout Rossetti's poetry. In typical Rossettian style it appears almost superfluous on first reading but subtexts hidden within it. The casual rhyming scheme suggests that the work is a aimed at being children's poetry but the issues it deals with are distinctly adult. Early in the poem Laura is described as "rearing her glossy head" and much later on Lizzie is referred to as being stubborn as a "horse"; this demonstrates that through repetition and subtle parallels Rossetti manages to show how both sisters are so similar and yet so far apart. Christina Rossetti's use of poetic devices allows 'Goblin Market' to work on several levels allowing her to write poetry both acceptable to the society she lived in while also allowing her to express herself.

Unraveling of cultural meaning and sociological dimensions of Sex and the City by means of an ideological analysis

In 1998, TIME Magazine ran a front-cover story questioning the relevancy of feminism today. It asked: â€Å"Is feminism dead? â€Å"1 (Bellafante 29/06/98). The breeding pit of Naomi Wolf, Gloria Steinem, Germaine Greer and the rest of radical clan had allegedly been buried. Instead, fictitious feminist icons like Ally McBeal, Bridget Jones, the Spice Girls, Charlie's Angels, Buffy the Vampire Slayer, or Carrie Bradshaw, have taken part of the flightiness of contemporary feminism. The newfangled feminist motto, as the Spice Girls proclaimed, is Girl Power – and that's as far as it goes – muting the traditional voices of a civil rights movement which once declared the ‘personal to be the political'. The shift from a radical movement to a rather disinterested feminist condition is particularly evident in the TV hit-series, Sex and the City. The widely-acclaimed show has popularly blended upbeat feminist maxims with the everyday-life of four single women in their 30s, engaging in their self-contained universe, New York City. Often defined as the prototype of feminism stepping into the boundaries of mainstream popular culture, the series has never lacked an explicit exploration of the single woman and implicit reinforcement of female sexuality. But does the embracement of intellectual, financial, and sexual freedom automatically spell a valid feminist message? Although the depiction of sexually explicit images has rendered the series progressive and controversial, its critical standing should be instead attributed to the feminist archetypes it attempts to embody. The progressive portrayals of women in the mainstream media have led to the suggestion that the breakdown of traditional gender-specific stereotypes could potentially render any cultural text feminist (Berger 1995, p. 29). Particularly the advent of a multiplicity in feminisms, from radical and Marxist to liberal and postmodernist, has translated feminist thought into an increasingly blurred and unfixed discourse. Given this hypothetical assumption of a cultural crisis in feminist practice and theory, this essay is concerned with the deconstruction and unraveling of cultural meaning and sociological dimensions of Sex and the City by means of an ideological analysis. Accordingly, the following essay attempts to look at how cultural context shapes feminist strategies and concerns. At this point, it should be noted that the Third-wave agenda of Sex and the City does not necessarily suggest a forging of an entire movement, but rather what a feminist movement might look like for a generation which has largely been affected by the Mothers of Feminism. SEXHAUSTED FEMINISM In every episode of Sex and the City, Carrie Bradshaw, the lead character and protagonist of the show, types a question on her laptop raising issues of sex, men, and relationships. In the very first episode, she wondered: â€Å"Can women have sex like men? â€Å". The frankness of this question promptly sets the controversial, yet revolutionary tone of the show. As elaborated in subsequent episodes, the answer to Carrie's question is a clear yes – without apologies. On this level, the show deliberately enters into the territory of feminism with its gender play, attempting to breakaway from traditional sex-role definitions. This in itself resembles the radical forms of the feminist movement in the 1970s which embraced consciousness-raising as a tactic. If consciousness-raising is the â€Å"systematic attempt to break though ideological assumptions† (Brown 1990, p. 14), then Sex and the City does indeed successfully elude prevalent constructed installations of male/ female functions in sexual intercourse. However, the use of sexually explicit images to override traditional sexual imbalances adds fuel to both, feminist applause and criticism. Given the precedence of sexual depictions over other forms of pivotal feminist inquiries, Sex and the City becomes highly vulnerable to the male gaze. This sets out two significant contradictory aspects of the series – one which arises from feminist discourse and the other developed through the dominant ideology of patriarchy. While sexual freedom is undoubtedly a bold proponent of feminist theory, the female characters in Sex and the City also adhere to a traditional exhibitionist role of being looked at and displayed (Mulvey 1989, p. 19). The four characters as sexual objects have fused male voyeurism and desire with that of feminist narrative, taking the postmodern voyeur into new, but also familiar ideological regions. The struggle in determining the ideological position of Sex and the City does not end here. Feminist author, Camille Paglia, argued that the series was a victory for the â€Å"huge wing of us pro-sex feminists† over the â€Å"1980s anti-porn, anti-sex wing of feminists† (cited in Maddox 09/02/04). Paglia's comments underscore the feminist refusal of a fixed and static ideological premise. In 1985, for example, two anti-porn feminist activists, Catherine MacKinnon and Andrea Dworkin (cited in Califia 1994, p. 123), argued that pornography should be eliminated as a matter of public policy because the â€Å"bigotry and contempt it promotes†¦ diminish opportunities for equality of [women's] rights†. The competing sub-ideological codes underpinning the overall ideology of feminism is further appropriated by the show itself. Ultimate pro-sex feminism is best embodied by the character of Samantha Jones, a PR executive, who orders sex a la carte, with no emotional commitments attached. In stark contrast, an idealist view of romantic relationships is upheld by the character of Charlotte York, a conservative art dealer, who is reluctant to solely attribute sex with female lust. But the puzzling and contradictory ideological signals of the lead characters of Sex and the City are indeed part of the show's postmodern feminist agenda. In order to negotiate how the politics of feminism has been negotiated in Sex and the City it is important to recognize the essence of postmodern- or third-wave feminism. As opposed to other traditional feminist forms, postmodern feminism is much more open to new considerations of gender. Instead of affixing a precondition for feminist thought, postmodern feminists stress the way men and women interact with one another, discarding traditionalist notions of gender naturalness and normality (Bessant and Watts 2002: 48). Rather, feminists with postmodern sympathies argue that we need to acknowledge human diversity, asking â€Å"What is the natural woman anyway? â€Å". This gives primacy to the postmodern acceptance that gender cannot be separated from culture. WIMMIN OR WOMEN ? Singlehood and the breakdown of the family unit are the acclaimed elements in labelling the series feminist. All main characters of Sex and the City fulfil meaningful functions that engender economic, intellectual, and sexual liberation, stimulating the formation of an alternative ideology – a crucial component for building a social movement in the 21st Century (Ryan 2001, p. 305). However, despite the storyline of Sex and the City invoking an alternative ideology, it does not essentially disagree with dominant ideologies. Although the strong bond and friendship between the four leading characters incites a theme of sisterhood throughout the series, the uniting of four basically diverse individuals into a group with common interests in matters of sex, men, and relationships lacks a counterbalancing framework that opposes and attempts to revamp the political and economic structures of society. As Green (1998, p. 1) importantly affirms, â€Å"†¦ in the contemporary post-feminist era, patriarchal traditions in visual culture are seemingly challenged, yet ultimately produced†. Patriarchal and capitalist codes are therefore not only naturalized in Sex and the City, but merged into feminist discourse. Perhaps the most revealing statement Sex and the City makes about its feminist outlook lies in Carrie's first effective ideological statement: â€Å"New York is all about sex and hence not about marriage†. At first glance, this appraisal of singlehood through the romance genre might seem to present a paradox. Despite the glorification of female bonding and alternative family forms, the seemingly counter-ideological premise of Sex and the City only ascends in the show's first few seasons. Its post-feminist sentiments are subsequently watered down, negotiated, and limited by the dominance of the romance genre to the extent that by the end of the entire series, two of the main characters are married and the other two in a faithful monogamous relationship. This happily-ever-after formulaic conclusion is of strict adherence to the clichid literary styles of the Hollywood romance genre, as opposed to a groundbreaking counter-cultural narrative. In an interview with Candace Bushnell, the author who created Sex and the City, renowned feminist and author of the Beauty Myth, Naomi Wolf, asked her if she believed the characters of the show to be feminist (Wolf 2003, p. 17). â€Å"They're obviously feminist,† she responded. â€Å"You can be a feminist but that doesn't contradict the human desire for love. † But such ‘human desire for love' is particularly safeguarded by Hollywood and the producers of Sex and the City as well. Here, love is portrayed as a prescribed condition for marriage as if romantic love through â€Å"emotional dramas are virtually the only acceptable means of moving towards marriage† (Weisser 2001, p. 257). Indeed, disgruntled feminists of the second-wave have unconditionally asserted that the prevalence of love â€Å"justifies our exploitation by men and simultaneously ensnares us into oppressive relationships with them†. To advance the flourishing of romance in a seemingly natural and neutral manner, Sex and the City is brought to a close with an absence of scenes of what succeeds the ever-after ending. Wexman reaffirms that â€Å"Hollywood films erase contradictions by making the happy ending coincide with the monogamous marriage as culmination of romantic passion and freezing this passion in an eternal moment of unproblematic unhappiness† (cited in Evans and Delayto 1998, p. 7). Ideologically, Sex and the City reinforces a â€Å"desperation theme† (Dines and Humez 2003, p. 129). The implications of such are substantiated when Charlotte cries, â€Å"I have been dating since I was 15, when is my Mr. Right going to come along? In another episode, Carrie similarly bemoans her single status during Charlotte's wedding, saying, â€Å"I would die to have a strong man catch me when I fall†. And although Miranda Hobbes, a successful lawyer and single mother, asks early-on in the series, â€Å"Why do we get stuck with old maiden and spinster and men get to be bachelors and playboys? â€Å", she later draws a surprising revelation: â€Å"I must not end up old maiden or spinster†. The retreat into desperation and marriage as a strategy towards addressing cultural anxieties is at the forefront in Sex and the City, yet is unsuccessful in acknowledging feminist discourse. Instead, Sex and the City is manufactured as a cultural product which translates romance and marriage into woman's ultimate sexual and political identity. The characters of Sex and the City do not entirely – if at all – escape traditional gender role expectations. By adhering to the framework of dominant ideologies, the women are confined to specific gender, sexual, racial, ethnic and class stereotypes. All four characters are White, upper-middle class, attractive, feminine, and heterosexually appealing. This further extends to the show's predominant representation of marriage as a monogamous Judeo-Christian value. It can therefore be argued that the effect of such representations boils down an ideological impact of mainstream capitalist and patriarchal norms, instead of a preponderance of unorthodox feminist beliefs. I ? NEW YORK Its credit sequence flaunts famous landmarks like the Chrysler Building, World Trade Center, Brooklyn Bridge, or Fifth Avenue. New York City, the alleged capital of the world, is proactive in bestowing the four characters their freedom and is implicitly a fifth representational character in Sex and the City. As Richards (2003, p. 48) affirms, â€Å"More often than not it seems impossible that they could enjoy and indulge is such sexual freedom in any other American city†. Drawing on what Carrie once said – â€Å"New York is all about sex, and hence not about marriage† -renders New York a ‘singles ghetto'. Fostering singlehood through the visual projection of the city is advanced by separating the singles from the marrieds. Single women walk, live and breathe at the very heart of the postmodern city, whilst married people are confined to the private spaces of suburbia – Connecticut or the Hamptons. To survive in a metropolitan city like New York, Sex and the City suggests that one must be single. Samantha, for example, affirms that â€Å"this is the first time in the history of Manhattan that women have had as much power and money as men†. Although an abundance of exterior shots establishes a sense of postmodern reality and familiarity of the Big Apple, Samantha's observations of Manhattan potentially exclude many women from the social boundaries of Sex and the City and hence, from feminist discourse. Race is a significant factor in terms of how the series sets up criteria for who becomes a feminist. Sanders (2004, p. 7) argues that the surnames of the leading characters – Bradshaw, Jones, York, Hobbes – would not look out of place in a â€Å"white-shoe investment bank†. For a city that has flourished into a global hotspot for multiculturalism and become the permanent address of many foreign immigrants, New York is depicted as distinctly White, outwardly projecting a message that only Whiteness is given access to the highest level of rewards, including that of an entire ideology. Confining feminism to women of a White and middle-class background naturalises feminism as an elitist establishment, undermining the struggle of minorities. Women who have failed to achieve economic freedom, lesbians who have yet to achieve sexual freedom, or single women with children, are all but entirely excluded. The prevailing milieu of inequitable feminist sentiments, however, is fuelled by the narrative and visual structures of the romance genre. Green (1998, p. 30), for example, attributes the romance genre to a â€Å"white racial consciousness inseparable from our notion of love, heroism, and public life†. The absence of the Other therefore â€Å"embodies the most basic material meaning of our social order in its very lack of embodiedness†. Accordingly, the social order of Sex and the City invites lipstick lesbians to its culture, while macho femmes are completely iced out. A WOMAN'S RIGHT TO SHOES The construction of feminine identity and womanhood is a crucial quality perpetuated in Sex and the City. Not only are the four main characters perceived as naturally beautiful and aesthetically appealing, but their fetishised consumption of commodity products endorses patriarchal capitalism. The second-wave of feminism in the '60s and '70s charged consumerism for penetrating the inequitable model of female identity that was â€Å"deeply conservative† (MacDonald 1995, p. 6). Yet the series has come close to resemble a spin-off weekly PR event, boosting luxury brands from Fendi and Manolo Blahnik to Prada and Jimmy Choo. As a consequence, it may be argued that Sex and the City masks the socio-political nervous system of feminism, by portraying females in a narrow range of settings and activities, thus abiding to stereotypes determined as uniquely feminine (Soo Ching 2003, p. 12). The four characters are very rarely seen at work, but are financially capable to much on-screen shopping, socialising at parties, lunching on a day-to-day basis, and dating wealthy professional men. Bailey (2003, p. 10) illustrates the embedded paradox: â€Å"Sex and the City lacks a larger political agenda, but is still concerned with effects of individual choices on individual lives†. Derived from the Marx's analysis of capitalist societies and his term â€Å"commodity fetishism†, Wolfgang Haug (1987, p. 8) determined products in a capitalist society to be designed to â€Å"stimulate in the onlooker the desire to possess and the impulse to buy†. There is a bold connection here between the culture of women's magazines and Sex and the City. Feminist media critics have raised concern over the monolithic compositions of a â€Å"woman's world† imbued in women's magazines (Bignell 2004, p. 216). The ideological composition of women's magazine represent feminine identity as set a set of social conventions, norms, problems and desires, passed on and appropriated by the series itself. But as McCracken (1993, p. 136) argues, â€Å"within the discursive structure, to be beautiful, one must fear being non-beautiful; to be in fashion, one must fear being out of fashion; to be self-confident, one must first feel insecure†. Underlying the production of patriarchal capitalism in Sex and the City, feminism therefore endangers, rather than enhances, the concept of strengthening women's civil rights. In this instance, capitalism, via feminist discourse, masks the essence of consumer goods as being produced in an inherently patriarchal system for patriarchal gain. Product placement in the series not only accomplishes commodity hegemony, but automatically weakens the show's ties with feminism. Instead, the absolute value of feminism is commodified, which Goldman (1992, p. 130) readily labels â€Å"commodity feminism†. He argues that â€Å"commodity feminism depoliticises and individualises feminism and defuses its potential political impact†. From this perspective Sex and the City can be argued to render invisible the questions of economic status, work and social power for women. According to Bignell (2004, p. 217), the fascination with self-indulgent and pretentious activities like shopping and socialising, is a focus â€Å"relatively trivial aspects of women's lives†, as opposed to raising concern over abortion, the sexual division of labour, the representation of women in politics, or the stereotypical images pursued by the media. CONCLUSION It has been more than 40 years since Betty Friedan attacked the role of women in marriage through her writings in the Feminine Mystique. Although the time-worn pages of her book might have dried out and been stacked away, feminism is indeed still alive. As evidenced by the various ideological traditions and perspectives in reading Sex and the City, one cannot conclusively determine whether the nature of the show is feminist or non-feminist. Rather, it should be acknowledged that contemporary feminism bears an abundance of ideological contradictions and complexities. This is not to say that feminism is indefinable, but part of a shift from its initial historical beliefs and assumptions. It is again arguable that postmodern feminism has severely misdirected the elements of feminism to an irrational and apolitical uncertainty. Although it may be argued that the postmodern version simply defines feminism in a flexible and relaxing way, its discourse is invariably formalised by those in power. Feminism is ideologically withheld in Sex and the City by reinforcing traditional gendered stereotypes and a consumerist culture based on the dominant ideologies of patriarchy and capitalism, respectively. Although embellished with postmodern feminist rhetoric, Sex and the City enforces a restrictive social space for women fused with the boundaries romantic love and marriage. However, despite its limitations, Sex and the City deserves acknowledgement for the (admittedly negotiated) challenge it poses to feminist assumptions, as well as the return of women's rights on the social agenda.