Abstract
This paper compares the masculine assertion of identity and authentic Indianness by the protagonists of two Indian films. The first is the character of Rishi in the Mani Ratnam directed 'Roja' and the second is the character of Raj in the Aditya Chopra directed 'Dilwale Dulhania Le Jayenge'.

From the Paper
"Both Aditya Chopra's 'Dilwale Dulhania Le Jayenge' and Mani Ratnam's 'Roja' convey a similar them that involves the loss of and return to an ideal authentic India that resides in the villages and in the heart. In DDLJ the protagonist is the reckless ne'er-do-well Raj Malhotra and in 'Roja' the protagonist is the cryptologist Rishi Kumar. Each of these protagonists ultimately demonstrate that authentic Indian identity despite urban or village living resides in the villages and in the heart. This is expressed..."

Tags:arranged marriage, family, kinship, nationalism, village life, patriarchy, women, love, tradition

Abstract
The paper contends that Chopra's book is basically like all the other spiritual and self-help books. The writer presents a somewhat cynical attitude to the advice given in the book, claiming that it is all the same: people create their own realities; if you love something set it free; when you point your finger at someone, there are three pointing back at yourself ; and so on. The paper acknowledges that, basically, living and loving are hard work!

From the Paper
"The spiritual meaning of love can heal, renew, inspire, make one safe and closer to God, " everything love is meant to do is possible" (Chopra 3). Most people experience love as "pleasure, sex, security, having someone else fulfill their daily needs...the normal cycle of love is simply to find a suitable partner, marry, and raise a family," but this social pattern is not truly a path (Chopra 4). In most lifelong relationships, love fades or evolves into companionship without growing in its inner dimension and a spiritual path has only one reason to exist, to show "the way for the soul to grow...and when you find your path, you will find your love story" (Chopra 4)."

Tags:companionship, soul, growth

Abstract
This paper provides a comparison and contrast of the endings to Joyce Carole Oates' short story "Where Are You Going, Where Have You Been" with the ending of the film based on it, Joyce Chopra's "Smooth Talk." The paper argues that the ending of the film strays too far from Oates' original intention in creating the transition of a rural, innocent teen girl from childhood to young adulthood.

From the Paper
'In Joyce Carol Oates' short story "Where Are You Going, Where Have You Been" the sexual awakening of an innocent, rural girl name Connie is offered. In the story, Connie will meet, become attracted to, yet fearful of and leave her family home with a stranger. Frustrated by her parents she thinks do not understand her and bored with what she finds her dull older sister, Connie leaves with Arnold, despite fearing him. While some believe the ending implies Arnold is evil or..."

Tags:adventure, routine, sexual awakening, fear, unknown, adventure, assertive, self-confident, submissive, escape

Abstract
This paper compares Joyce Carol Oates' short story "Where Are You Going, Where Have You Been" with the film based on it called "Smooth Talk," directed by Joyce Chopra. The essay maintains the film is faithful to the tone and tenor of the story and its characters, while also revealing two characters brought more fully to life in the film version.

From the Paper
"Joyce Carol Oates' short story "Where Are You Going Where Have You Been" recounts the sexual awakening of a farm girl who ultimately sacrifices her own well-being to leave with a stranger, Arnold Friend, so he won't harm her family. Oates tells us of Connie; she is torn between two identities. Everything about her has two sides to it; one for home and one for anywhere that was not home. Frustrated by her mother who prefers her dull older sister,..."

Tags:family, parents, siblings, danger, sexuality, adolescence, identity, rural life, shopping malls, teenagers

Abstract
This paper discusses the theories of Martin Heidegger which he presented in a book called "Being and Time." The paper describes his theories of nothingness and human "dread" and compares them to Deepak Chopra's similar quantum physics theories. The paper describes the basic meaning of the theories and concludes that had Heidegger possessed Chopra's gift for simplifying language, his concepts of nothingness might have been recognized sooner.

From the Paper
"Heidegger's theory of human "dread" is interestingly at the core of what he believes to be our deep-seated awareness of "nothing." The fact that humans are deeply aware that we will perish into nothing is what gives defineable value to our human experience. In other words, while we know consciously that everything in our human world will change and die, we also know that this concept does not apply to a world of nothing. Heidegger evidently had no faith in the possibility of an afterlife that might include any thing relative to our human existence. In his view, the inescapable loss of somethingness is at the bottom of the human "angst." (Philosophypages)."

Tags:quantum, physics, Chopra

Abstract
This paper looks at how the short story "Where Are You Going, Where Have You Been?" by Joyce Carol Oates, was primarily inspired by two sources. First, the serial killer, Charles Schmid of Tuscon Arizona, and second, Bob Dylan's song "It's All Over Now, Baby Blue." It then analyzes how Oates' short story was brought to life when Joyce Chopra directed the film named "Smooth Talk" in 1986 and how, although the film is inspired by Oates' short story, it greatly compromised her original vision.

From the Paper
"First, Charles Schmid's killings in the 1960's were a primary source of inspiration for Oates' short story. He was notoriously famous for his "youthful magnetism". Schmid persuaded young girls to fall in love with him and later strangled them to death. He is very similar to one of the main characters in Oates' short story named Arnold Friend.
According to Hanna Miller of the Arizona Daily Star, "Charles Schmid, who's killings brought Tucson national attention in the '60s, was an unlikely teen idol who painted a mole on his powdered face and stuffed tin cans into his cowboy boots to add a few inches to his tiny frame." In comparison, Arnold Friend also stuffed his boots to appear taller for he too had a small frame and very persistent with persuasion. "

Tags:Charles, Schmid, Arnold, Friend, Bob, Dylan