Harry Potter and the Philosophers Stone

Harry Potter and the Philosophers Stone Title: Harry Potter and the Philosophers Stone This essay explores the concepts of fantasy in Lewis Carrolls ‘Alice in Wonderland and J. K Rowlings ‘Harry Potter and the Philosophers Stone. Both authors include an emphasis on the genre of contemporary and juvenile fantasy, containing a main character travelling through a magical world different from their original settings. Their adventures do not begin until either character has entered into the fantasy world. Rowlings world is set adjacent to our own, creating a world within a world; the mysterious world of magic inside the mundane world of ‘muggles. In comparison Carroll takes his heroine Alice into Wonderland, a world where logic is turned upside down. The ‘Alice in Wonderland extract is placed near the end of the novel, as Alice discovers the power and madness of the Queen, taking place after Alice has attended the Mad Hatters tea party. Characters, for example, The Mad Hatter show different attitudes throughout so the reader isnt aware of their development. This is due to the (literal and figurative) change in maturity Alice undergoes. Alice experiences an inverted hierarchy, in which animals have a measure of authority, treating Alice as an inferior. Alice discovers that animals are the subjects of an inanimate object. Inanimate objects register below animals in a social hierarchy. The Queen acts as a ruthless ruler ordering her subjects beheadings. She utilises living creatures as objects, (playing croquet using hedgehogs, and flamingos). Wonderland reverses the conventions as inanimate objects rule the land while living creatures are tools. The ‘Harry Potter extract is placed towards the climax of the novel. Within this chapter Harry is serving detention, proving him to be a human hero through his faults and more relatable to a child audience. This significant extract comes after revealing the Forbidden forests mystery as students are prohibited, but are ordered to enter it now. The fantasy elements in ‘Alice are adapted from Carrolls humour and fantasy appealing to both children and adults. It appeals to children due to the fantasy creatures, (i.e. an anthropomorphic rabbit dressed in a waist coat, and playing cards given the ability to speak). Carroll uses mockery and fantasy to appeal to children; Generally Carrolls style does not seem to follow the fantasy genre conventions consist mostly of surreal features, strangely developed fantasy aspects and childhood games. In ‘Harry Potter, Rowling uses elements from the fantasy genre, in its purest form. Rowling incorporates a balance of mythical and traditional creatures strengthening the idea of the magical and mundane worlds co-existing. Incorporating mythical creatures (i.e. three headed dog, Centaurs and Unicorns); the forest becomes more secret, continuing the mood established. References in the extract carry a sense of mystery and mythological creatures are used to complement the European and Greek mythology. The extract also contains medieval references to weaponry following the medieval reference (‘He pulled out an arrow and fitted it into the crossbow). In medieval Europe, the unicorn was often a symbol of pure and selfless womanhood. Themes are presented to the reader, allowing them to understand what is happening. ‘Alice contains themes of manners and the ability of possessing common courtesy, dating back to the nineteenth century. Children in this era were expected to act as miniature adults; this reflects Alices tone of voice. Alice is an independent girl, making her own decisions, using polite expressions (‘its no business of mine.), also maintaining good manners. This indicates her social status, and ability to identify people within her social class and lower. Alice demonstrates a previously unseen courage. She talks to the Queen with great insolence, attacking the illusion of Wonderlands power. Themes within ‘Harry Potter tie in with the novel. Rowling presents a Hogwarts system of detention, (a form of punishment). Loyalty and friendship, (in spite of their circumstances) are shown. Firenze allows Harry to ride upon his back, showing disloyalty to fellow centaurs, however presenting himself as loyal to Harry. Rowling uses a theme of impassivity, when Harry is presented with a ‘hooded figure, through his belief that he is a mere observer. The use of death connects with the issue of ‘good verses evil during Hagrids search for the unicorns killer (Theres summat in here that shouldnt be), and the anonymity of the ‘hooded figure. The spectacle of the dying unicorn is shocking because it is the first death the reader actually witness, but also because the unicorn is a symbol of innocence and purity (‘Always the innocent are the first victims). Death is shown to be something wrongful and horrid whileevil is presented as ruthless and unfair. Voldemor t drinks the unicorns blood to sustain his own life. Characters in ‘Harry Potter address each other through typical twentieth century styles. (‘He walked forward and shook the centaurs hand). However the centaurs speech is formal, using old-fashioned language (‘Good evening to you, Hagrid), giving the impression of wisdom, linked with the mythical theme. The formality of Banes greeting is reinforced by the conventional interrogative, (‘I hope you are well?). Rowlings use of inverted syntax reinforce the archaic formality (‘Students, are you, Always the innocent are the first victims). Rowling uses idioms in narration (Hermiones jaw dropped) and in dialogue by Hagrid (‘Harry potter an Hermione Ganger, by the way. Students up at the school), the syntax in the extract strengthens the old-fashioned language used by Ronan (‘the forest hides secrets), giving the impression of knowledge reinforced by the balancing phrases by repetition and lack of contradictions. In the extract, the narration is omnis cient, with conventions of writing in third person. Neither author makes a personal comment, remaining neutral. However Rowlings use of a second person narrative, suggests internal thoughts of Harry. However in ‘Alice, narration dominates the extract. There is little dialogue compared to ‘Harry Potter. In these description there are few adjectives used. Whereas In ‘Harry Potter dialogue is frequently used, containing less narration compared to ‘Alice. More description can be found in the narration than the dialogue. Rowlings syntax use a balance of interrogative and directive, while simple sentences (due to the direct speech), are used more often continued by complex, minor and compound structures. This follows the conventions of the genre, and the set style. The majority of syntax used by Carroll consists of complex sentences. This is a style feature continued throughout the novel. Carroll rarely uses simple sentences, contrasting to Rowling. In ‘Alice Carroll uses a clear exploration of language when influencing the mood of the extract. Carrolls use of language shows Alice to be intelligent, while the simplicity in diction show her to be a little girl. Carroll explores the issue of identity through Alices ability to reason, even though she doubts herself. Carroll does this by placing Alice in different situations, demonstrating how she learns a new manner of conversation. In ‘Harry Potter Rowling‘s uses of syntax consists of simple sentence structures due to direct speech, continued then by complex, minor and compound. Throughout extracts there is a frequent use of complex while a rare use of simple structures. In ‘Alice it is Carrolls fascination with language and logic that influence the mood of the novel. In the extract Carroll presents suspense and tension, with the Queens arrival. While in ‘Harry Potter the language creates a sinister mood, carrying suspense, which is focused on, yet left unexplained in the extract. The lexis in ‘Alice is limited, compared to ‘Harry Potter. This is because there is a lack of actions through Carrolls vocabulary limited to descriptions (i.e. ‘suddenly). Conjunctions except for ‘and are used rarely, while adverbs are used, but varied. Adjectives appear not to use vivid descriptions, only limited to ‘small or ‘large. Verbs lack variety some used to reflect Alices childish nature. In language, ‘Harry Potter there is a variety of adjectives, verbs and adverbs to reinforce the vocabulary associated closely with the characters and their traits (‘said Hermione faintly, ‘Hagrid said irritably). The way the author sets apart characters dialogue, allow the readers to recognise the characters by their speech. When making Hagrids speech characteristics, Rowling uses omissions (‘cant be too careful, Ronan), use of contradictions (‘anythin) and phonetically speech through lexis (‘yerself, ‘bin hurt bad). Adjectives are grouped together in pairs (‘long reddish tail), while the comparative adjectives are grouped together in threes (black-haired and (black) bodied and wilder-looking). The uses of verbs are associated with characters or creatures. Personification is used to discuss the Forest, (‘Forest hides many secrets) and comparisons (‘sounded like a cloak trailing along the ground). The Graphology in ‘Alice follows the established convention in earlier chapters. Semi Colons are used in complex sentences, instead of full stop, separating clauses in a list. Colons are used to introduce further clarification (‘he was in livery: otherwise). Italics are used to emphasise a specific point, (‘For instance, if you were inside.), dashes are used to indicate pauses and clarification, and to introduce free indirect speech, sometimes an authorial voice. (‘extraordinary noise going on within- a constant howling and sneezing). Exclamation marks appear in Alices speech; elsewhere in direct speech, by the playing cards (‘your business!) as an emotive function of the language spoken in direct speech, but not in narration. Graphology in ‘Harry Potter follows the conventions of the genre. Question and exclamation are used due to the tense mood Rowling places her characters in, (‘Show yerself Im armed!). Dashes indicate further explanation in the extract, introduce free direct speech and to show hesitation (‘unicorn bin injured would yeh, ‘Erm). Commas, a conventional parenthesis, are used to separate adjective pairings, clauses, and add emphasis within a sentence. Apostrophes are used to explain Hagrids speech, (containing colloquialism) and the contradictions he uses. In ‘Alice apostrophes are used in narration and speech. However Italics are used by both authors to emphasise a specific point. (‘Are there many of them in here?). Finally both authors combine traditional and cultural themes. Stylistically ‘Alice appeals more to adults, due to its density in dialogue and morals; it highlights morals and childish logic which adults find amusing. ‘Harry Potter is widely accessible to many audiences, using fantasy to capture all readers attentions. Contextual Spelling Check 5 alerts Commonly confused words OK Spelling 5 alerts Grammar 56 alerts Use of articles 2 alerts Use of conjunctions OK Use of nouns OK Incorrect use of numbers OK Incorrect use of prepositions OK Pronoun agreement 1 alert Use of adjectives and adverbs 1 alert Comparing two or more things 2 alerts Faulty parallelism 2 alerts Confusing modifiers OK Incorrect use of negatives OK Use of qualifiers and quantifiers OK Subject and verb agreement 4 alerts Verb agreement OK Verb form use OK Modal verbs OK Conditional sentences OK Other 1 alert Sentence structure 4 alerts Wordiness 6 alerts Passive voice use 33 alerts Punctuation 14 alerts Punctuation within a sentence 12 alerts Closing punctuation 1 alert Formal punctuation OK Capitalization 1 alert Style and Word Choice 16 alerts Writing style 2 alerts Vocabulary use 14 alerts WordBooster Suggestions 202 WordBooster 202

Film Essay – the Hours

The Hours Mellissa Krause 02/08/13 Production: Paramount Pictures/ Miramax Films, January 2003 Producer: Robert Fox; Scott Rudin; Mark Huffman Director: Stephen Daldry Screenplay: David Hare (screenplay); Michael Cunningham (novel) Cinematography: Seamus McGarvey Editing: Peter Boyle Music: Philip Glass Principal Characters: Clarissa Vaughan Meryl Streep Laura Brown Julianne Moore Virginia WoolfNicole Kidman Richard Brown Ed Harris KittyToni Collette Julia Vaughan Claire Danes Louis WatersJeff Daniels Leonard WoolfStephen DillaneSally LesterAllison Lester Dan Brown John C. Riley Vanessa BellMiranda Richardson The pacing in the film The Hours reinforces the mood greatly throughout the film . The film is about three women in three different time periods who all experience suicidal thoughts and homosexual feelings. Although a slower pace, the film has a definite tempo to it, moving between the three main characters smoothly through parallel cuts in a cross-cutting fashion. Most of the p acing is slow, suggesting a thoughtful approach to the movie for the viewer.At times, the film’s pacing mocks the classical music playing in the background, therefore very little contrast in pacing exists. The editing helps to portray a very smooth, almost choreographed feeling to the film. That said, the music in the film, almost a constant, speeds up and slows down during more exciting scenes. An example is during the scene when an adult Richard Brown falls to his death. The music is very calm as he is speaking to his close friend Clarissa Vaughan and then as he falls from the window, the piano in the background gains a much quicker tempo.In one of the opening sequences of the film, the use of jump cuts (all straight cuts) between the characters of Virginia Woolf and Clarissa Vaughan both doing the same tasks, getting ready for the day, shows Clarissa starting to put her hair in a bun and then cuts to Virginia Woolf doing the same. This use of narrative advancement between two time periods begins the task of tying the characters together. This technique is used again shortly thereafter in a montage where all three women, Clarissa Vaughan, Laura Brown, and Virginia Woolf all speak of flowers.Virginia Woolf speaks of her main character â€Å"getting the flowers herself†, then in the next scene cut to Laura Brown starting to read the book Mrs. Woolf is writing in the prior scene and speaks aloud the first line â€Å"Mrs. Dalloway buys the flowers herself† which Mrs. Woolf referenced in the prior scene, and in the last scene Clarissa Vaughan (often referred to as Mrs. Dalloway such as in Virginia Woolf’s novel referenced throughout the film) says â€Å" Sally, I think I will buy the flowers myself†. This successfully ties all three timeframes together along with the characters while supplying the viewer with their common thread.In one of the most poignant sequences when Laura Brown is driving a young Richard Brown back home aft er she almost kills herself at a hotel. She looks at him and tells him, â€Å"Your my guy† and the child smiles the brightest smile of the whole film, very faint slow motion is used at this point to portray the intensity of the situation. This technique also helps with the transition to another time period. Jump cut to another very intense scene where an adult Richard Brown is remembering this and weeping. Another great transition which rakes place is through the use of inside/out editing.While most the film is editing is done from the outside/in perspective, one scene where Virginia Woolf is at the train station, we are jolted from the home of Clarissa Vaughan to a view of a moving train and eventually the details are revealed that the viewer has been transported back to England with Mrs. Woolf as the camera pans back. Works Cited The Hours. Dir. Stephen Daldry. Paramount Pictures/Miramax Films. 2003. http://en. wikipedia. org/wiki/The_Hours_(film) http://www. imdb. com/titl e/tt0274558/fullcredits? ref_=tt_ov_st_sm#cast

Managing Rapport through talk across Cultures Essay

Spencer-Oatey certainly does not neglect the concept of culture in her book, the second component of the rather lengthy title, though she concedes that ‘culture’ is ‘notoriously difficult to define’ (Spencer-Oatey, 1). In support of this, she cites several authors have noted that â€Å"†¦despite a century of efforts to define culture adequately, there was in the early 1990’s no agreement among anthropologists regarding its nature,† (Apte 1994, p. 2001) Due to the ambiguity of the term, Spencer-Oatey (2000, 2) defines culture as: â€Å"†¦a fuzzy set of attitudes, beliefs, behavioral conventions, and basic assumptions and values that are shared by a group of people, and that influence each member’s behavior and his/her interpretations of the ‘meaning’ of other people’s behavior. † This definition opens up the field for several issues. At one point, culture is manifested â€Å"at different layers of depth, ranging from inner core basic assumptions and values, through outer core attitudes, beliefs and social conventions, to surface level behavioral manifestations† (Spencer-Oatey, 2). The second issue concerns the sub-surface aspects of culture as influencing people’s behavior and the meanings they themselves attribute to the behavior of other people, i. e. personality. Due to the fact that the members of a cultural group â€Å"are unlikely to share identical sets of attitudes, beliefs and so on, but rather show family resemblances,† (Spencer-Oatey, 2), she puts forth the thesis that there is â€Å"no absolute set of features that can distinguish definitively one cultural group from another† (Spencer-Oatey, 2). This is of course stemming from the thesis that culture is associated with social groups. In the social sciences it is a given that all people simultaneously belong to a number of different groups and categories, e. g. ethnic groups, professional groups, gender groups, etc. Another important term directly related to culture is the concept of ‘cross-cultural,’ which for Spencer-Oatey (2000, 3) refers simply to comparative data, i. e. ‘data obtained independently from two different cultural groups. ’ A related term is that of ‘intercultural’ – interactional data obtained ‘when two different cultural groups interact with each other’ (Spencer-Oatey, 3). The speaking component highlighted in the book’s title itself refers to the management of social relations as a specific aspect of communication. Spencer-Oatey goes back to the work of earlier authors such as Watzlawick, Beavin and Jackson (1967, as cited in Spencer-Oatey, 1) who had initially proposed that â€Å"all language has a content component and relationship component. † In a similar study, Brown and Yule (1983) had identified two main functions of language: the transactional (information-transferring) and the interactional (maintenance of social relationships), with two corresponding goals – the coherent and accurate conveying of information (transactional) and communication of friendliness and good will in a comfortable and unthreatening manner (interactional). In both cases, culture definitely plays a significant role, and in the two studies it is utilized as an explanatory variable. Attempting to use culture as an explanatory variable to account for similarities and differences in communication across cultures necessitates appropriate ways to â€Å"unpackage† culture before it could be linked to communication outcomes and operative psychological constructs (Spencer-Oatey, 2000). There are dimensions to cultural variability which could be viewed as psychologically comparable among cultures, and these are often used as the tools to account for the differences. There remains however a number of problems in the use of cultural-level values to account for variability in communicative behavior across languages and cultural groups. Following Gudykunst (2000, as cited in Spencer-Oatey) cultural level variables, e. g. individualism and collectivism, prove to be insufficient if one aims to establish a framework providing causal explanations of social behavior. Cultural level variables may have a direct effect on social behaviors through its influence on cultural norms and the rules specific to a particular culture yet it is important to note that the members of a culture are not socialized in the same way, nor do they adopt a culture’s rules to the same extent. As such, the socialization processes at the individual level clearly play a mediating role in the influence of cultural level variables on social behaviors. With regards to communication, for Spencer-Oatey et al (2000) pragmatic variables, i. e. factors influencing how people both produce and interpret communicative behavior, can possibly yield important dimensions of cultural variability at the individual level. Of particular interest are two influential aspects of socio-linguistic pragmatics – interactional ‘rules’ (maxims) and contextual factors. The view that it has now become necessary to move beyond a value approach in the conceptualization of culture has merit, and Spencer-Oatey provides the needed empirical illustrations to give strength to the argument of the need to explore new ways of conceptualizing culture. Contemporary development in linguistics suggests two important ways in which culture can have an impact on language use: pragmatic maxims, and the conventions of use of a particular language (variety). In illustrating the limits of culture as an explanatory variable, a discussion on politeness theory is presented. ‘Politeness’ often refers to the â€Å"use of relatively formal and differential language† (Spencer-Oatey, 2), though as Fraser and Nolan (1981, 96) carefully point out, it is in actuality also a contextual judgment in the sense that â€Å"†¦no sentence is inherently polite or impolite. †¦it is not the expressions themselves but the conditions under which they are used that determine the judgment of politeness. † Furthermore, politeness maxims appear to have ‘universal valences,’ wherein one pole of a given dimension is always viewed as more desirable than the other (Spencer-Oatey 2000). Yet interestingly, in different cultures and even in different speech contexts within the same culture, there are different points on the continuum that are more favored over others. There is already a significant body of work researching the universal and culture-specific aspects of politeness behaviors available. House (2000, cited in Spencer-Oatey) conducted a series of analyses contrasting the English and German spoken and written discourses over the past two decades. Among the interesting findings is the tendency of German students to use less verbal routines than their English counterparts, which appear to lend credence to the insight that they are more direct, content-oriented and self-referenced (House, 162). A temporary cultural dissonance is said to result when participants are unable to retain emotional equilibrium (House, 2000), i. e. they are overcome by a sense of misunderstanding and disappointment. Emotional reaction for House (2000) is often a â€Å"major factor responsible for a deterioration of rapport and for the mutual attribution of negative personal traits which, in turn, prevent any recognition of real differences in cultural values and norms. † Crucial to Spencer-Oatey’s work is the concept of ‘rapport management’ as an analytical framework, of which a detailed discussed is presented in Chapter 2. As several attempts have already been undertaken to create language use universals, the concept of ‘face’ as a â€Å"universal human need and the key motivating force for politeness and rapport management† has been proposed by Brown and Levinson (1987, as cited in Spencer-Oatey 2000, 12-13). Two related aspects comprise the ‘face’- positive (representing the desire for approval) and negative (desire for autonomy). Meanwhile, critics such as Matsumoto (1988), Ide and Mao (1994) relegates prime importance to that of social identity, as illustrated in Chinese and Japanese cultures (as cited in Spencer-Oatey, 67-68). A discourse-processing approach is a powerful analytical tool towards in-depth comprehension of how rapport can be mismanaged across cultures through communication. It involves detailed descriptions of the processes utilized in the production and comprehension of discourses, as well as illustrations of how misunderstandings can occur between and within cultures. Emphasis is on the discourses invoked by the participants. With regards to communication processes, prime importance is given to how the discourses are socially constructed and then understood and internalized by the participants of the discourse. Contrastive discourse studies (Spencer-Oatey 2000) in particular, as illustrated by the researches presented in the second part of the book, are of prime importance when one aims to explain intercultural misunderstandings. Meanwhile, in a pragmatic transfer approach to the study of intercultural communication, its explanatory power in accounting for intercultural encounters is largely based on existing pragmatic knowledge in the communication process (Spencer-Oatey 2000). ‘Pragmatics’ is â€Å"the study of the relationships between linguistic forms and the users of those forms† (Yule, 4), i. e. it is mainly concerned with the notion of implied meanings. The pragmatic transfer framework draws on the perspective of relevance theory. For one to be able to communicate effectively and competently, one needs to know how to choose the appropriate form and the appropriate meaning in order to avoid inter-cultural pragmatic problems. Related to the first two frameworks, Accommodation Theory nonetheless presents a rather different theoretical perspective to account for intercultural discourse. Focus is on the various manner in which speakers themselves can ‘attune’ their talk more or less to each other (Spencer-Oatey 2000). Thus though all three frameworks are to some extent concerned with processes involved in communication, in contrast to the other two frameworks there is a strong dynamic aspect to human agency in Accommodation Theory, though the manner and extent wherein one can be accommodating in ‘talking’ is still within socio-culturally prescribed boundaries. In terms of the merits and weaknesses of methodologies, cross-cultural or comparative studies are very useful in providing a rich array of baseline data. However, comparative studies suffer when used for analytical purposes, particularly in providing a comprehensive analytical framework to account for intercultural encounters. As such, the researcher(s) have to go back to and rely on the explanatory power and analytical categorizations provided by theory in order to provide a comprehensive account of the factors influencing performance both in the individual and social levels. We find in Chapter 6, â€Å"Telephone Conversations in Greek and German: Attending to the Relationship Aspect of Communication† the uses of speech act analysis as a research method of collecting data. It recorded observations concerning the opening and closing sections of conversations in authentic Greek and German. Analysis involves a comparison between the two groups of their preferences to attend to the relationship aspect of communication, though of course there are significant limitations to the variables that could be studied, i. e. those which could possibly affect the management of rapport as it could not encompass all cultural groups and languages. Different styles and beliefs about argumentation of people in initial encounters, which are still largely facilitated by variables of culture, can have a negative effect on how people evaluate their initial interaction, as gleaned from Chapter 10’s empirical study of the negotiation of rapport in Chinese-German conversations. It utilized authentic conversation analysis between Chinese and German students meeting for the first time. Different methodologies have their own strengths and weaknesses, and a triangulation of methods (e. g. use of survey questionnaire and observational field data) is commonly utilized to cover more extensively the nature of the variables under study. A critical reading of the various inter-cultural studies presented in the book presents one the insight that selection of the appropriate methodology (e. g. conversation analysis, surveys, face-to-face interviews, among others) and analytical framework – discourse processing model, pragmatic transfer, accommodation theory, etc. – for a research undertaking ultimately depends on the nature of the questions being asked and the aims of the research, wherein one has to select the corresponding methodology which would facilitate the gathering of relevant data for analysis. Works Cited Birkner K. & Kern, F. (2000) Impression Management in East and West German Job Interviews 2000 In H. Spencer-Oatey (Ed. ) Culturally speaking: Managing rapport through talk across cultures. London: Continuum Gudykunst, W. B. (2000). Methodological issues in conducting theory-based cross-cultural research. In H. Spencer-Oatey (Ed. ) Culturally speaking: Managing rapport through talk across cultures (pp. 293-315). London: Continuum. House, J. (2000). Understanding misunderstanding: A pragmatic-discourse approach to anaysing mismanaged rapport in talk across cultures. In H. Spencer-Oatey (Ed. ), Culturally speaking – Managing rapport through talk across cultures (pp. 146-164). London: Continuum. Spencer-Oatey H. ed. (2000) Culturally speaking: Managing rapport through talk across cultures (pp. 293-315). London: Continuum. Yule, G (1996). Pragmatics. In H. G. Widdowson (ed. ) Oxford introductions to language study. Oxford University Press.

Natty Dreadlocks The Study of the Youth Black Faith and...

Natty Dreadlocks The Study of the Youth Black Faith and the Bobo Dreads The most outstanding characteristic of the Rastafarians is then- hair. Although other people view dreadlocks as disgusting, smelly, and as a symbol of craziness, the Rastas see the dreadlocks as part of who they are and what they stand for. The longer and more developed their dreads are represents their status and their faith. They think of their hair as a crown, like the crown of their king, Halle Selassie, or to the main of the lion symbolizing male strength. The Rastas crowns let people know they are rebelling against oppression and do not want tofit inwith the people that view them as freaks. They started this trend to go against organizational life and†¦show more content†¦Ann and Clarendon. They made their yard a camp where brethren came to hang out and stayed to listen and discuss. It was also said that the ganja, the holy herb, was sold and smoked here also. Places like Ninth Street were called herb yards and the idea of them had been around for a while. Ninth Street helped to start, however, a subculture that grew up around this particular one. These camps had certain codes of conduct. First, one could not leave the camp before the herbs were consumed. Second, one had to pass thekutchieor cup from left to right. Third, one had to grace the cup before taking ones draw. Fourth, one emptied the cup when all the herbs were burnt out and NEVER BEFORE. Last, one had to have ,good behavior while in camp. Some of these rules were there to avoid attention from the police. Other African-Jamaican religions and East Indians probably influenced some of them. Wato helped organize the rules because lie had already spent time in another camp run by a Rastafarian named Gorgon before Joining Pete and the others. Watos camp was the beginning of the Youth Black Faith. The Youth Black Faith started in 1949. Its members were young and fiercely supportive of the doctrine. They revolted against the Revival tradition and obeahmen who burned candles and oils. The Youth Black Faith were against that since the Apostle John had declared Christthe only golden candlestick. These young brethren respected their