English Literature

With the recent publication of The Gospel of Loki (Joanne Harris, 2014), and the forthcoming Vikings exhibition at the British Museum, interest in the life and legends of early Scandinavia is at a high point, but the mythological Old Norse narrative of the birth of Sleipnir has always been treated with caution. Loki, an outcast from the Æsir, is required to assume the role of a female creature and give birth, in order to save the gods from disaster. This paper will look at the medieval poetical treatise, Snorra Edda, alongside a more recent reinvention by Brian Day in his poem: “Loki and Sleipnir” in his publication: Love is not Native to My Blood (2000), and intends to examine these two versions of Loki’s transformation from male to female, and human to animal; analysing the changes in form and perspective given to the text through time and translation. Many scholars have considered the ambiguous figure of Loki, but few have associated this ambiguity with contemporary social changes outside of the introduction of Christianity. This paper will suggest that Snorri Sturluson’s apparent appropriation of Loki’s shape and gender has less to do with Christian morality, and more with everyday medieval Icelandic social values. It will suggest that the shape-shifting of Loki’s story reflects the social and geographical circumstances of its audience; something that Day, in his presentation of Loki as a victim in the hyper-masculine world of the gods, uses to comment on contemporary social attitudes to sex and gender.

John Skelton is a central literary figure and the leading poet during the first thirty years of Tudor rule. Nevertheless, he remains challenging and even contradictory for modern audiences.

This book aims to provide an authoritative guide to this complex poet and his works, setting him in his historical, religious, and social contexts. Beginning with an exploration of his life and career, it goes on to cover all the major aspects of his poetry, from the literary traditions in which he wrote and the form of his compositions to the manuscript contexts and later reception. Contributors: Tom Betteridge, Julia Boffey, John Burrow, David Carlson, Helen Cooper, Elisabeth Dutton, A.S.G. Edwards, Jane Griffiths, Nadine Kuipers, Carol Meale, John Scattergood, Sebastian Sobecki, Greg Waite

The role of food in literature, art and film has been receiving a lot of critical attention lately. Food is not just a matter for the sustenance of life and its cultural and sociological significance is often discussed. Recently numerous studies have scrutinized texts to read meaning into the instances of eating and drinking in art. In the creative circle, food is frequently laden with a symbolic role and has a rhetorical function to perform. So often has this been practiced that it has resulted in a film food genre. Chocolat directed by Lasse Hallstrom is a film belonging to this genre. Chocolate, here, is more than an item of food. It is the exotic 'other'. It is the consummation of sin. It mediates the struggle between conventions and forces of change. The richness of Vianne's chocolates lends the movie its sumptuous richness. This paper intends to examine how chocolate breaks down the Catholic fortress to bend to the winds of change.

SUMMARY
Chyk D. Ch. Prose by G. Kvitka-Osnovianenko and English Sentimentalism. — Manuscript.
The thesis for the scholarly degree of Candidate of Philology in speciality 10.01.05 — Comparative Literature. — Ternopil National Pedagogical University named after Volodymyr Hnatyuk, Ternopil, 2008.
The thesis deals with the problem of analogies and differences of prose by G. Kvitka-Osnovianenko and the main representatives of English sentimentalism (S. Richardson, O. Goldsmith, L. Sterne). In the context of intercultural philosophical dialogue the influence of rousseauism on creative works by G. Kvitka-Osnovianenko, O. Goldsmith, L. Sterne is explored. The comparative analysis of the problems of creation by G. Kvitka-Osnovianenko, O. Goldsmith, L. Sterne was made for the display of correlation between their ideas and the creative inheritance of the French philosopher and writer J. J. Rousseau. In the work the attempt of the use of the term of «prerousseauism» is carried out on determination of those «before-Rousseau» philosophical, pedagogical, religious, political ideas and which were afterwards transformed in the original conception of the French philosopher. In the context of prerousseauism the typical characteristics of «natural man», which are artistically represented in the feminine figure of Pamela by S. Richardson, are analysed in typological comparison with the figures of J.-J. Rousseau. The basic typical characteristics of character of «natural man» in interpretation of J. J. Rousseau and typological analogies and differences of the model of «natural man» are found out in works by G. Kvitka-Osnovianenko, S. Richardson, O. Goldsmith, L. Sterne.
In the work the specific of interpretation in Ukrainian and foreign literary criticism of psychological creative works by G. Kvitka-Osnovianenko and L. Sterne is outlined.  Two forms of psychological analysis in sentimentalist works are explored — exterventive and interventive, with accenting of attention on the first as distinctly dominant. Such kinds of portraits as impressive, expressive and passport portraits prevail in creation of Ukrainian and English writers. In sentimentalist works by G. Kvitka-Osnovianenko, S. Richardson, L. Sterne an internal monologue serves as an important mean of depicting of the perceptible world of sentimental hero (heroine). All the writers use monologues-emotion, monologues-sense and monologues-reflection.
In the dissertation the psychological analogies in the display of collective unconscious in the texts are determined at archetypical level. The Christian moral and sensuality of characters of sentimentalists are examined through the prism of artistic embodiment of archetypes. There is general for Ukrainian and English writers that the devotion of their figures is distinctly marked by moral didacticism.
In the dissertation parodying of novels of sentiment as a type of literary criticism is considered in the creation by G. Kvitka-Osnovianenko and L. Sterne. It is marked in the work that the presence of such parodying is not the evidence of that the creative works by the writers needs to be examined out of the context of a literary paradigm of sentimentalism. Ridiculing the traditional canon of sentimentalism the writers tried to confirm their own visions of sentimentalism as a system with the purpose of updating the literary trend by means of parodying of the sentimental novel.
It is marked in the work that the setting of sentimentalist works by G. Kvitka-Osnovianenko, S. Richardson, O. Goldsmith, L. Sterne it is possible to define as idyllic (for  M. Bakhtin’s conception). The space model is polytoposic: sentimentalist works by the Ukrainian and English writers are characterized by prevailing of psychological space (space of experiencing) above closed (G. Kvitka-Osnovianenko, S. Richardson) and geographical (L. Sterne, O. Goldsmith) ones. Polytoposic space of works is peculiar to the opposition of two contrary poles — the urban topos and the rural topos. The important part in the time-and-space organization is acted by the use of social-historical time, by means of which the writers create the illusion of authenticity of sentimentalist works.
Comparative-typological research of prose by G. Kvitka-Osnovianenko and L. Sterne gives ponderable grounds for attributing their prose to sentimentalism. Comparative analysis of prose by G. Kvitka-Osnovianenko, S. Richardson, O. Goldsmith, L. Sterne confirms typological cognation of Ukrainian and English sentimentalism.
Key words: sentimentalism, «natural man», psychologism, archetype, parodying, idyllic setting, comparative typology.

This essay reconsiders the role of subjectivity and spectatorial remove in the experience of the sublime:

'Like a figure on the shore gazing out to sea, the sublime is, to the subject, an incredible spectacle so far removed as to be safe. In that removal is the tendency to confuse the source of sublimity, attributing it to the spectacle, as in William Falconer’s The Shipwreck (1762), rather than to the viewing subject whose terror stems from the forced comprehension of the frailty and inconsequentiality of its existence. Considering the coexistence of pleasure and terror in the experience of the sublime, the subject’s terror must be reconciled with corresponding pleasure, which is evident in the redemption structure of The Rime of the Ancient Mariner (1798) where truly sublime experience is not found in the whirling waters of the ocean, but in the meeting of the humbled soul with the divine.'

Storytelling pervades almost every aspect of the law. Many narrativistic legal elements, however, have in fact been little more than historically transitory. Given the precarious status of narrative at law, I argue we should focus instead on one of the most historically consistent acts of legal storytelling: the judicial opinion. Here I examine in particular the invocation of precedent in legal opinions, what I call “judicial emplotment,” as an almost archetypal act of formalized storytelling. As I go on to argue, the courts justify legal outcomes by invoking precedent, thereby placing decisions within a specific and heavily formalized legal-narrative structure.

This research started from Richardson's bravery in stating his idea towards women through the main female character of Pamela or Virtue Rewarded. He wrote this novel to show how a woman should have done in facing the reality in his era (Victorian Period). In this novel, he was successful in showing that women didn't always have to use physical power to defend herself from man's oppression. Instead of using physical power, Richardson showed that women could use their weakness as power to gain man's attention and respect.

Language is inherent and is a very complex phenomenon. Morrison in her Nobel Lecture delivered on 1993 exposes some of the bare and problematic issues of language politics. IN this research paper the politics of language is exposed as the world has sidelined some of the beings… one being women and that too an African–American woman.She has slogened through her efforts for a meaningful identity of African-American existence.The research paper highlights the issue that language should express universal, original and powerful human emotions. "Once upon a time there was an old woman blind, Wise." In the version I know the woman is the daughter of slaves back, American and lives alone in a small house outside of town. Her reputation for wisdom is without peer and without question. Among her people she is both the law and its transgression. The honors she is paid and the awe in which she is held reach beyond her neighborhood to places far away, to the city where the intelligence of rural prophets is the source of much amusement.

Despite being recognized as one of the greatest playwrights of all time, Shakespeare is well known to have many problematic relationships to power that are extended into his texts. One example of this is patriarchy and his portrayal of women, and lack thereof. The Tempest is an example of this through Shakespeare's near total exclusion of women from the play. Miranda is the only women that ever appears in this play, and the only other one that is mentioned is Sycorax, who is dead long before the events of the play take place. This leaves limited options when examining gender relations within the play. The portrayal of Miranda serves as a good point of analysis as the only woman, however, particularly in her relationship to her father. Prospero, her father, is one of the major perpetrators of this, as he keeps her isolated and controls what she learns, which serves to maintain his power over her and the island. He uses many techniques of patriarchal abuse in order to keep this power dynamic upheld. On top of this all, Prospero also uses rhetorical objectification within his discussion of Miranda and planning of his future, as he seems to care little about her feelings or needs. These examples help us to understand how patriarchy pervades the play and shades our understanding of the characters within away from what Shakespeare and his audience may have perceived. Rather than the good, heroic wizard that audiences may have perceived him to be, I argue that these analyses prove that Prospero is not heroic, but abusive, controlling and hungry for power.

Abstract
The present study aims at studying the male fools in Jane Austen’s Pride and Prejudice. Jane Austen’s primary
interest is people, not ideas, and her achievement lies in the meticulously exact presentation of human situations,
the delineation of characters who are really living creatures, with faults and virtues mixed as they are in real life
the writer’s unique merits give a faithful representation of real life and this is what we meet in her masterpiece
Pride and Prejudice. Also, humor touches and illuminates all her best characters.
Jane Austen is not a social reformer, she is only a keen social observer who reminds people of their shortcomings.
For example in Pride and Prejudice. The writer uses fools and nerds as a medium for criticizing her own society
in general and through the two males—Mr. Collins and Mr. Wickham. Also, she treats various themes: pride and
prejudice, and human folly in particular.
Finally, the paper ends with the conclusion that, the characters of male fools in Pride and Prejudice are fixed
characters, who do not change throughout. But in spite of that, they are worth attention, because they are
interesting and are used for various themes.
Keywords: Jane Austen, Pride and Prejudice, fools, portrayal, characters, male, faults, virtues, humor

Essay detailing some of Titian's most famous works, looking at self-expression through painting,  memento mori, emotion, as well as topics of mortality and death. The focus of this paper is to shed light on aspects of symbolism found in some of the artist's later pieces in order to determine why his style changed so drastically over time.

Jeanette Winterson's latest novel Frankissstein (2019) re-animates Shelley's Gothic classic and brings it into a contemporary world of smart-tech and artificial intelligence. The novel mainly focuses on humankind's engagement with hybridity and the troubling ramifications of technological advancements. Beginning with Shelley composing Frankenstein, the novel leaps into the present day to tell the story of Ry Shelley, a trans-gender doctor self-described as "hybrid", meeting Victor Stein, a celebrated professor working on "accelerated evolution" through "self-designing" life. The novel becomes a fragmented meditation on the responsibilities of creation, the possibilities of artificial intelligence and the implications of both transsexuality and transhumanism. The reanimation in the book is supported by historical figures such as Shelley, Byron, Ada Lovelace and Turing. The events and ideas of the past seem very much alive and lending life to the work of present and future. The first part of this paper will concentrate on the postmodernist narrative techniques of the author accompanied with philosophical questions such as "What is reality? What is time? What are the responsibilities of creation? Where are the boundaries between story and real life, between consciousness and an idea? The second part of the paper will deal with the warnings of the postmodernist novel about the inevitable human future and non-biological life forms.

Perché il teatro occupa una posizione centrale nella civiltà letteraria inglese? Come nasce il romanzo e quali forme specifiche assume nell’isola? Come evolve la poesia inglese da quando gli elisabettiani importano il sonetto dall’Italia? Il volume fornisce una risposta a queste e altre domande, proponendosi come utile avviamento all’analisi del testo letterario inglese e offrendo una panoramica dello sviluppo dei principali generi: poesia, romanzo e teatro. Ogni capitolo è corredato di numerosi esempi distribuiti su un arco temporale che va dal Cinquecento al secondo Novecento. Insieme al tradizionale manuale di storia letteraria, questa guida presenta gli strumenti critico-metodologici indispensabili e le coordinate essenziali per lo studio della letteratura inglese.

Cognitive linguistics is a modern school of linguistic thought that originated in the late seventies out of the work of a number of researchers who were interested in the relation of language and mind. It is a new linguistic paradigm which sees language not as an independent, self-sufficient system but as an instrument for organizing, processing, and conveying information. Recent studies and investigations in the field of cognitive linguistics have increased the range of possibilities for linguistic research regarding language and culture. Conceptual Integration Theory, proposed by Gilles Fauconnier and Mark Turner (2002), is a further development of this line of research. It is a basic mental operation which is central to human thought, imagination, and the way we think. Conceptual integration performs an important role in construction of meaning in everyday life, in science, and even in literature. Mo Yan's Life and Death Are Wearing Me Out (2006) is a historical fiction exploring China's development during the latter half of the twentieth century. The author himself asserts that the novel encapsulates his writing styles and reflects his exploration in the arts of novel writing. The present study examined the Conceptual Integration Theory in Mo Yan's Life and Death Are Wearing Me Out. It also demonstrated the way the author made use of personification and conceptual blending in order to create a satirical atmosphere and to criticize totalitarian states.

J Henry Shorthouse (1834-1903) contributed a unique synthesis of Anglo-Catholic sensibilities to to the enduring legacy of the Oxford Movement.  "John Inglesant", 'the greatest Anglo-Catholic novel in English literature', speaks immediately to human intuition without regard to the reader's own faith or philosophy and revitalizes 'the myth of Little Gidding'.

This research article aims to explore the inevitable correlation between the themes and concepts of Mary Shelley's Frankenstein with that of the character of Prometheus and John Milton's grand epic Paradise lost. Mary Shelley's novel plays an enormous part in putting forward the deeper meanings embedded at its heart and is woven into its fabric in a multi layered manner.

This paper deals with the nuances of English language used in the domain of Engineering. It focuses on the functional use of English with regard to what is indispensable for the betterment of the students who are engineers-to-be and the curriculum that boosts the performance level of the students at interviews and workplaces. The present world which has

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Acest studiu a apărut datorită unor profesori deosebiți care mi-au inspirat  subiectul și care mi-au acordat și suportul necesar în finalizarea acestuia. Argumentele prezentate fac obiectul unei noi abordări asupra Călătoriilor lui Gulliver și accentuează faptul că studiul reprezintă o noutate atât pentru lectorii specializați cât și pentru ceilalți cititori. Acest studiu demonstrează încă o dată că opera nu aparține literaturii pentru copii. Analiza accentuează recurența elementelor instinctuale și aportul lor în dezumanizarea personajului( Gulliver). Studiul prezintă mai multe episoade controversate din carte accentuând elementele instinctuale prezentate de Swift, neanalizate până acum
ISBN 978-606-757-058-8

This paper uses Plato and Aristotle's concept of censorhip in discussing the novel titled The Last Duty by Isidore Okpewho. The novel upon reading has explicit profane expressions and other immoral acts which do not help in nurturing of an African Child and thus go contrary to the concept of censorship propounded by Plato and Aristotle. The author therefore uses this concept of Censorship developed by Plato and Aristotle as a guide for the youth in reading of the novel.

Eighteenth-century Britain saw the emergence of a new poetic genre, the “work” poem which took various forms of labor as its subject and was often written by laborers themselves. Several of these working class poets found their lives transformed due to the success of their verse (Stephen Duck most famously), but most faded into literary obscurity. However, a substantial body of “work” poems was produced by a diverse group of poets throughout the century, each manifesting divergent concerns and attitudes about the experience of work. This chapter assesses the formal connections uniting this poetic genre, particularly the frequent use of such literary devices as ironic distancing, litotes, and mock-georgic description. Instead of solely classifying “work” poems on the basis of their subject matter, this chapter demonstrates that such poetry (indeed the genre itself) lends itself to sophisticated literary techniques often associated with other poetic genres. In this fashion the full measure of eighteenth-century working class poetry can be evaluated more fairly, particularly by analyzing the formation of a new genre designed expressly by the poets themselves. The chapter ultimately seeks to demonstrate the connectedness, rather than the alienation, of working class poetry to the eighteenth-century British poetic tradition.

La première pièce de Joanna Laurens, The Three Birds, (2000) propose une révision dramatique du mythe grec de Philomèle qui s’inscrit en contrepoint de la fable telle qu’elle est relatée dans les Métamorphoses d’Ovide. Le rapport à la langue et à la figure du barbare, paradigme de l’Autre, engage une réflexion sur la question des minorités, la voix de l’étranger et l’idée d’une réversibilité des postures. Barbarismes, irrégularités syntaxiques, « babélisation » font ici violence au langage ainsi qu’aux différentes langues parlées dans la pièce qui s’altèrent et se barbarisent à l’image des personnages, incarnant ainsi dans la chair du verbe la mutilation de la langue qui fait la matière cruelle du mythe. Au cœur de la pièce, elle-même réécriture d’une autre pièce – celle, perdue, du Térée de Sophocle – on retrouve en effet l’écriture d’une autre scène – celle, tabou, du viol et de l’amputation de la langue de Philomèle – qui, à défaut de pouvoir se dire, vient s’écrire sur la tapisserie que brode la jeune fille à l’attention de sa sœur pour révéler le crime étouffé par les mensonges en cascades de Térée en même temps qu’elle se reflète dans la trituration du langage. Cet article s’intéressera donc aux enjeux de la réécriture en tant que mise en place d’une alternative fondamentale à partir d’une perspective neuve – celle du barbare amoureux, ou plutôt de la barbarie de l’amour impossible – qui se reflète dans le motif intradiégétique de l’activité de tissage en tant qu’écriture de « l’Autre » (réécriture par l’Autre, la femme, de l’autre scène ou de l’autre pièce, qui ne peut être dite). Avec la duplicité intrinsèque du langage et l’exploration de son potentiel de transformation, nous verrons dès lors comment l’altérité se donne plutôt à voir comme altération, voire aliénation, jusqu’au creux de la langue où elle prend naissance pour la faire délirer (Deleuze). Le langage de la pièce reflète ainsi la façon dont l’humain vient faire trace dans la langue du barbare et montre comment, par-delà l’humanisation du Thrace, la barbarie vient à son tour réinvestir l’humain et marquer de son empreinte l’acte et le langage d’amour devenus viols. En déroulant à l’extrême le fil ténu qui sépare humanité et barbarie, les expérimentations poétiques de Laurens, où le langage et « l’autre » du langage se rencontrent dans leurs contradictions-mêmes, permettent ainsi de renouveler le sens du mythe grec autant que le langage dramatique sur la scène théâtrale à l’aube du vingt-et-unième siècle.

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Joanna Laurens’ first play The Three Birds (2000) is a retelling of the Greek myth of Philomela in which language undergoes a poetic treatment unprecedented on the contemporary British stage. Mirroring and enacting the characters’ evolution from innocence to barbarism, language is distorted and altered to an extreme through a creative process involving word coinage (i.e. barbarisms), syntactic irregularities, and ‘babelisation,’ thus bringing out and performing the violence of the myth. Departing from Ovid’s poem which is itself a reworking of the original fable, as well as from the feminist takes on the story during the second half of the twentieth century, Laurens’ dramatic writing offers a new approach to the language and figure of the Barbarian, a traditional paradigm of the Other. She addresses such issues as the oppression of minorities, the voice of the stranger, and the reversibility of ethical positions by providing a reflection on the intrinsic duplicity of language itself and by exploring its potential for ‘metamorphosis’ and manipulation, thus presenting otherness as alienation. At the core of the play, which is a rewriting of another (lost) tragedy – that of Sophocles’ Tereus –, are Tereus’ lies, which are a rewriting of another (taboo) story – that of Philomela’s rape and amputated tongue. Although it can’t be verbally expressed by the young woman, this traumatic episode is nonetheless revealed through a tapestry she weaves for her sister Procné to denounce the crime of the lying husband, the needlework compensating her lost voice. This article thus looks at the issues at stake in Laurens’ rewriting, which can be read as the Other of the Greek myth and its famous feminist interpretations. Not only does her play propose an alternative which stems from an unusual, profoundly humane perspective – the suffering of a man whose love is thwarted – but this reversal is also mirrored in the intradiegetic motif of the tapestry as a writing of the Other (the scene behind the scenes, unheard of) by the Other (the abused, silenced woman). I propose to study how the Other comes to be inscribed at the core of language where it takes shape, rendering it delirious (Deleuze), as humanity can be traced in the Barbarian and barbarism can in turn affect humanity beyond the figure of the Thracian. As the act and language of love are turned into linguistic abuse and physical rape, Laurens’ formal experimentations, where language and the Other of language meet at the crossroad of their own contradictions, allow for a renewal in the meaning of the Greek myth as well as in the dramatic language on the British stage at the start of the twenty-first century.

Early literary instances of artificial humanoid and intelligent systems anticipate in a general way the kinds of thematic issues that cyborgs, androids, and intelligent networks like supercomputers bring up for the contemporary notion of the posthuman, understood as a condition in which the human and the machine are becoming increasingly intermingled. Humans have never really been autonomous entities, but rather have always been intimately interdependent upon their environments and tools. And their dreams of intelligent tools even extend back into the era of ancient Rome and Greece, as I will describe below. Thus the seemingly modern idea of a reciprocal dependency upon mechanical devices is just a variation of a much older theme.

Using a prototypical character from ancient times was an aspect that Romantic authors tried to avoid. However, Mary Shelley created on his most well-known novel, Frankenstein, or the modern Prometheus (1818), what it seems to be a completely new character based on a mythological hero, Prometheus. With her novel, Shelley did not only created an original character but also influenced in the 19 th century horror novel that would develop from Romantic literature features. The purpose of this essay is to detect the similitudes and differences between the personality of Shelley's character and the original one. By a descriptive analysis of Prometheus' and doctor Frankenstein's stories and personalities has been found a direct correlation between these two characters. Moreover, various differences between them can be distinguished, which gives to Mary Shelley's story originality. Following the characteristic gloomy and dark features of the Gothic novel, Shelley gave life to a protagonist who happens to be a rebellious hero that would be haunted until his death as well as a new kind of villain, the monster. The study answers the question regarding how much Shelly based her own novel on the mythological character and the aspects that draw them near and away from each other. Further studies are needed to clarify new doubts that have arisen while the research of this essay, such as the dependence of the monster's cruelty to its creator attitude or the apparition of the monster as a typical character in horror novels.

"Guavas for Dummies, American Jíbaras, & Postnational Autonomy: When I Was Puerto Rican in the Hemispheric Turn" (2019) re-engages this text after I taught it in Puerto Rico four years. In this 2009 essay, Santiago’s memoir is said to bridge U.S. and Caribbean lit. WIWPR begins with a remembered Puerto Rico, and ends in the author’s adulthood in the USA. Studying Santiago’s text within a trajectory of immigrant narratives familiarizes the text to readers who are often processing their own entries into the US / its cultural orbit. This essay examines Santiago’s representation of jibaros, a subculture whose place in in Puerto Rico parallels the conflicted relationship many Jamaicans have with Rastafarians. Also, the theme of “Translating and Resisting Imperialism” is developed through a close reading of the chapter “The American Invasion of MacÚn.” Santiago’s treatment of gender roles in her family is also explored.

Race has always been a topic that is associated with different emotions, views, and thoughts for thousands of years. Since the beginning of times, people from different racial backgrounds such as Africans have always been judged and treated based on their race or where they were born. Brent Staples was among the renowned African American writers that fought against the negative stereotyping of black men in public spaces through his article, “Black Men and Public Space” in which he employs numerous rhetorical uses that add more appeal to his descriptions of experiences as a black man in public spaces. Staples’ article is a great example of how racism despite the progress made over the years, is still present. In writing this essay, Brent Staples reveals how black men, in spite of all their qualifications and achievements in life, are still discriminated against, for simply taking a walk. The author uses many examples of how different white Americans show racial stereotyping, from law enforcement to random people walking at night, which not only reveals how some Americans can be ignorant but also how they are likely to judge a person based on their skin color without considering other aspects of their life.