Posted in Life lessons, Love, Materialism, Poem Analysis, Poetry, reality

Celebrating Love

Love poems are widely written by poets worldwide, however the poem, “Celebrating Love” invokes the celebration of love in a distinct manner as opposed to other conventional love poems. The poem is thus observable to examine the modernization and the commercialization of love in the present world and the perspective of love as depicted in the viewpoint of today’s lovers.

Love’s for sale
today
In glitzy packages
Shining silver, gold red

Love is
Cellophane-wrapped,
Beneath transparent
Pink hearts
Lipstick coated
In perfume advertisements
And trinkets
And dinner for two vouchers
And phone-in competitions
For dancing the night away
Hosted by,
Cynical DJs

 

Love is to be bought,
Given away to the
highest bidder
It lurks in shopping malls,

only for those who can
afford it,
It reeks of cash and kitsch

Quick, find it
Before it vanishes
Before it turns into a pumpkin
At Midnight
On Valentine’s Day.

                    “Love’s for sale today“, is a strong indication of the poet’s perception on the extinction of love’s timeless cherished definition of a  unique element that particularly cannot be bought or taken by force but must be earned, to which matter, the poem draws a sharp contrast. The poet reverses this conventional character attributed to love into a more modernized and quick-accessed item, freely available in the stores. The poet through seems to celebrate love through presents, upon closer examination is in fact, cynical and ironic about the manner in which the present world has chosen to love, “In glitzy packages/ Shining Silver, gold, red”.

The next stanza begins with resolving this confusion aroused by the poet in defining, whereby the poet divulges the redefinition of what love exactly is. “Cellophane-wrapped/ Beneath transparent pink hearts/Lipstick coated”, such imagery render the notion of the poet being sarcastic about this new definition attributed in love. In fact, the poet is invoking the empty love devoid of feeling and emotion. Love thus appears to be merely exaggerating in terms of worldly indulgence, “For dancing the night away”. It has simply become an obsession and a fascination, “In perfume advertisements/ And trinkets”.  The poem is both cynical and realistic in the way he implies the absence of true meaning given to love, instead it has become common place, a casual insignificant practice, “phone-in competitions…Cynical DJs”. The fact that Love is being commercialized used as an object for purposes of promotion is strongly condemned by the poet through his cynical overtones.

While the first stanza openly reminded the readers that love today is on sale and in the second the poet introduces to us what love truly meant in the modern society while in the third stanza the poet extends to emphasize to what extent it has been commercialized and “abused” as a result of modernization.

The third stanza thereby informs the readers where and who can actually buy this Love sold today. The poet stresses that it can only be bought by the “Highest bidder”, indeed love is ostensibly expensive for it is rare and it can only be earned by those who cherish it. However, it is obvious that the value the poet talks of in the poem is a different one, one where it is materialistically expensive, love that was cherished is now “lurking at shopping malls” “for only those who can afford it”.  Hence the rich who can afford the afore mentioned glitzy packages adorned with lipstick and pick hearts are the only owners of Love.

Love as we know it, is associated with happiness, satisfaction and content, whereas this love that has undergone commercialization “reeks of cash and kitsch.” Love therefore has been devalued, it has become a material rather than a feeling of expression. In this industrial world, with people in a rat race after money and worldly gratification, love is also suffering its consequences of being commonplace and deterioration. The poet criticizes this growing perspective of love as seem commonly in the public fantasized by materialism.

The poet in the latter part of his poem, ender a fairy tale undertone, implying that this Love may soon “vanish”. It therefore has a high demand and the poet asks its reader to “Quick, find it”. On the contrary the poet draws a contrast to the fact that love is not encounters as one would wish it to be but comes in the most unexpected of time, whereas in the poem the poet demands that we find it for the simple reason that it will soon disappear as would a “pumpkin on Midnight”, drawing an image from a Cinderella’s fairy tale, “On Valentine’s Day”. The readers are made aware that this “today” spoken of in the first lines is in fact the valentine’s day. Love has become meaningless and emotionless to such an extent that the poet conveys the celebration of Love only on a valentine’s day.

Hence the poet, throughout the poet is observed to be criticizing the modern day perspective of Love and the extent at which it has become commercialized and trapped in the “transparent” wrappings devoid of genuinity, faithfulness and love in its truest forms, instead it is adorned and fantasized with materialism and pretense. Supporting to this sarcasm  and condemnation is the extremely short lines of the poem, which are indications of the temporal nature of today’s love, lasting only until one meets a comparatively better another. It’s lifetime faithfulness, impermanence and eternality is forever lost under deep layers of modernization and materialism, giving reasons for humanity’s growing selfishness, pretense and hatred wherein true love would never find its rightful place.

Thus, this poem is an invocative that awakens us to reconsider our hectic lives and reevaluate our love that we believe is so strong and immortal.

 

Posted in Life lessons, Nature, Poem Analysis, Poetry, reality, William Worsworth

The WORLD is too much with us

One look at yourself and your surroundings will suffice in agreeing to me in saying, that today, many of us, almost all, have forgotten our beginnings , where all this, the entire humanity gave rise to. We have forgotten simplicity, authenticity and we seem to have not enough time to even admire the sun rise from the east, a butterfly’s wings or the sweet scent of a blooming flower. Instead, man is overwhelmed with work, endless loads of work to an extent where we’ve already forgotten how much of the nature are we destroying along the way,

It is therefore, at such a time, when Wordsworth might actually come in handy, for his words celebrates nature as an integral part of our lives and as a fascinating means of escape from the horror of our everyday cities. His words drowns us in the desire for the ecstasy of nature. This is a poem that draws our attention to the influence that we are all unknowingly inflicting upon the nature, and the poem reminds us that,

“Nature never did betray

The heart that loved her.”

The world is too much with us; late and soon,
Getting and spending, we lay waste our powers;—
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
This Sea that bares her bosom to the moon;
The winds that will be howling at all hours,
And are up-gathered now like sleeping flowers;
For this, for everything, we are out of tune;
It moves us not. Great God! I’d rather be
A Pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathèd horn.

The poem provides a fatalist description of mankind and its detachment with the nature. The words, “late and soon” suggests the perpetuate behaviour and attitude towards nature from the world both in the past and the future. In simple words, the poem serves the purpose of characterizing the modern and the earlier man throughout, such that humans evolve round the constant circle of “getting and spending” without any involvement of giving or saving. In addition, the speaker seems to comprehend and know the potential of mankind’s “powers” and yet he believes that the human seemingly wastes it in materialistic yearning.

The speaker further proceeds on to the materialistic progress of mankind where we “have given our hearts away” to  money and worldly desires. The poet uses an oxymoron; “sordid boon” to further define the irony in the materialistic desire and accomplishments of the contemporary man. Sordid suggests the worst aspects of human nature including immorality, selfishness and greed while boon implies a blessing or a benefit. Thus the speaker reveals that materialism is a destructive and a corruptive blessing that is overwhelming the man. Although in the exterior, money and material goods bring pleasure and satisfaction, the poet brings forth the sordid truth behind theses pleasures and how human is consequently destroyed.  This is further illustrated in personifying the sea and thereby creating an image of the sea clenching her arms to her bosom and relentlessly pleading the skies to the misery of mankind and similarly the speaker draws on the image of wind repeatedly howling; all of which metaphorically indicate the unfortunate and sorrowful circumstances that have consequently drifted the man away from nature leaving it unchecked. The speaker hence complains that the man has clouded himself with time and money that he see no significance in appreciating nature.

Contrary to what the society considers, the poet does not seem to see nature as a commodity, in fact, he says, ” Little we see in Nature that is ours ” illustrating that coexistence is the relationship envisioned. Mankind, as he implies, must be able to appreciate the beauty of nature, the moon’s reflection on the sea and the gust of strong winds, whereas this relationship seems to be at the mercy of mankind depicted with the way in which these images are portrayed in the poem. “sleeping flowers” is yet another instance in the poem where nature is being overrun and ignored.

The verse “I, standing on this pleasant lea, have glimpses that would make me less forlorn”, reveals Wordsworth’s perception of himself in society: a visionary romantic more in touch with nature than his contemporaries. The speaker would rather be a pagan who worships an outdated religion so that when he gazes out on the ocean (as he’s doing now), he might feel less sad. If he were a pagan, he would have glimpses of the great green meadows that would make him less dejected. He’d see wild mythological gods like Proteus, who can take many shapes, and Triton, who can soothe the howling sea waves.

 

Posted in Emily Dickinson, Life lessons, Nature, Poem Analysis, Poetry, reality

The Bitter Truth

The poem is a pragmatic realization of life’s uncertainty and unreliability. Analyzing the poem on a literal level, one would observe Emily Dickinson seemingly describing a banal ordinary event of a bee who being unable to hold on to a “single clover plank”; in other words, a clover leaf, a simple blade of grass used as a plank is swept away by strong gusts of wind and seizes to exist to which Dickinson exaggerates and delineates it as a “harrowing event”.

A single Clover Plank
Was all that saved a Bee
A Bee I personally knew
From sinking in the sky —

‘Twixt Firmament above
And Firmament below
The Billows of Circumference
Were sweeping him away —

The idly swaying Plank
Responsible to nought
A sudden Freight of Wind assumed
And Bumble Bee was not —

This harrowing event
Transpiring in the Grass
Did not so much as wring from him
A wandering “Alas” —

However, one must carefully bear in mind that reading Dickinson’s poems require an in-depth exploration of the poet’s imagination and a conveyance from a literal level into the figurative meaning of her imagination.  Hence, the clover plank is naturally unsteady and temporary; added to this, the poet further defines the plank to her readers; “The idly swaying Plank/ Responsible to nought”, thus the plank is a connecting bridge between a “firmament” and steady above and below. Here the poet does not specify what is denoted by above and below but leaves the  readers to distinguish it themselves, according to which I believe that above and below suggest two extremists of possibly religion, god, ideas or even acquainted persons. The most significant symbol is the protagonist of the poem; the “bee” who is possibly symbolical of the poet herself and the rest of the world including the readers. In the light of this world, the poets or generally the entire humanity is swept away by the “billows of circumference” symbolically indicating the various inevitable forces of nature that inflict us where from we are led to hold on to a “plank” that we believe would save us from destruction and tragedy. These “billows of circumference” are metaphoric of catastrophic disasters to life-threatening  illnesses.

Thereby, on a more figurative level, agreeing to the metaphoric symbols of the poem, it is then indeed a “harrowing event” whereby the poet and the rest of humanity relies on to an incomplete, brisk matter that is entirely abstract and lacks specificity. We can therefore draw a contrast between the certain extremities and the uncertain salvation. Dickinson further affirms this uncertainty with a second gust of strong winds during which the bee; thereby we, are deprived of a said redemption and hence, seize to exist leaving no space for contemplation or comprehension; Did not so much as wring from him/ A wandering “Alas”. This is the cognizance of life’s reality such that we are most likely to be dependent on something that is entirely “responsible to nought” possibly out of desperation, agony and hopelessness. However helpless, the poet claims not to forget this uncertainty of life and the instability and nothingness of the world we live in, that despite the mere hope and expectations something might provide us during our lifetime, too much indulgence and gratification would only lead us to our demise.

Posted in Life lessons, Nature, Poetry

This bowl, life, that we fill and fill

Despite the numerous developments in technology and science that have contributed in the human’s favor serving the purpose of facilitating our life and in discovering places past the milky way striving to perceive our identity and to satisfy our hearts with knowledge of the unknown; Carol Ann Duffy certifies that man is nevertheless imprisoned in this prison called life.

An apple’s soft thump on the grass, somewhen
in this place. What was it? Beauty of Bath.
What was it? Yellow, vermillion, round, big, splendid;
already escaping the edge of itself,
like the mantra of bees,
like the notes of rosemary, tarragon, thyme.
Poppies scumble their colour onto the air,
now and there, here, then and again.

Alive-alive-oh,
the heart’s impulse to cherish; thus,
a woman petalling paint onto a plate –
cornflower blue –
as the years pressed out her own violet ghost;
that slow brush of vanishing cloud on the sky.

And the dragonfly’s talent for turquoise.
And the goldfish art of the pond.
And the open windows calling the garden in.

This bowl, life, that we fill and fill.

The poem begins with a soft image of an apple falling, providing the reader a first-hand experience in an orchard. The poet then continues to specify his details of the apple combining visual, auditory, olfactory, gustatory, tactile images ” Yellow, vermillion, round, big, splendid”. All these images contribute to the reader with a more realistic and ecstatic experience. ” already escaping the edge of itself “; the apple is observed to be in its full ripe state that it gives us the image that were the apple to be on the tree for any longer, it would burst out of itself, and therefore it was the perfect moment for the “apple’s soft thump on the grass”.

The poet than compares this fully ripe apple that is almost about to burst with “mantra of bees”, an auditory image, coupled with “notes of rosemary, tarragon, thyme./ Poppies scumble their colour onto the air” all of which facilitates us with a realistic view of an orchard and the poet further uses these images to articulate the beauty of nature and its many wonders time and time immemorial for she uses “now and there, here, then and again” to depict the constant unchanging and perpetuate beauty of nature. The poet cries; “Alive-alive-oh” suggesting the ecstasy and joy she feels in observing the orchard and the “heart’s impulse to cherish ” suggesting that she feels alive and heartily cherished  also implying the fact that she might have not being so alive and fresh or joyful until now. This indication provides us with the past of the poet and hints at what might follow in the succeeding stanzas.

She then  bears a personal tone, ” a woman petalling paint onto a plate” in which the “woman” could possibly signify  the poet herself and “petalling” is indeed a combined word that generally gives the image of a woman painting in the orchard. As much as the poet celebrates nature and share its joy, she also uses imagery to indicate a bleak, darker meaning. “years pressed out her own violet ghost” carries a far more personal note with violet possibly indicating the time of day being dusk and thereby this visual imagery of the violet sky at dusk is synonymous with the woman who has now grown old as she is swept away in this tide of time. This imagery is further affirmed through the next line where she is now feeble and old and therefore her brush paints very slowly on the paper and her old age is probably signified through the “vanishing cloud” indicating separation, distanced and drawing to an end.

There is once again a shift of tones in the latter part from that of a melancholic to a more realistic tone through the imagery of nature. The poem in last line; “”the bowl, life, that we fill and fill” is a metaphor for life that enlightens its readers with the true realization of reality. She compares our life that is adorned by numerous facilities, people and joy to a fish bowl; imprisoned and no escape.

The poet discloses us the reality of life, that regardless of the many things we strive to achieve; “fill and fill”, we are all confined and restricted, imprisoned by the society in many ways such as traditions,  rules, regulations, procedures, customs, culture and even people and from which, escape is inevitable. This as opposed to the beauty of nature and the joy it gives, is the bitter truth of life and thereby realizing this reality of life, the poet seem to indulge herself in the wonders of nature.

 

 

 

Posted in Gender Transitions, Uncategorized

Redefining Gender Transitions in a Contemporary Society

 

Transgender refers to those who’ve exempted themselves from their in-born sexuality assigned at birth and thereby transitioned across culturally and socially constructed binary concepts such as gender and sexuality and created a ‘cultural-turn’ while seeking to determine an “identity” for themselves, redefining these constructs as separate dimensions. Although sex is known to follow gender and thus define an individual’s gender identity conventionally and as binarically as possible, transgenderism is a revolutionary term that argues the fact that gender should not necessarily correspond to sexuality whereas an individual’s gender identity is a depiction of one’s own behaviour and therefore cannot be categorized between the dual sexed body.

Giddens defines ‘sex’ as ‘biological or anatomical differences between men and women, whereas ‘gender’ concerns ‘psychological, social and cultural differences between males and females'(qtd. in Wodak 3).  Hence it can be affirmed that gender is culturally constructed although sex is a fixed binary attribute. Conventionally, sex determines gender where a man would distinct oneself through masculinity and vice versa, limiting oneself into one of the two binary categories, which on the contrary can be argued that gender, is still a variable and should not necessarily follow one’s sex. As Judith Butler agrees in her book, ‘Gender Trouble’, gender is not a definitive aspect and although sex appears to be binary, gender is not restricted to be so and thereby, “gender does not mirror sex”. The culturally constructed gender is therefore independent from a sexed body and in this context, feminity could exist in a male body or even both masculinity and feminity can coexist in a person regardless of his sexuality.

The film, “The Danish Girl” brings about the dilemma subjected to Lili in seeking to dismantle her true affiliations and ultimately disclose her sexual identity. In sociological perspectives, sexual identity is not inborn, in fact it is developed through social experiences and sexual psychology which directs a person’s sexual inclinations and thus, Lilli has to undergo the trauma of confining her sexual desires as a woman in a male body despite various societal challenges. The film outlines how gender follows sex only because sex acts as a determinant of cultural attributes in the contemporary society thus forcing Lili to conceal her feminity and ‘act’ masculine in the face of the society for the sole reason that she is physically or sexually a male, together with the responsibilities of a husband’s duties that a married transgender woman is obliged to fulfill.  Unfortunately, the film fails to depict this psychological phenomenon at a greater length where instead, the film portrays how Lili manages to push away Gerda so promptly and initiates a new relationship with a man, without clearly and fully resolving her relationship. This leaves doubt and suspense as to how fast and equally selfish Lili has been in transitioning to a woman despite the harsh and immediate challenges before her and the psychological intricacies those around her must overcome. Indeed, Tom Hooper however cannot be expected to encompass a person’s full life story into a film.

Adding to this negligence is how the sex reassignment surgery in the film gives the idea that Lili has now entirely become a woman and furthermore, the transition of sexuality and gender is constantly noted to be physically trapped within silks and obsessed with the experience rather than examining the psychological complexities encountered after the transition and hence the film portraying the image how all transgender individuals necessarily require their respective sexualities so as to reveal their identity is entirely absurd. Therefore in this respect, the film fails to signify that gender can exist strong enough without sex determining it. Particularly in a world where transgender movement is becoming more commonly observed, the general cogitation of sex as biological and of gender as social are proven to be false, in fact, both these concepts are socially constructed and therefore relative to place and time. This is however evidenced in the film where the level of acceptance of her sexuality changes from one setting to the other in which, this transition of gender despite sex is being accepted in a Parisian setting contrasted to that being restricted by sex in a European culture. Sex is therefore a changing and a fluid multi-dimensional construct where social and cultural experiences direct sexual identity. Hence it is absolute for gender to be constructed over one’s life course and not be determined at birth.

Accordingly, gender that is independent from the binary characterization of sex and yet contributes to the determination of a person’s sexual identity has a direct integration towards identity in terms of the concept known as, “gender identity” where although identity is constructed through concepts such as sex, gender and sexuality; the gender identity of a person who fails to conform to these norms is worth discussing and must be analyzed.

Gender identity is an individual’s internal sense of self as being male, female, or an identity between or outside these two categories (qtd. in Nagoshi et al. 4). It is one’s belief or perception that he belongs to a particular gender, supported by self-realization and stipulated by social, cultural, religious and ethnical attributes. However, gender cannot be defined as a ‘unitary model of sexual character’ but rather a variable while being a universal phenomenon as suggested by Connell where he argues that masculinity and femininity coexist in the same person, and that they should not be seen as Polar natural opposites (qtd. in Maria Zina Gonçalves de Abreu 46).

Therefore the development of a person’s gender identity is an understanding of differentiation in social roles and how this understanding varies depending on different religious, ethnic and social aspects. But what psychological challenges and negotiations would a man be compelled to undergo if his instinct was to identify himself as a woman? The film, “The Danish Girl” depicts how Lili learns to reveal her true identity through her gender thus defying the contemporary societal perceptions that might lead to public and social stigma and misjudgments. Being a man physically, steers Lili into an emotional and a strongly psychological struggle between society’s expectations and her own desires. The squared walls and the perfectly-edged windows in a bluish grey setting contrasted with Gerda’s painting of Lili revealing her identity, all of which as contrasted with the mirror that opposes the idea, reflecting only what the society wished to believe, adds further support to this impact.

In fact, it is seen that this very constrain forces Lili to reveal her feminity into the society thus portraying how the transition of one’s gender identity results in the change of societal conditions and perceptions asserting that biological differences is an indicator for change in the society. Despite the strained marriage and several injustices in the form of physical abuse, Lili gains courage and strength to triumph over and create a ‘cultural-turn’.

However, on the other hand, the film fails to clearly state that feminity or masculinity are not predefined attributes but are constantly changing and instable. Einar’s physical transition into Lili coding his body female in front of the mirror leaves little room for Lili to reveal her true identity as a free woman. The film ignores the fact that Lili was not a creation but had formerly existed. Proposing to which, Einar visits a peep show and in fact, ‘learns’ to become a woman. It must be highlighted here that feminity is a construct whereas the film illustrates Einar ‘performing’ Lili and not as Einar identifying herself as a woman further extending to a surgery that embodies his body to the gender.

In the book, Gender Trouble, Judith Butler introduces the concept “Gender Performativity” stating that, “gender proves to be performance— that is, constituting the identity it is purported to be. In this sense, gender is always a doing, though not a doing by a subject who might be said to pre-exist the deed”. This concept explicates how gender is defined through behaviour. Despite an individual being given specificity with regards to his sexuality at birth, it is his distinction of character and behaviour that clearly defines his gender and thus creates an identity whereas this concept does not limit itself to a singular identity, to merely two versions but rather the contrary, where one’s identity can depict the coexistence of the two sexualities in one person. Gerda’s visible spontaneity and her independence thus holds witness to this phenomenon.

This strength of Gerda questions the feminity sought out by Einar to reveal Lili’s identity. Therefore what defines the contrast between masculinity and feminity? How can one be identified a male or a female with respect to his or her character traits? Does being dominant, controlling and assertive make one masculine or is feminity defined through passivity, weakness and sensitivity? What must be clearly understood here is that there aren’t specific characterisms defining a person’s gender and it is one’s own behaviour that determines his gender identity and therefore in the light of this world, there is no such adamant theory that is definitive over another’s identity in the society as contrasted with the film where Lili hopes for children in the future, “just like a real woman” (The Danish Girl 2015), restricting the identity of a woman to the body and the biological function. Hence the film is not successful in evaluating how sexual orientation itself does not define gender identity and that it is further defined through behaviour and does not limit to a unitary model of sexual character.

On that account, it is apparent that understanding the diversity among men and women develops with considering how gender constructs social experiences in which case, gender identity is not entirely defined by sexuality which in turn, does not define gender. Therefore the distinction of sex, gender and gender identity is entirely dependable based on a society’s cultural, ethnic and religious perceptions.  However, it can also be justified that cultural and societal perspectives have the potential of being subjected to change with the influence of those exempted from these conventional norms via a growing community known as ‘transgender’. In view of this context therefore, ‘Transgenderism’ revolutionizes the weight on sexuality in defining gender and thus influences the society’s cognizance.

Prioritizing the needs of transgender individuals is hence a necessity in a society that conventionally contingents on the binary sexual phenomenon which must indeed be transformed. The Danish Girl, being a film that is known to be highlighting transgender issues sadly seems to add to them by objectifying the exact persons it claims to support. Psychological aspects in comparison with societal barriers should hence be given higher priority so that gender transitions will be looked upon more individually and universally in the future society. This, I believe, is the eminent responsibility all literary workers must fulfill.

Posted in Uncategorized

Digital Technology as a tool/ medium of empowerment for young people

 

History is a constant witness of technology transcending issues in the context of poverty, economics, agriculture, environment and accordingly emerging as the dominant force in the lives of people worldwide. Over two billion are known to have access to the internet while over five billion have mobile phones at hand today and this being the world  in which the younger generation is growing up, where social media, online databases and mobile technology are frequently inherent to their regular communicating, learning and development procedures together with the increasing capability, affordability and adaptability allowing a multitude of the youth to connect to the broader world across national boundaries. Hence digital technology has become an enhancement medium for both children and young adults while it has increased various types of advocacy activities in which they engage, ameliorating their social community skills and improving the quality of participation in the process of addressing and building awareness over more internationally related issues together with the opportunity for them to establish an identity through the wider space it has offered for freedom of expression and innovation.

Digital technology is indeed a portal of empowerment with new avenues for millions of young people to create productive interrelationships and engage online, giving them the opportunity to unite and feel responsible by addressing worldwide issues and concerns, for example the active youth participation in questioning and creating solutions for the growing rate of youth un-employment, the global socioeconomic and political issues together with the racial tension created by US police brutality or for change in the Arab world.

These forums have facilitated the youth with the essential platform for implementing a revolutionary change. It has allowed them to build up partnerships and band together in discussing economic and social development along with poverty related issues with a variety of other unvoiced complications such as gender rights issues and bringing them to the forefront of the unaware public. Social networking platforms have created an all-inclusive space for creating dialogue and discussions among the younger generation allowing the youth to raise their views and suggestions and even question and criticize the conduct of authorities and thereby create the change they wish to see in the world. Technology has therefore not only improved community involvement and personal development, instead it has served as a powerful tool empowering youth to take a stand in international issues and to voice their views and thoughts which may lead to an effective approach to such issues.

Moreover, technology has been known to overcome the challenge of youth unemployment to a great extent. Technology now opens up innovative entrepreneurship opportunities for young adults through which university students, graduates, and the overall youth may create themselves an identity and gain economic freedom. Numerous career possibilities have been brought to light with the exposure of digital technology to the younger generation facilitating with more empowerment and motivation for active engagement. Digital technology not only helps the youth to create a global dialogue on social issues but also gives them empowerment in terms of economy, autonomy, self-independence and decision-making.

In addition to which, the education, knowledge, skills and expertise gained through digital technologies that are almost impossible from the daily school environment is also an empowerment for young adults to enhance their competencies and use them for innovative experiments intended for the betterment of the world in the health sector, educational and many others.

The younger generation, continuously found guilty of being  obsessed with digital and mobile devices  and of being inactive and uninvolved in the world, is in fact on closer observation, increasingly becoming the generation that is most active and engaged in international relations and advocacy activities, thanks to digital technology which has necessarily set the setting for faster and more effective participation enabling a higher degree of expression while articulating an individual standpoint in the international arena.