Welcome To Native Essay Writers

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Welcome To Native Essay Writers

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The Dangers of the Imagination in Atonement - Literature Essay Samples

In Atonement, Ian McEwan suggests the dangers of confusing our fantasies with reality; that we have become so accustomed to choosing to see what we wish to see rather than reality and this leads to destruction in our lives. Our refusal to accept or want to see reality creates a cycle in which we become alienated from others, just as Briony, Robbie and Cecelia did. Briony lives in her stories, Cecelia lives in her mind, and Robbie lives in his memories. Eventually they each end up alone and longing for a happy ending that is never given to them. As human beings we have a fundamental need for an answer. Even when we have limited information and perspective, we use our imagination to fill in the blanks in order to obtain an answer. Through gothic allusions and interchanging viewpoints McEwan emphasizes the detrimental effects of getting lost in what we wish or hope to see while seeking an answer and ignoring reality. Imagination is wonderful to an extent – we must be able to reco gnize and accept reality or else we will end up disappointed in situations with permanent consequences. To begin, McEwan creates gothic allusions, particularly with Briony, in which he reiterates the dangers of denying reality and always expecting a life that contains â€Å"hidden drawers, lockable diaries and cryptographic systems† or in this case, a constantly exciting and adventurous lifestyle. McEwan illustrates these dangers through Briony. Briony is seemingly very mature and intelligent for her age, with a very wild imagination. While having an imagination, goals, and desiring excitement is not wrong, Briony takes these qualities too far. As scholar Brian Finney states, â€Å"when she acts out her confusion between life and the life of fiction, the consequences are tragic and irreversible† (Finney, 69). This further suggests that Briony has taken her imagination too far and the reader is shown why this is catastrophic when she accuses Robbie of raping her cousin due to her overactive imagination. This calamitous event illustrates why one cannot depend too much on wh at one thinks or want to be real and deny actual reality. As human beings it is within our own innate nature to desire answers to everything, so naturally when Briony sees her sister in an odd situation by the fountain, she seeks out an answer. Even though Briony claims, â€Å"This was not a fairy tale, this was the real, the adult world†¦Ã¢â‚¬  we as readers can identify the irony in this statement because Briony allows her imagination to take over her logic (37). This exact scene is where McEwan displays to readers how easy it is to be taken over by the thrill of a possible adventure or story. Life is not like a story in which a â€Å"woodcutter saved a princess from drowning and ended by marrying her† (36). If we constantly allow our imagination and desires for excitement to take over while seeking out an answer, we will ultimately end up disappointed because life does not always offer excitement and adventure. Along with Briony, Robbie is a prime example of the disappointment one can run into if he or she becomes too immersed in what they desire to happen and ignore other possibilities. When Robbie is sent to war due to Briony’s accusations, he spends the length of his journey dreaming about seeing Cecelia again. He walks a great distance to get to the port of Dunkirk, in belief that once he reaches the beach his nightmares will be over. This explicitly alludes to gothic themes where there is always a happy ending. Robbie had â€Å"assumed that the cussed army spirit†¦ would prevail. Without knowing it, that was the beach he had been walking to for days† (233). This implies that we expect a happy ending; that as humans feel we deserve to be rewarded with a happy ending for making it through a hard time. McEwan is not suggesting that we always should expect the worst or look at life through a very negative lens. Instead, he urges the reader to be careful not to rely too m uch on what we desire and hope for or else in the end, we can end up very disappointed like Robbie. Robbie relies on his desires and ultimately ends up extremely disappointed – â€Å"He thought he had no expectationsuntil he saw the beach† (233). Through these gothic â€Å"happy ending† themes shown in both Briony and Robbie, McEwan shows us why we must be careful to not confuse life and fiction based on our desires and need for an answer. The vacillating narrators in Atonement gives the reader a view into most of the characters lives but it does not provide details for all events, which leads the reader to infer certain situations. As scholar Kathleen D’Angelo puts it, â€Å"readers are faced with a multiplicity of interpretations† (D’Angelo, 92). By creating a changing narration, McEwan shows his readers how easy it is to infer something when we have limited information. This causes us to rely on our imagination, the very thing that got Briony into trouble. To show the similarities between Briony and readers, McEwan first uses the â€Å"rape† of Lola. Never does McEwan explicitly state it was Paul Marshall who raped Lola. Never does he state that she was raped. We infer that she was raped, and we assume when Paul wakes up â€Å"uncomfortably aroused† after dreaming about his four younger sisters and his strange behavior at dinner, that he must be the one who raped Lola (57). While M cEwan provides the reader with many strange examples that suggest it was Paul Marshall who raped Lola, the oscillating narrator makes it so the reader never knows exactly which character it committed the crime. – McEwan allows the reader to use our imaginations to make assumptions. While the reader does this almost without thinking, the reader again becomes even more like Briony. In â€Å"Part One† of Atonement, Briony is described as a girl who has a â€Å"wish for a harmonious, organized world† and â€Å"mayhem and destruction were too chaotic for her tastes, and she did not have it in her to be cruel† (5). Like Briony, most readers do not mean to assume and overuse the imagination – is happens subconsciously like Briony. Briony has limited perspective, so she uses her imagination to fill in the blanks. She truly believes her version of the events, just as the reader truly believes Paul Marshall was the rapist. McEwan makes us dislike Briony but also shows us that as readers, we tend to do the same thing as the flawed character. The vacillating narrator not only leads the reader to make inferences about Paul Marshall, but the limited information also leads the reader to do exactly what Ian McEwan warns about. As mentioned previously, it is within human nature to use imagination in order to infer answers when the information is not explicit. At the end of Part Three, Briony is finally content because Robbie and Cecelia are together and in love, despite her false accusation. She claims that neither she nor â€Å"the war had destroyed it† (330), a somewhat happily ever after for the couple. However, in the epilogue the narrator is a much older Briony and the reader learns that instead of having a happily ever after, â€Å"Robbie Turner died of septicemia at Bray Dunes†¦Ã¢â‚¬  and â€Å"Cecelia was killed in September of the same year†¦Ã¢â‚¬  (350). The reader assumed that there was undoubtedly a happy ending, relying heavily on desires and inferences. The fact that McEwan causes us as reade rs to feel content with what we think is the end and then takes it away from us shows how easy it is to rely on our desires and also how dangerous it is. While the book may disappoint the reader because the happy ending is not actually real, McEwan does this in order to warn the reader for when it actually is real. The reader never actually sees into Robbie and Cecelia’s thoughts – they were made up. The reader cannot rely so heavily on preconceived notions, without having explicit facts. McEwan makes the reader so much like Briony that, as readers, we begin to realize the things we hate Briony for, we do ourselves. We assume who the rapist is, we assume that the narrator is reliable and then we assume there is a happy ending. We have limited information on what actually is happening, but McEwan leads the reader to believe we are right, which once again makes us even more like Briony. He uses Briony as a warning to all of us since she is so relatable – he warns us to focus more on facts and reality and to not get caught up in what we think happened or what we â€Å"know.† We were disappointed at the end of Atonement – if we continue to infer based off of our own limited perspectives, our disappointments can become reality and not just based off of fiction. Ultimately, Atonement is a novel that presents it readers with the detrimental effects of getting lost in what we wish to see or be while seeking an answer and ignoring reality. While hyperbolizing the dangers of this through his characters and plot, McEwan emphasizes the importance of being able to accept reality and not letting imaginations run wild. While having an imagination is typically something that is considered fun and creative, it is important not to blur line of reality. McEwan illustrates the detrimental effects of ignoring reality through the gothic allusion of the happy ending and interchanging viewpoints.

The Battle Of Gilgamesh And The Story Of My Brother And I...

Roughly about 10 years ago, I had a traumatic experience happen in my life. My brother Jef at the age of 19 passed away due to a rare cancer called Ewing’s Sarcoma. This cancer was also located in a very rare place, his pelvic area. Ewing’s Sarcoma is a bone marrow eating cancer, which causes the individual to become more susceptible to diseases, viruses, and different infections as well as deteriorating his bones. My brother Jef fought the cancer very bravely going through several different surgeries, radiation, and chemotherapy and nothing worked. Unfortunately, because the cancer is so rare he was practically patient zero and the doctors were doing everything they could to try and save him. In the end he passed away at home shouting his final words of â€Å"Screw you cancer! If I die you’re going with me.† He was fairly dramatic in life and now that I look back, I can see that the story of Gilgamesh and the story of my brother and I as alike. In the story of Gilgamesh, Enkidu was turned away from nature, because of this he set out to find Gilgamesh and kill him. Upon finding him, he and Gilgamesh fought, but in the end, Gilgamesh won and offered a hand in friendship for Enkidu and accepted him for who he was. I compare this to my brother and I, not that we fought a lot, but for the fact that when we did â€Å"fight† we used our words and not our fists, considering I was 9 years younger than he was. But when we did call each other names it was more fun than anything. We would callShow MoreRelatedBeowulf - the Ideal Hero1948 Words   |  8 PagesAchilles, Beowulf, Gilgamesh, Samson and Heracles can all be characterized as heroes. However, each of these characters embodies different attributes that earn them the heroic distinction. This paper will seek to show that Beowulf is the most heroic figure based on his adherence to the heroic ethos. Also, the character of Gilgamesh will be used as a means of comparison to further showcase the heroic nature of Beowulf. The heroic ethos is a set of values that prioritize and glorify the valorRead More Beowulf - The Ideal Hero Essay1911 Words   |  8 Pages Achilles, Beowulf, Gilgamesh, Samson and Heracles can all be characterized as heroes. However, each of these characters embodies different attributes that earn them the heroic distinction. This paper will seek to show that Beowulf is the â€Å"most† heroic figure based on his adherence to the heroic ethos. Also, the character of Gilgamesh will be used as a means of comparison to further showcase the heroic nature of Beowulf. The heroic ethos is a set of values that prioritize and glorify the valor ofRead MoreMesopotamian Civilization : Mesopotamia The Land Of Rivers3727 Words   |  15 Pagesconsidered to be the cradle or birthplace of Western Society. Although most of the perception of their history is derived from famous texts and literary stories, there is also an equally important aspect of life in examining the everyday artifacts that civilization has left behind. We tend to focus on the more ostentatious kingships, mythological creation stories, and the advent of cuneiform, but it is also crucial to realize that there are also many smaller parts of civilization that make up an often overlooked

Prejudice and Racism - No Racism in Heart of Darkness Essay

No Racism in Heart of Darkness Chinua Achebe challenges Joseph Conrads novella depicting the looting of Africa, Heart of Darkness (1902) in his essay An Image of Africa (1975). Achebes is an indignant yet solidly rooted argument that brings the perspective of a celebrated African writer who chips away at the almost universal acceptance of the work as classic, and proclaims that Conrad had written a bloody racist book (Achebe 319). In her introduction in the Signet 1997 edition, Joyce Carol Oates writes, [Conrads] African natives are dusty niggers, cannibals. Conrad [...] painfully reveals himself in such passages, and numerous others, as an unquestioning heir of centuries of Caucasian bigotry (Oates 10). The†¦show more content†¦Aside from suffering from a uniform one-dimensionality, in what appears to be a bid for sympathy, Conrads black characters are portrayed as constantly pitiable, victimized beings, and discusses them as one might a horse or dog. Despite spending enough time amongst them for him to see so, Africans have no humanity for Marlow; in that, we can conclude that he is racist. On the latter half of our question, is Marlow an extension of Conrads opinion? Achebe also tenders the following: It might be contended, of course, that the attitude to the African in Heart of Darkness is not Conrads but that of his fictional narrator, Marlow, and that far from endorsing it Conrad might indeed be holding it up to irony and criticism (318). However, he rejects this idea as quickly as it was proffered, citing Conrads attempt to distance himself from the story by using a narrator who retells Marlows narration, and mentions briefly that there are similarities between Marlow and Conrad in terms of real-life careers. Achebe neglects to address another important indication of the ties between Marlow and Conrad; Marlows position as a character amongst the other characters. Our narrator throughout Heart of Darkness seems to be in awe of Marlow. From the first page, the reader is given a favorable impression of Marlow: We fourShow MoreRelated Prejudice and Racism in The Jewel in the Crown and Heart of Darkness1361 Words   |  6 PagesRacism in The Jewel in the Crown and Heart of Darkness      Ã‚   The effects of British colonialism are reflected in literature from both early modernism and post colonialism. Racial discrimination tainted both eras portrayed in the British morale of white supremacy over non-European counties unfolded. Heart of Darkness exemplifies early modernism in the British explorers viewed African natives of the Congo as incapable of human equality due to perceived uncivilized savagery. Personal interactionRead MoreEssay Prejudice, Racism and Power in Heart of Darkness977 Words   |  4 PagesRace and Power in Heart of Darkness      Ã‚   In Joseph Conrads novella, Heart of Darkness, the socially constructed differences of African and European cultures are effective in representing the power sites of the time. The alleged `superiority of the European culture can be recognized by comparing their ideologies to those of the primitive, `inferior `savages. Conrads personal experiences in the Belgian Congo, in the 1890s, influenced the compilation of Heart of Darkness, reflecting theRead More Prejudice and Racism in Heart of Darkness? Essay872 Words   |  4 PagesHeart of Darkness: Racist or not?    Many critics, including Chinua Achebe in his essay An Image of Africa: Racism in Conrads Heart of Darkness, have made the claim that Joseph Conrads novel Heart of Darkness, despite the insights which it offers into the human condition, ought to be removed from the canon of Western literature. This claim is based on the supposition that the novel is racist, more so than other novels of its time. While it can be read in this way, it is possible to lookRead More Prejudice and Racism in Heart of Darkness Essay3434 Words   |  14 PagesRacism in Heart of Darkness  Ã‚  Ã‚     Ã‚  Ã‚   Heart of Darkness is a social commentary on imperialism, but the characters and symbols in the book have a meaning for both the psychological and cultural aspects of Marlow’s journey.   Within the framework of Marlow’s psychedelic experience is an exploration of the views the European man holds of the African man. These views express the conflict between the civilized and the savage, the modern and the primordial, the individual and the collective, the moralRead More Prejudice and Racism in Conrad’s Heart of Darkness Essay802 Words   |  4 PagesRacism in Conrad’s Heart of Darkness  Ã‚   Imagine floating up the dark waters of the Congo River in the Heart of Africa. The calmness of the water and the dense fog make the hairs stand up on the back of your neck as you wonder if the steamboats crew will eat you as you sleep. These things occur in Joseph Conrad’s Heart of Darkness. Although the book is undeniably racist, was the author, Joseph Conrad, racist? Conrad was racist because he uses racial slurs, the slavery and unfair treatment ofRead More Prejudice in Heart of Darkness: Racism is a Relative Term Essay1026 Words   |  5 PagesHeart of Darkness: Racism is a Relative Term Racism is a relative term. While many people argue that Conrads novel, Heart of Darkness, contains the theme of racism, they tend to ignore the fact that this novel was written around the turn of the century. During this time period it was accepted practice to think of a black man as savage because that was how the popular culture viewed the African American race. If someone called a black man savage today, that someone would be considered a racistRead MoreRacism And Sexism In Joseph Conrads Heart Of Darkness1108 Words   |  5 Pagesundertaking VCE. From the time Heart of Darkness by Joseph Conrad was published in 1899 the novel has been held under considerable scrutiny as many interpretations have been developed over the novels true intent as well as the overall message portrayed within. Chinua Achebe’s â€Å"An Image of Africa† is a well-known criticism on Heart of Darkness that focuses on a Post-Colonial perspective to describe the nature of the novel. Jeremy Hawth orn’s â€Å"The Women of Heart of Darkness† is another well-known criticismRead MoreHeart of Darkness971 Words   |  4 Pagesin Heart of Darkness, or does Achebe merely see Conrad from the point of view of an African? Is it merely a matter of view point, or does there exist greater underlying meaning in the definition of racism? br2. How does Achebes personal history and the context in which he wrote An Image of Africa: Racism in Conrads Heart of Darkness reflect the manner in which he views Conrads idea of racism in the novel? br3. Taking into account Achebes assumptions and analysis of racism in Heart ofRead MoreSonny s Blues By James Baldwin1028 Words   |  5 Pageslingering hate and prejudice. This is the social undercurrent within the story; though the hatred is rarely made explicit, its invisible presence resounds through the black person’s life. This hidden bias, the systemic racism, breeds the psychological pain of the black populace. Historical, s ystemic racism created the housing projects that the narrator recalls to be â€Å"vivid, killing streets† (8) in which young black children â€Å"found themselves encircled by disaster† (8); systemic racism enabled crime toRead MoreExploring the Horror of Joseph Conrads Heart of Darkness990 Words   |  4 PagesHorror of Heart of Darkness nbsp; nbsp; nbsp; The horror, the horror! Kurtz exclaims prior to his last breath of life on earth. In those final moments, Kurtz was able to say something so true about the whole mess of human life. A life dominated by the fittest, perceived differently through each human eye, and full of judgement lacking understanding of all sides. The various ways the world is viewed causes many problems amongst its people. Whether they are about racism, wealth, or

Plato And Conservative Christians Essay Example For Students

Plato And Conservative Christians Essay Plato And Conservative Christians Plato And Conservative Christians The views of Plato back in Ancient Greece and that of conservative Christians today about education for children have surprisingly similar views. Plato thought it to be most beneficial for children, if their learning consisted of music and poetry to shape the soul, and of physical training to shape the body. However, only stories that were fine and beautiful should be selected. Stories that co ained falsehoods should be banned along with passages that teach fear of death. The teaching should be done in moderation, only the good endings should be taught and only good deeds of heroes should be told. Conservative Christians today believe in many of the same ideas as Plato. Instead of music and poetry to shape the soul, the Bible should be the primary learning tool. Only shows that are non-secular and do not contain references to evolution should be allowed for children to watch. Shows that portray death to children shou ld be monitored by parents. At the heart of these ideas, is the concern with cartoons and the effect they have on young children. This way of thinking does more harm to children then it does to protect them. By shielding them from what actually goes on in this world, i.e. death, sex and non religious views, you are setting them up for a harder time of understanding these concept when they are faced with them in real life. Cartoons can be a wonderful way of exposing children to the evils of this world in a less harmful way. Children are able to relate to cartoons in a special way that we as adults are unable to do. Because of the young age of the children in question, eir innocence is not lost and cartoons have a magical way of relating issues on a program to those that are prevalent in real life. Take for instance the idea of death that is seen in The Lion King or Bambi. This is the perfect segway for parents to start to teach their children about death. This allows children to see death in a non-realistic way and also gives them the curi ity to ask their parents about it. Parents should not shy away from a subject like this. Death is such a part of life that it needs to be explained to children at the earliest possible time that they are able to comprehend it in just the least. Just ink how much more difficult it would be trying to explain to a five year old that his mother has died, if you as a parent have never even mentioned the notion of death and what it entails to that child. That child would have such more difficulty unders nding that his mother is never coming back if he had been shielded from ever seeing death. There is the argument that you should protect a childs innocence for as long as possible because once its gone it will never return. There is merit in this argument. However, you have to make the decision on whether you want protect a child for a couple of more years, or explain to them the trials of life and in doing so, making it easier for them to comprehend this world when they are older. A child that never learns about death, will never be able to embrace it and to realize that death is not an ending but a new beginning. Everyone is going to experience death at some point in there life and by learning at a young age what death actuall entails will make it easier for that child when faced with the situation. Cartoons are given too much credit for shaping the way that young children think and behave. Adults are giving cartoons this credit because they can look at them and see subtleties because they are older and have so much more education. Children on the other hand are watching these cartoons solely as entertainment. They are not comprehending any underlining political or social message these cartoons may be conveying. If there are any political or social messages contained in cartoons, then they e intended for adults and will only be understood by adults. This also can be applied to the issues regarding death, sex , and violence in cartoons. A good majority of children dont watch cartoons to learn, but rather as a form of entertainment. Violence that is seen in cartoons by children is very rarely, if er emulated by them. If it is in fact emulated by children, it is the fault of the parents and not the cartoons themselves. Parents are responsible for teaching their children what is real and what is fiction. Parents that rely heavily on cartoons as babysitter for their children and do not take the time to talk and educate their children are why children sometimes mimic what is seen in cartoons. Adults, and in particular conservative Christians are the ones to blame for the beliefs that cartoons are harmful and inappropriate for young children. Take for instance the controversy surrounding Disney cartoons. Conservatives have said that the proportion between the breast size and waist size of Disneys female characters is too out of proportion and that Disney is deliberately creating these characte rs to be sexy. Because of this, conservatives have called for a boycott of Disney cartoons cause they portray the wrong message to our children. Children are not worried about trivialities like this. They are watching these cartoons purely for entertainment. Adults read too far into situations like this. The children do not even notice th gs like that. And if they dont even notice it, then these adults are using the excuse that it is harmful to our children to benefit their own position. There is a growing debate on whether certain cartoons are appropriate for young children. Not all cartoons are acceptable for children. However, not all cartoons are intended for children and are geared more for adolescents. These cartoons, such as, South Park and The Simpsons, should not be condemned because their target audience is not young children but rather young adults. These shows should be treated like other shows which are intended for young adults. Just because they are in anim ed format, does not necessarily mean that they are intended for children. Adults need to realize this and to stop unnecesaringly branding these cartoons. As for the fact that some cartoons are inappropriate for young children and yet the children are still being exposed to them is not the fault of the cartoons directly but that of their parents. If the parents deem certain cartoons to be inappropriate r their children then it is their responsibility to make sure their children do not watch those shows. If parents are around early in their childrens life to educate them about what is real and what is entailed in life, then the problems with cartoons is virtually eliminated. The reason that parents have a problem with what is depicted in cartoons, i because they are too busy to deal with the issues that are portrayed in cartoons and they feel that cartoons is not the place for their children to learn about the perils of life. If parents would just take to initiative to explain to their children ab t what they are watching in these cartoons, then parents would be a lot more comfortable in allowing their children to watch them. Cartoons can not be expected to eliminate every subject that certain adults or organizations deem to be offensive or controversial. If this was to happen, then children would receive a diluted and false sense of what this world is actually about. By xposing them to nothing offensive or controversial by way of cartoons would be detrimental to childrens growth and development. By shielding children of the ways of the world, which includes death and violence, they will be ill-prepared to face the ac alities of our world when they need to. The violence that is seen in cartoons can be a good learning tool to show children on how they are not supposed to behave. The violence that is portrayed in cartoons in purely fiction and even the youngest of children can separate the fact that what they are watching in these cartoons is pretend. No child is ever going to believe that he can freeze someone with an ice gun like some cartoon character did. Adults in todays world grew up with violence in cartoons and it is doubtful that any adult could honestly say that the violence they saw in cartoons as a child geared them to violent adults. An if the biggest argument against violence in cartoons is that it give children nightmares then you have to realize that nightmares are a part of growing up and will happen with or without the effect of cartoons. Cartoons should not be the primary form in educating children. It should be used as a supplement. It is a supplement that children can easily relate issues in cartoons to those of the real world. Parents and teachers need to educate children. If a c ld is learning too much from what he/she sees in cartoons, then it is the fault of the parents for not spending the time needed to insure that their child knows what is actually being said and depicted in the cartoons. By trying to shield children from t he death and violence that is seen on cartoons is not going to stop them from experiencing death or from being violent. Those two things are a part of life. If this is the objective behind the argument that cartoons e detrimental to our childrens development then you have to ask yourself how people became violent or learned about death before cartoons were around to help in the explanation. .uf8a86207fbeb4d878deec71aac1809dd , .uf8a86207fbeb4d878deec71aac1809dd .postImageUrl , .uf8a86207fbeb4d878deec71aac1809dd .centered-text-area { min-height: 80px; position: relative; } .uf8a86207fbeb4d878deec71aac1809dd , .uf8a86207fbeb4d878deec71aac1809dd:hover , .uf8a86207fbeb4d878deec71aac1809dd:visited , .uf8a86207fbeb4d878deec71aac1809dd:active { border:0!important; } .uf8a86207fbeb4d878deec71aac1809dd .clearfix:after { content: ""; display: table; clear: both; } .uf8a86207fbeb4d878deec71aac1809dd { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uf8a86207fbeb4d878deec71aac1809dd:active , .uf8a86207fbeb4d878deec71aac1809dd:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf8a86207fbeb4d878deec71aac1809dd .centered-text-area { width: 100%; position: relative ; } .uf8a86207fbeb4d878deec71aac1809dd .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf8a86207fbeb4d878deec71aac1809dd .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf8a86207fbeb4d878deec71aac1809dd .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uf8a86207fbeb4d878deec71aac1809dd:hover .ctaButton { background-color: #34495E!important; } .uf8a86207fbeb4d878deec71aac1809dd .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf8a86207fbeb4d878deec71aac1809dd .uf8a86207fbeb4d878deec71aac1809dd-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf8a86207fbeb4d878deec71aac1809dd:after { content: ""; display: block; clear: both; } READ: The Movie Food Inc. 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